The Graduate: Script Excerpts

(Note: this script was downloaded from the Internet.)


  

                               "THE GRADUATE"


                                Screenplay by

                                  Buck Henry				



                                  FINAL DRAFT


                                 March 29, 1967		

Note: The script opens with Ben addressing his graduating class, which is cut from the movie.

Here are some major moments:

The Hook


                                MR. BRADDOCK'S VOICE
                 What's the matter?

         Ben's mouth opens a little bit and closes again.

                                MR. BRADDOCK'S VOICE
                The guests are all downstairs,
                Ben.  They're all waiting to see you.

                                BEN
                Look, Dad - could you explain to
                them that I have to be alone for
                a while?

                                MR. BRADDOCK'S VOICE
                These are all our good friends,
                Ben.  Most of them have known you
                since - well - practically since
                you were born.

        Ben has not moved.  Now the bed on which he is lying moves
        as though someone has sat down upon it next to him.

                                MR. BRADDOCK'S VOICE
                What is it, Ben?

        The CAMERA BEGINS TO PULL BACK SLOWLY.

                                BEN
                I'm just - 

                                MR. BRADDOCK
                - worried?

                                BEN
                Well - 

                                MR. BRADDOCK
                About what?

                                Ben
                I guess - about my future.

                                MR. BRADDOCK
                What about it?

                                BEN
                I don't know.  I want it to be -

                                MR. BRADDOCK
                To be what?

                                BEN
                          (quietly)
                Different.

Well, he's not going to be disappointed as far as his immediate future is concerned!

The Hero's Call to Action


        INT. ELAINE'S ROOM - NIGHT

        Ben walks quickly into Elaine's room, crosses to the
        bed and puts the purse down.  As he starts to turn
        back, he looks up at Elaine's portrait.  There is a
        movement reflected in the glass of the portrait.  He
        turns quickly.  Mrs. Robinson, naked, is shutting the
        door to the bedroom behind her.

                                BEN
               Oh God.

        She smiles.

                                BEN
               Let me out.

        She turns the lock on the door.

                                MRS. ROBINSON
               Don't be nervous.

                                BEN
               Get away from that door.

                                MRS. ROBINSON
               I want to say something first.

                                BEN
               Jesus Christ!

                                MRS. ROBINSON
               Benjamin - I want you to know
               I'm available to you.  If you
               won't sleep with me this time -

                                BEN
               Oh my God.

                                MRS. ROBINSON
               If you won't sleep with me this
               time, Benjamin, I want you to
               know you can call me up any
               time you want and we'll make
               some kind of arrangement.

                                BEN
               Let me out!

                                MRS. ROBINSON
               Do you understand what I said?

                                BEN
               Yes.  Yes.  Let me out!

                                MRS. ROBINSON
               Because I find you very attractive
               and any time -

        There is the SOUND of a CAR in the driveway outside.
        Ben leaps at the door, pushes Mrs. Robinson aside,
        struggles with the door, gets the door open, runs into
        the hall and down the stairs.

Note that in a comedy, the hero's call to action can be, indeed should be, comic.

Act II Plot Point

The reversal at the end of Act II often follows a moment when the hero appears to be gaining ground toward his goal. In Berkeley, Ben's long and comic courtship of Elaine finally appears to be paying off. And then comes the final twist.

        She goes through the doorway into Wendell Hall.  Ben remains
        standing in exactly the same position.  After a few moments
        the door opens and Elaine comes out, steps quickly to Ben,
        kisses him, then runs back inside.  Ben turns and starts
        away from the door.  The door opens again.  Ben turns back
        and takes a step toward the door, smiling expectantly.  A
        tall bearded MAN comes out and goes past Ben.  Ben breaks up.

                                                              CUT TO:

196A    EXT. BERKELEY STRRET - DAY

        Through the window of a hippy jewelry store we see a sales-
        woman modeling a ring for Ben.  He nods, she takes it off,
        puts it in a box and gives it to him.  He pays for it and
        exits PAST CAMERA, WHISTLING.

196B    INT. ROOMING HOUSE - DOWNSTAIRS - NIGHT

        Ben enters carrying four oddly shaped boxes and some flowers.

197     INT. ROOMING HOUSE STAIRS AND BEN'S ROOM - NIGHT

        Ben is whistling happily as he runs up the stairs two at a
        time.  He opens the door to his room and steps in.  The room
        is dark.  The figure of a MAN is silhouetted against the
        window.  Ben freezes just inside the door.  There is a long
        pause.

                                MR. ROBINSON
                       (clearing his throat)
                Do you want - do you want to try
                and tell me why you did it?

                                BEN
                Mr. Robinson?

                                MR. ROBINSON
                Do you have a special grudge
                against me?  Do you feel a particularly
                strong resentment for me?

                                BEN
                No, it's not --

                                MR. ROBINSON
                Is there something I've said that's
                caused this contempt?  Or is it just
                the things I stand for that you
                despise?

                                BEN
                It was nothing to do with you, sir.

                                MR. ROBINSON
                Well, Ben, it has quite a bit to
                do with me.

And this looks to Ben, and to us, like all is now lost.

The Resolution (also a big sequence)

I'm quoting this at length because so much of it is cut in the movie - and the economy of the movie is more effective than the script here. This often is the case in film - less is better.

                                BEN
                You can't stop me from seeing her,
                Mrs. Robinson.  I'll find her.

                                MRS. ROBINSON
                I'm sorry we won't be able to invite
                you to the wedding, Benjamin, but
                the arrangements have been so rushed -

                                BEN
                What the hell have you done?

         SOUND of SEVERAL CARS TURNING INTO DRIVEWAY.

                                MRS. ROBINSON
                Ahh.  I don't think you'll have
                time for that drink after all.

                                BEN
                I'll find her.

                                MRS. ROBINSON
                I don't think so.

        The cars have reached the top of the driveway.  SOUND
        of the SQUEAL of BRAKES and CAR DOORS OPENING.

222     INT. ROBINSON HALLS - NIGHT

        Ben dives head first into the hall, scrambles to his
        feet and runs to the back of the house.

223     EXT. ROBINSON BACKYARD - NIGHT

        Ben comes through the back door,
        runs to the back fence and vaults it.  Lights start to
        go on in the house behind him.

224     EXT. STREET - NIGHT

        Ben, driving rapidly.  He jams on the brakes and stops
        the car in the middle of the street.  Cars, HONKING
        move around him as he sits, staring ahead.

                                BEN
                 Wedding!  God Damn it - wedding!

        People are YELLING as him from the cars going by.

                                MR. ROBINSON'S VOICE
                 Carl - I think you and Elaine will
                 make a good team.

                                CARL'S VOICE
                 Your father's right, Elaine.  You
                 and I will make a darned good team.

        Ben swings the car around in a U-turn and speeds off
        in the other direction.

225     EXT. ROAD NO. 6 - TO BERKELEY - NIGHT (BECOMING DAY)
        SERIES OF SHOTS

        Ben driving rapidly (left to right) past the landmarks
        established on the previous drive to Berkeley.

                                 WOMAN'S VOICE
                 We have two Carl Smiths.  Is it
                 Carl with a "C" or a "K"?

                                 BEN'S VOICE
                 I'm afraid I don't know.

                                 WOMAN'S VOICE
                 The Karl Smith with a "K" teaches
                 History of Advertising -

                                 BEN'S VOICE
                 And the other?

                                 WOMAN'S VOICE
                 The one with the "C", Carl Smith
                 Junior, is in our medical school.
                 He lives at Gamma Delta Tau.

226     EXT. FRATERNITY HOUSE - DAY

        Ben pulls up in front of the Gamma Delta Tau house.  He gets
        out of the car.  He is haggard, tired and unshaven.  The
        car is mud-spattered.

227     INT. FRATERNITY HOUSE - HALL AND DINING ROOM - DAY

        Ben enters the hall.  Through a door can be seen a DOZEN
        OR SO FRATERNITY BROTHERS seated at a table chowing down.
        It is breakfast.  Ben walks into the dining room.

228     INT. FRATERNITY DINING ROOM - DAY

        The fraternity brothers are eating and talking noisily.

                                  BEN
                  Say - fellows -

        They stop eating and turn toward him.

                                  BEN
                  Do any of you fellows know where
                  Carl Smith is?

                                  FRAT BROTHER #1
                  He took off in the middle of the
                  night to get married.

        He goes back to his breakfast.

                                  FRAT BROTHER #2
                  Probably one step ahead of the
                  shotgun.

                                  BEN
                  Do you happen to know where he's
                  getting married?  I'm supposed to
                  be there.

                                  FRAT BROTHER #2
                  Why don't you ask Carter?

                                  BEN
                  Would you happen to know where I
                  might find him?

                                  FRAT BROTHER #2
                  He's probably still in the sack.
                  He's always in the sack.

       They start to laugh.

                                  FRAT BROTHER #3
                  Or in the can.

       They all laugh a great deal.  Ben gives a polite smile.

                                                            CUT TO:

229    INT. FRATERNITY WASHROOM - DAY

       A large steam-filled room with a row of FRATERNITY
       BROTHERS in front of a row of sinks, brushing, combing,
       shaving, etc.  Ben is standing at the door.

                                 MAN AT SINK
                  Hey, Carter - where's the Make Out
                  King getting married?

                                 CARTER'S VOICE
                        (echo sound)
                  Santa Barbara.

                                 BEN
                        (calling in the direc-
                        tion of Carter's voice)
                 You don't happen to know exactly
                 where the Make Out King is
                 getting married, do you?  I'm
                 supposed to be there.

                                 CARTER'S VOICE
                 I don't know.  Maybe at his old
                 man's home.

                                 MAN AT SINK
                 You going to the wedding?

                                 BEN
                 Yes.

                                 MAN AT SINK
                 Give the bride a message for me.
                 Tell her to act surprised.

         A great deal of laughter follows this gem.

                                                           CUT TO:

230     EXT. ROAD NO. 1 TO SANTA BARBARA - DAY

        Ben driving (right to left).  The laughter from the previous
        scene can still be heard for a moment.

        Ben is exhausted-looking.  He opens the windows, turns the
        radio on and rubs his eyes.

231     EXT. VARIOUS ROADS TO SANTA BARBARA - DAY
        SEQUENCE OF SHOTS

        The car, moving speedily (right to left) south on the
        Highway to Santa Barbara.

232     EXT. FREEWAY EXIT AND GAS STATION - DAY

        SHOT the CAR leaving the freeway under a SANTA BARBARA sign.
        The car swings onto an off ramp and down to a street, turns
        into a gas station and stops near the office.  Ben gets
        out of the car and runs into the office.

233     INT. GAS STATION OFFICE - DAY

        The clock on the office wall reads 2:05.  The gas station
        ATTENDANT is sitting reading a stock car magazine.

                                  BEN
                   Do you have a phone?

        The attendant points.  Ben reaches for the phone book
        hanging under the pay phone.

234     SHOT - BRINGING PHONE BOOK UP INTO FOCUS

        The front of it says SANTA BARBARA TELEPHONE DIRECTORY.
        Ben opens it to the S's.  His finger runs down to the
        Smiths.  There is at least a half a page of them.

235     SHOT - THE PAGE

        Ben's finger runs up and down and stops at the name:
        Smith, Carl W., M.D.

236     SHOT - BEN

        He inserts a dime and dials.  The attendant watches him.
        SOUND of BUZZING from the phone.  It CLICKS open.

237     SHOT - TIGHT ON BEN

                                WOMAN'S VOICE
                657-2036

                                BEN
                Hello - who is this?

                                WOMAN'S VOICE
                This is Dr. Smith's answering service.

                                BEN
                Is the doctor anywhere?

                                WOMAN'S VOICE
                Well - you see - the doctor is at his
                son's wedding, but I'm sure it's over
                by now.  He should be checking in any
                moment -

                                BEN
                Listen to me.  I am Dr. Smith's
                brother - Reverend Smith - and I
                am supposed to perform the ceremony.
                I just got in - from - Portland -
                and I've forgotten what church - you
                see?

238     SHOT - THE ATTENDANT

        The attendant puts down his magazine and stares.

239     SHOT - TIGHT ON BEN

                                WOMAN'S VOICE
                Oh.  Well - I'm not sure - but you
                might try the First Presbyterian.
                That's on Allan Street.

                                BEN
                Thank you.

                                WOMAN'S VOICE
                I certainly hope you -

240     SHOT - BEN

        Ben hangs up the phone.  He turns to the attendant.

                                BEN
                Allan Street.  Where is it?

                                ATTENDANT
                          (suspiciously)
                Six blocks up - three blocks over.

        Ben runs out of the office.  The attendant goes to the
        door.

241     EXT. GAS STATION - DAY - SHOT OF BEN

        getting into car.  The attendant is in the b.g.

                                ATTENDANT
                You need any gas, Father?

                                BEN
                I'm not a priest - I'm a minister.

        The car drives out of the station.

242     EXT. SANTA BARBARA STRRET - DAY

        The car comes toward us through the traffic.  It stops
        in the intersection to make the turn.

243     SHOT - INT. CAR

        SOUND:  THE ENGINE FAILING.  Ben looks down.

244     SHOT - THE GAS GAUGE

        The needle is on "E".

245     SHOT - BEN

        He pumps the gas pedal.

246     SHOT - THE CAR

        It makes the turn and rolls to a stop by the curb.

147     SHOT - BEN

        He jumps out of the car, leaving the door open, and
        starts to run down the street.

248     EXT. STREET NEAR CHURCH - SHOT - WITH BEN AS HE RUNS

        He looks up ahead on the other side of the street.

249     EXT. CHURCH - WHAT HE SEES

        The First Presbyterian Church.

250     EXT. STREET IN FRONT OF CHURCH - DAY (2:15 PM) - SHOT OF
        BEN

        Running across the street.  He stops for a moment and looks
        around.  There are a number of cars parked in front of the
        church.  Among them is Mrs. Robinson's car.  Ben runs by
        it and up the steps to the front doors of the church.

251     EXT. CHURCH - DAY - SHOT OF BEN

        He pulls at the doors.  They are locked.  Through the glass
        doors, we can see to the front of the church where the
        wedding ceremony is taking place.

252     EXT. SIDE OF CHURCH - DAY - SHOT OF BEN

        running around the side of the church.  There are glass
        windows and doors through which, as he runs, we can see
        the ceremony continuing.

253     EXT. BACK OF CHURCH - DAY

        Ben runs, looking for an entrance.  He goes all the way
        around the church and stops at a side door.  He opens the
        door and goes in.

254     INT. CHURCH - BALCONY - DAY

        The balcony is between two huge windows, one of which looks
        out on the lawn outside, the other looks into the interior
        of the church where the ceremony is taking place.  The sun
        is coming through the window.  Ben stops and looks through
        the inside window.  The minister is just closing the book.
        He says something and Carl and Elaine kiss.

                                BEN
                 Oh, Jesus - God - no -

        He puts his hands up against the glass and slumps.  The
        minister shakes hands with Carl, then takes Elaine's hand.
        The ORGAN music starts to THUNDER.

                                BEN
                        (straightening)
                 No!

        He moves to the center of the window and begins to POUND
        on the glass.

                                BEN
                Elaine - Elaine!

        Ben's shadow is thrown across the celebrants.  They all
        turn around and look up at him.

256     INT. CHURCH - DAY - SHOT FROM FRONT OF CHURCH

        Ben is like a trapped moth, beating on the window and yelling
        soundlessly.

257     SHOT - MRS. ROBINSON

        She looks up at Ben with a small, triumphant smile.

258     SHOT - MR. ROBINSON

        looking up at Ben.

259     SHOT - CARL

        looking up at Ben.

260     SHOT - ELAINE

        looking up at Ben.  She moves down the aisle toward him,
        dazed.

261     SHOT - ALL OF THEM

        Mr. Robinson, Carl, and Mrs. Robinson are moving toward
        Elaine.  The ORGAN is playing LOUDLY.  Ben's voice can
        be heard SHOUTING Elaine's name.  The POUNDING on the
        glass can be heard.

                                CARL
                Who is that guy?  What's he doing?

                                MR. ROBINSON
                I'll take care of him.

                                MRS. ROBINSON
                He's too late.

        The other guests are adlibbing their confusion.

262     SHOT - ELAINE

        She turns back toward her mother, father and Carl as they
        come toward her.

263     CLOSEUP - ELAINE

        looking at them.  ALL SOUND STOPS, except for Ben's
        voice in the distance shouting "ELAINE ELAINE ELAINE."

264     ELAINE'S POV - CARL

        Frozen frame.

265     ELAINE'S POV - MR. ROBINSON

        Frozen frame.

266     ELAINE'S POV - MRS. ROBINSON

        Frozen frame.

267     SHOT - ELAINE

        Her face turning quickly to look up at Ben.

268     ELAINE'S POV - BEN

        Frozen frame.  His face twisted with passion, his body
        spread-eagled against the glass.

269     CLOSEUP - ELAINE

        looking up at Ben.

                               ELAINE
                        (screaming)
                 Ben!

        The SOUND of the ORGAN and the guests' VOICES starts again.

270     INT. CHURCH VESTIBULE - STAIRS - DAY - SHOT - BEN

        He starts to go back down the stairs.  He reaches the
        bottom of the stairs and goes through a door which leads
        into the vestibule of the church.

271     INT. CHURCH VESTIBULE - DAY

        Mr. Robinson is waiting for Ben, crouching, his arms spread.
        Behind him is Elaine.  Ben moves toward them.  Mr. Robinson
        grabs Ben around the waist.  Ben twists away.  Mr. Robinson
        grabs Ben's collar and tears his jacket half off.  Ben
        turns and hits Mr. Robinson in the face.  Mr. Robinson
        falls down.  Ben moves to Elaine and grabs her hand.  He
        pulls her toward the doors.

                                BEN
                 Come on - don't faint.

272     SHOT - THE ORGANIST

        His back to the action, clawing away at the organ
        obliviously.

273     SHOT - THE DOOR

        A man in clerical garb is guarding the door.  Ben and
        Elaine move toward the door.

                                BEN
                 Out of my way!

        Carl steps in and grabs Ben from behind.  Ben breaks
        Carl's hold and picks up a gold cross off a nearby stand.
        He begins to swing it, advancing toward Carl.  Carl
        backs up toward the other guests.

274     NEW ANGLE

        Mrs. Robinson steps to Elaine.  She reaches out and takes
        Elaine's wrist.

                               MRS. ROBINSON
                Elaine - it's too late.

        Elaine pulls her hand away.

                               ELAINE
                Not for me.

275     SHOT BEN

        He turns toward the man standing in front of the door and
        raises the cross over his head.

                                BEN
                MOVE!

        The man moves away from the door.  Elaine steps forward
        and opens the door.  She and Ben go out.

276     EXT. FRONT OF CHURCH - DAY

        Ben jams the cross through the handles of the door.  He
        grabs Elaine's wrist.

                                BEN
                Run, Elaine, run!

        They start to run.  Elaine trips and falls.  Ben helps her
        up and they continue to run.

277     INT. CHURCH VESTIBULE - DAY

        From inside the church vestibule.  Through the glass
        doors, we can see Elaine and Ben running down the street.
        The wedding party members are tugging furiously at the
        jammed doors.  Mrs. Robinson turns toward us and calmly
        begins to put on her gloves.

278     EXT. STREET IN FRONT OF CHURCH - DAY

        Ben and Elaine running along the sidewalk.  Ben holds
        her hand and is pulling her.  She still holds her
        flowers.  They run to a bus that is just closing its
        doors.

279     SHOT - BEN

        He bangs on the closed door of the bus.  The door opens.
        Ben climbs the step into the bus and pulls Elaine up
        after him.  The doors close.

280     INT. BUS NO. 2 - DAY - SHOT OF BEN, ELAINE AND DRIVER

        Ben holds out a dollar bill.

                                BEN
                How much?

                                DRIVER
                Where do you want to go?

                                BEN
                To the end.

        The driver takes the bill and gives Ben some change.
        Ben turns and pulls Elaine along to the back of the bus.
        He pushes her into one of the seats and sits beside
        her.  Ben looks toward the front of the bus.

281     BEN'S POV

        He sees the driver and the passengers, all turned around
        in their seats and looking back at them.

282     SHOT - BEN

                                BEN
                Let's go.  Let's get this bus
                moving!

283     SHOT - THE DRIVER

        He turns and starts the bus.

284     SHOT - BEN AND ELAINE

        They are breathing heavily.

                               ELAINE
                Benjamin?

                               BEN
                What?

        She takes his hand.

285     EXT. STREET IN FRONT OF CHURCH - DAY

        Through the window in the back of the bus the church can
        be seen receding in the distance.  There seem to be a
        number of men dressed in black running around in the
        street in front of it.

                                                           FADE OUT


Big Sequences

We remember the big sequences in a movie longer than we remember other things. Who can forget this one?

                               MR. BRADDOCK
                        (meaning it)
                I'll give you ten seconds.
                        (back to the
                        people)
                He is going to give us a
                practical demonstration of
                what I feel safe in saying is
                a pretty exciting birthday
                present - and it better work
                or I'm out over two hundred
                bucks - so let's hear it for -

        Mr. Braddock moves to the screen door and pushes it open.
        It slams against the wall inside.

                               MR. BRADDOCK
                - Benjamin Braddock!

44      INT. BRADDOCK BREAKFAST KITCHEN - SHOT DOWN THE HALL - DAY

        At the back of the hall, inside the house, stands Ben,
        dressed in a full length skin diver's wet suit, flippers
        on his feet, the oxygen tank strapped to his back, the
        mask pushed up his forehead, the air hose dangling.
        He holds a spear gun in his hand.

        The people applaud.

45      EXT BRADDOCK BACKYARD AND POOL AREA - DAY
        SHOT - FROM BEN'S POV

        The people in the backyard.  His father stands just
        outside the screen door.

                              MR. BRADDOCK
                Folks - this remarkable young
                man is going to perform for you
                some spectacular and amazing
                feats of daring in water that is
                over six feet deep -

        Ben's arms come into view and pull the mask down.

        We are now looking through the mask as we MOVE FORWARD
        down the hall.  Everything is slightly distorted through
        the glass.  Ben's hand comes up again with the breathing
        apparatus in it.

        SOUND: the rhythmic PUMPING of air, obliterating the
        SOUND of the people around the pool who seem to be
        applauding and chattering noiselessly.

        We MOVE out of the door and toward the pool.  Mr. Braddock
        is running back and forth, clapping his hands and
        delivering his now soundless pitch.

        We MOVE DOWN the steps and into the shallow end of the
        pool.  Mr. Braddock is moving along the side of the pool,
        motioning toward us to come down to the deep end.  He
        joins Mr. Arnold at the far end of the pool.  They both
        begin to motion us toward them.

        We get to the deep end of the pool.  Mr. Braddock signals
        us with his hand to go under.  He kneels down by the edge
        of the pool and reaches out with his hand and pushes us
        under.  He has a big smile.

        We SURFACE again and PAN AROUND for a last look.  The
        figures, through the slightly distorted glass of the mask
        of Mrs. Arnold and Mrs. Braddock, watching and smiling;
        the neighbors on each side of the house, looking over their
        fences and laughing and pointing; Mr. Arnold nodding
        encouragement and talking; Mr. Braddock on his knees,
        smiling and trying to reach out far enough to push us
        under.  We GO UNDER and SINK to the bottom of the pool.

46      EXT. BRADDOCK BACKYARD AND POOL AREA - DAY
        OVERHEAD SHOT (HELICOPTER POV)

        Looking down on the pool, on Ben's black suited body at
        the bottom and the people standing around the pool, looking
        down into it.

        PULL UP AND UP AND UP

        Until there are thirty houses below us, with its owners,
        swimming, playing, eating, cooking, reading, dancing,
        sunbathing, constructing and gardening around thirty pools.
        SOUND of Ben's BREATHING APPARATUS, fading into the SOUND
        of the WIND.

        Hold for a few seconds, then:

        SOUND of a dime DROPPING into a pay phone and DIALING.

                                                           DISSOLVE TO:

And notice the great, immediate and efficient cut here: in film, no time is wasted. The screenplay is the most efficient narrative form we have.

47      INT. TAFT HOTEL LOBBY - NIGHT - CLOSEUP - BEN

        In a phone booth.  The booth is in the entrance area of
        the hotel between the lobby and the driveway.  Ben holds
        the receiver to his ear.  SOUND of PHONE RINGING.

                                MRS. ROBINSON'S VOICE
                Hello.

                                BEN
                Mrs. Robinson - I don't quite
                know how to put this -

The long comic sequence that begins the affair is in gear.

Do not use the script above as a model for format. This style is out of fashion today.

[BACK TO TEXT]


SCREENWRIGHT: the craft of screenwriting

8/97