"THE GRADUATE" Screenplay by Buck Henry FINAL DRAFT March 29, 1967Note: The script opens with Ben addressing his graduating class, which is cut from the movie.
Here are some major moments:
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!
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.
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.
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
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.
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