The Graduate Page #12

Synopsis: The Graduate is a 1967 American comedy-drama film directed by Mike Nichols. It is based on the 1963 novel The Graduate by Charles Webb, who wrote it shortly after graduating from Williams College. The screenplay is by Calder Willingham and Buck Henry, who appears in the film as a hotel clerk.
Genre: Comedy, Drama, Romance
Production: Embassy Pictures/Rialto Pictures
  Won 1 Oscar. Another 20 wins & 16 nominations.
 
IMDB:
8.0
Metacritic:
77
Rotten Tomatoes:
89%
PG
Year:
1967
106 min
Website
2,878 Views


120INT. TAFT HOTEL LOBBY - NIGHT

Ben and Elaine enter the lobby and stand just inside

the door. They start in a few steps.

BEN:

Listen, Elaine - it seems to me

that there isn't a bar in here.

I mean - as far as I know.

ELAINE:

Of course there is. Look -

The Veranda Room - right there.

ONE of the CAR PARKERS passes them on his way out.

CAR PARKER:

Good evening.

CAMERS BEGINS TO PULL UP AND AWAY. A BELLBOY passes

them.

BELLBOY:

Hello, how are you, sir?

The room clerk smiles at them.

ROOM CLERK:

Good evening, Mr. Gladstone.

Ben and Elaine stop a few feet into the center of the

lobby. The CAMERA PULLS BACK to a HIGH OVERHEAD SHOT

revealing many people moving back and forth in the

lobby, passing Ben and Elaine.

VOICE #1

Hello again.

VOICE #2

Hi, Mr. Gladstone. How are you

this evening?

ELAINE:

Benjamin -

BEN:

Let's get out of here, Elaine.

Let's go somewhere else.

ELAINE:

Benjamin - do they know you?

BEN:

Of course not.

VOICE #3

Good evening, sir.

VOICE #4

Mr. Gladstone - how are you?

He moves her toward the door.

BEN:

Come on, Elaine. We're leaving.

CUT TO:

121EXT. TAFT HOTEL

Ben brings Elaine through the door to the porch.

ELAINE:

Ben - what's happening? Who

is Mr. Gladstone?

BEN:

I don't know. They must think

I look like this guy Gladstone.

PAN WITH THEM as they start down the steps. Coming up

the steps toward them is Miss DeWitte, on the arm of

another ELDERLY LADY.

MISS DeWITTE

Hello, Mr. Brannif.

SOUND:
Car STARTING noisily.

122EXT. TAFT HOTEL DRIVEWAY - NIGHT

Ben and Elaine in his car. He takes his hand off

the ignition, jams on the accelerator and drives the car

speedily for twenty-one feet and jams on the brakes. He

turns off the ignition and the lights. He puts his

head down on the steering wheel. He lifts his head.

BEN:

Elaine - I like you. I like you

so much. Do you believe that?

She nods.

BEN:

Do you?

ELAINE:

Yes.

BEN:

You're the first - you're the

first thing for so long that

I've liked. The first person

I could stand to be with.

She takes his hand.

BEN:

I mean my whole life is such a

waste. It's just nothing. I'm

sorry. I'll take you home now.

He turns the key in the ignition and starts the car.

ELAINE:

Benjamin - are having an

affair with someone?

He freezes with his hand still on the key.

ELAINE:

I'm sorry.

He turns off the engine.

ELAINE:

I'm sorry. That is not my

business.

BEN:

It just happened. It was just

this thing that happened along

with everything else. Can you

understand that?

She nods.

ELAINE:

Was she married or something?

BEN:

Yes.

ELAINE:

With a family?

BEN:

Yes. She had a husband and a

son.

ELAINE:

Did they ever find out?

BEN:

No.

ELAINE:

And it's all over now.

BEN:

Yes.

ELAINE:

I'm glad.

He starts the car and drives out.

123EXT. ROBINSON HOUSE - NIGHT - SHOT - BEN AND ELAINE IN

BEN'S CAR

BEN:

Can we do something tomorrow?

ELAINE:

All right.

BEN:

During the day? We'll go for

a drive or something.

ELAINE:

Okay.

BEN:

You sure you really want to?

ELAINE:

Yes.

BEN:

Because I wouldn't want you to

do it unless you really wanted

to!

ELAINE:

I do.

BEN:

You do?

ELAINE:

Benjamin - I really do.

DISSOLVE TO:

124EXT. STREET NO. 1 - NEAR ROBINSON HOUSE - DAY

SHOT - INT. BEN'S CAR - BEN DRIVING

It is raining. On the seat beside Ben is a package.

From the way it is wrapped, we can tell it is a gift.

Ben's right hand is on it as he drives. The radio is

playing. Past Ben and through the windsheild as the

Robinson house comes closer and closer. The front door

of the Robinson house opens and Mrs. Robinson comes out,

dressed in a housecoat, and, in four or five fast steps,

reaches the car, opens the door on the passengers side

and climbs in. Ben moves the package over into his lap.

MRS. ROBINSON

Drive down the block.

BEN:

Mrs. Robinson - I have a date

with Elaine. We're going for

a drive.

MRS. ROBINSON

(looking at him

for the first time)

Do exactly what I say.

Ben starts the car forward down the driveway.

125ANOTHER ANGLE - BEN AND MRS. ROBINSON

As they drive.

BEN:

Now it seems to me -

MRS. ROBINSON

Listen to me very carefully,

Benjamin. You are not to see

Elaine again. Ever. Those

are my orders. Is that clear?

Ben stops the car in front of a house halfway down

the block.

BEN:

Mrs. Robinson -

MRS. ROBINSON

I can makes things quite unpleasant.

BEN:

How?

MRS. ROBINSON

In order to keep Elaine away

from you - I am prepared to

tell her everything.

BEN:

I don't believe you.

MRS. ROBINSON

Then you'd better start believing me.

BEN:

Mrs. Robinson, don't wreck it. I'm

asking you please not to wreck it.

MRS. ROBINSON

Go home now.

BEN:

I just don't believe you would do that.

Mrs. Robinson looks at him for a moment.

MRS. ROBINSON

Try me.

There is a pause while Ben looks at her expression. Then

he grabs the keys out of the ignition, opens the door on

his side and jumps out of the car, carrying the package.

TRACK WITH BEN as he runs up the street and up the drive-

way toward the Robinson house. Ben gets to the front

door.

BEN:

(as he goes through

the door)

Elaine!

126INT. ROBINSON HALLS, STAIRS, DOOR TO ELAINE'S ROOM - DAY

Ben runs in.

BEN:

Elaine?

ELAINE'S VOICE

Benjamin?

BEN:

I'm coming up.

ELAINE'S VOICE

I'm not dressed yet.

Ben runs up the stairs. He still carries the package.

Ben gets to the top just as Elaine comes out of the door

to her bedroom. She is wearing a skirt and slip and

carrying one shoe.

ELAINE:

Benjamin - I said I wasn't dressed -

Ben pushes her back into her room.

127INT. ELAINE'S ROOM - DAY

ELAINE:

What's the matter?

BEN:

You've got to go over the back

fence and I'll meet you on the

corner.

ELAINE:

Benjamin - what's happening?

BEN:

Hurry up. Put your shoes on.

Ben turns and looks.

128SHOT - OVER BEN'S SHOULDER

Mrs. Robinson is just entering the house.

BEN:

NO.

He turns around.

129NEW ANGLE

Elaine is standing in the doorway watching him. She

still holds the shoe in her hand.

BEN:

Why aren't you ready?

ELAINE:

Because I want to know what's

happening.

SOUND of Mrs. Robinson's FOOTSTEPS in the hall below.

BEN:

There isn't time!

130INT. ELAINE'S ROOM - DAY

Ben pulls Elaine around behind the open door. They stand

in the angle formed by the door and the wall as though

they are hiding from someone. Mrs. Robinson's FOOTSTEPS

can be heard coming up the stairs.

BEN:

Elaine - I have to tell you

something.

He holds her against the wall in the corner.

ELAINE:

What is it?

BEN:

That woman -

ELAINE:

What?

BEN:

That woman. The older woman.

ELAINE:

You mean the one who -

BEN:

Yes. The married woman - it

wasn't just some woman -

Mrs. Robinson's FOOTSTEPS can be heard coming down the

hall.

ELAINE:

What are you telling me?

The FOOTSTEPS stop.

131ANGLE - CLOSE ON ELAINE

Back in the corner. Mrs. Robinson's face appears in the

crack in the door at Elaine's shoulder. Elaine looks from

Ben's face to the crack through which she can see her

mother's eyes staring.

ELAINE:

Please - will somebody tell me -

She looks back at Ben, then back at her mother's face again.

Mrs. Robinson's eyes watch her through the crack in the

door. Elaine looks away.

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Calder Willingham

Calder Baynard Willingham, Jr. (December 23, 1922 – February 19, 1995) was an American novelist and screenwriter. Before the age of thirty, after just three novels and a collection of short stories, The New Yorker was already describing Willingham as having “fathered modern black comedy,” his signature a dry, straight-faced humor, made funnier by its concealed comic intent. His work matured over six more novels, including Eternal Fire (1963), which Newsweek said “deserves a place among the dozen or so novels that must be mentioned if one is to speak of greatness in American fiction.” He had a significant career in cinema, too, with screenplay credits that include Paths of Glory (1957), The Graduate (1967) and Little Big Man (1970). more…

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    "The Graduate" Scripts.com. STANDS4 LLC, 2024. Web. 24 Dec. 2024. <https://www.scripts.com/script/the_graduate_864>.

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