The Graduate Page #6

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
2,876 Views


This is a large room with a bar and many tables along the

windows that look out over the hotel grounds. It is quite

dark and cool inside and there are no more than a dozen

people seated around.

The CAMERA STAYS at the door as Ben walks into the room

and crosses to the far end where he sits down at the table

by the window.

PUSH IN toward Ben as he sits there. MUZAK is playing.

CUT TO:

51ANGLE ON BEN

sitting smoking.

CUT TO:

52NEW ANGLE ON BEN

sitting.

CUT TO:

53NEW ANGLE ON BEN

sitting drinking.

CUT TO:

54ANGLE ON BEN

In the door to the lobby in the b.g. is Mrs. Robinson.

She pauses, looks into the room, sees Ben and starts

toward him. Ben is looking out the window. He does

not see her approach.

MRS. ROBINSON

Hello, Benjamin.

BEN:

Oh. Hello. Hello.

He rises quickly.

MRS. ROBINSON

May I sit down?

BEN:

Of course.

He pulls out a chair, for her.

MRS. ROBINSON

Thank you.

They sit down.

MRS. ROBINSON

How are you?

BEN:

Very well. Thank you.

Ben tries to smile then looks out the window, then down

at the center of the table.

MRS. ROBINSON

May I have a drink?

BEN:

A drink? Of course.

Ben looks toward a passing WAITER and raises his hand.

The waiter pays no attention. Ben looks back at Mrs.

Robinson apologetically.

BEN:

He didn't see me.

MRS. ROBINSON

Waiter!

For a moment, the noise in the room seems to recede. The

waiter stops in his tracks, turns toward them. The waiter

moves to their table. The noise in the room comes back.

The waiter looks at Mrs. Robinson.

MRS. ROBINSON

I will have a martini.

WAITER No. 1

Yes, madam.

The waiter moves away. Ben watches him go.

MRS. ROBINSON

You don't have to be so nervous,

you know.

BEN:

Nervous. Well, I am a bit

nervous. I mean it's - it's

pretty hard to be suave when

you're -

He shakes his head.

MRS. ROBINSON

Did you get us a room?

BEN:

What?

MRS. ROBINSON

Have you gotten us a room yet?

BEN:

I haven't. No.

MRS. ROBINSON

Do you want to?

BEN:

Well - I don't. I mean I could.

Or we could just talk.

MRS. ROBINSON

Do you want me to get it?

BEN:

You? Oh no. No. I'll get it.

MRS. ROBINSON

Do you want to get it now?

BEN:

Now?

MRS. ROBINSON

Yes.

BEN:

Well - I don't know.

MRS. ROBINSON

Why don't you get it.

BEN:

Why don't I get it? Well -

I will then.

(he stands up)

If you'll excuse me.

Ben walks out of the Veranda Room and into the lobby.

55INT. HOTEL LOBBY - NIGHT

Ben walks to the front desk and stands there.

ROOM CLERK:

Yes sir?

BEN:

A room. I'd like a room,

please.

ROOM CLERK:

A single room or a double

room?

BEN:

A single. Just for myself,

please.

ROOM CLERK:

Will you sign the register,

please?

He pushes the card and a pen toward Ben. Ben writes his

name on the card and then stares at it for a moment,

crumples it up and fills out a second card.

ROOM CLERK:

Is anything wrong, sir?

BEN:

What? No. Nothing.

ROOM CLERK:

(taking a key from

behind the counter)

Do you have any luggage, Mister --

(looks at registration

card)

Gladstone?

BEN:

Luggage? Yes. Yes. I do.

ROOM CLERK:

Where is it?

BEN:

What?

ROOM CLERK:

Where is your luggage?

BEN:

Well it's in the car. It's

out in the car.

ROOM CLERK:

Very good, sir. I'll have a

porter bring it in.

BEN:

Oh no.

ROOM CLERK:

Sir?

BEN:

I mean I'd - I'd rather not

go to the trouble of bringing

it all in. I just have a

toothbrush. I can get it my-

self. If that's all right.

ROOM CLERK:

Of course.

Ben reaches for the key.

ROOM CLERK:

I'll have a porter show you the

room.

BEN:

Oh. Well actually, I'd just as

soon find it myself. I just have

the toothbrush to carry up and

I think I can manage it myself.

ROOM CLERK:

Whatever you say, sir.

He hands Ben the key.

BEN:

Thank you.

56INT. VERANDA ROOM - NIGHT

Mrs. Robinson sits, patiently and calmly. Her face betrays

absolutely nothing as she stares ahead of her and sips

her martini.

WAITER No. 1

Mrs. Robinson.

She looks up. A waiter is standing next to the table

with a telephone.

MRS. ROBINSON

Yes?

The waiter plugs the phone into the wall socket next to

the table and hands her the receiver.

MRS. ROBINSON

Thank you.

The waiter nods and leaves.

MRS. ROBINSON

(into phone)

Hello.

BEN'S VOICE

Mrs. Robinson?

MRS. ROBINSON

Yes?

BEN'S VOICE

It's Benjamin.

MRS. ROBINSON

Yes?

BEN'S VOICE

Benjamin Braddock.

MRS. ROBINSON

Benjamin -- where are you?

BEN'S VOICE

Can you look through the glass.

Mrs. Robinson turns in her chair and looks through the

glass into the lobby.

57INT. LOBBY - PHONE BOOTH - NIGHT - WHAT SHE SEES

Ben is in the phone booth in the lobby no more than twenty

feet away.

BEN'S VOICE

Can you see me now?

MRS. ROBINSON

Yes, I can.

58INT. LOBBY PHONE BOOTH

Over Ben's shoulder, we can see his face reflected in the

glass door and, through it, Mrs. Robinson sitting in

the Veranda Room.

INTERCUT PHONE CONVERSATION

BEN:

I got a single room.

MRS. ROBINSON

That's fine.

BEN:

But there's one thing. The desk clerk

seemed to be a little bit suspicious.

I mean - I don't know what their policy

is - but -

MRS. ROBINSON

Well - do you want to go up first?

BEN:

Yes - I think that would be good.

MRS. ROBINSON

I'll be up in five minutes.

BEN:

Well - goodbye then -

MRS. ROBINSON

Benjamin.

BEN:

Yes?

MRS. ROBINSON

Isn't there something you want to

tell me?

BEN:

To tell you?

MRS. ROBINSON

Yes.

BEN:

Well - I want you to know how much

I appreciate this - really -

MRS. ROBINSON

The number.

BEN:

What?

MRS. ROBINSON

The room number, Benjamin. I think

you ought to tell me that.

BEN:

Oh? You're absolutely right. Absolutely.

It's 512.

MRS. ROBINSON

Thank you.

BEN:

You're welcome. Well - I'll see you

later, Mrs. Robinson.

He hangs up.

59INT. LOBBY - PHONE BOOTH - SHOT - BEN

He leaves the hpone booth and walks back into the main lobby.

60INT. HOTEL LOBBY - NIGHT

As he passes the desk, on his way to the elevator, he starts

to pat his breast pocket.

BEN:

I've got it.

The desk clerk looks up.

BEN:

I say I've got it.

CLERK:

Sir?

BEN:

The toothbrush. I got it all right.

CLERK:

Very good, sir.

BEN:

Yes. Well - goodnight.

CLERK:

Goodnight, sir.

Ben walks out of shot.

60AINT. HOTEL CORRIDOR - NIGHT

Ben leaves elevator, walks down corridor to hotel room and

opens door.

61INT. HOTEL ROOM - NIGHT

Ben closes the door behind him and leans with his back against

it for a few moments looking at the room. The only light

is that coming in the window. Ben turns on the light switch

on the wall near the door. The room blazes with the light

from three lamps and an overhead fixture. He turns the switch

off. He crosses to the bathroom. Ben steps in and turns on

the light.

61INT. HOTEL ROOM - NIGHT

Ben steps out, moves to the window. We see the pool area

through the window. Ben closes the blinds.

61Cont.There is a KNOCK on the door. Ben crosses to the door and

opens it. Mrs. Robinson moves to the bureau and puts her

purse and gloves on it. She looks at herself in the

mirror for a moment then turns slowly, looking at the room,

finally ending on Ben's face. She steps toward him.

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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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