"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
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)
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
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.
SCREENWRIGHT: the craft of screenwriting8/97