(United States) test Willingham, Buck Henry
Xu Jiansheng / translation of
the original editorial
movie theater wood "graduate" from the Calder Willingham and Buck Henry, according to Charles Wei Based on Boo's brilliant novel, the play and the film itself were nominated for an Academy Award in 1967 and won the Writers Guild of America Award for Best American Comedy in the same year.
Roughly speaking, The Graduate is grouped with Rebel Without a Cause, both of which focus on the growing up of America's younger generation, and both reflect an era of adolescence and doubts about traditional family relationships. , but the former has a comical way, the latter is very serious.
Willingham and Mr. Henry's adaptation is very successful. Although the original novel itself is very concise, the plot line and style are almost similar to the play, but the screenplay greatly enriches it, and its irony is sharper.
This film interprets the hypocrisy and aftermath of sexual morality and family relations in today's era (especially the Sixties), and in a way it reminds me of a Molière play, which I take as a compliment is well deserved. The Willinghams and Henrys did strike at the rotten family life, which the Braddocks and Robinsons exemplified. The offense of the two screenwriters, like Molière's Chapin, is sharp, to the point, and at the same time profound, and their sarcasm in "The Graduate" rivals that of the French master. Taking a closer look at American literature, we can hear echoes of Mark Twain in the style of this film.
But unlike Molière, their works are not violent. The characters in The Graduate, the parents of Ben and Elaine, cannot be regarded as representatives of all American families. When we left after watching the film, we also The Braddocks and Robinsons would not be considered utterly degenerate. Yes, in Mrs. Robinsons we see arrogance and a certain degree of cynicism, but if we speculate that despite the Robinsons' objection to Benn's union with his daughter, I think they will eventually accept it. Ben as his son-in-law.
But this is still not the crux of the matter, the key is the fun of the script and the film. Benn's pompous innocence and Mrs. Robinson's cynical depravity about sexuality add to the film's wit and humor that's what's truly intriguing. I thought that a scene of seduction in a restaurant was a classic that people would never forget.
All in all, we can see why this film was a hit among young people when it came out, "The Graduate" shows us why so many young people at the time came out against the hypocrisy of adults, and they began to doubt, question, and curse adulthood. various lifestyles of people. In this sense, the film truly reflects the situation. In this general essay, the innocence of Ben and Elaine (which I think is believable) as a counterpoint to the depravity of their fathers is remarkably successful, brilliant, and ingenious.
Readers will also notice certain differences between the script and the actual finished film, which are worth pointing out. Towards the end of the film, Ben is chasing Elaine in Berkeley, at which point the film makes some clever changes to speed up and improve the pacing of the film so that it doesn't delay the climax of the film, which is between Ben and Elaine especially in the scene. Readers therefore compare these scenes in the script with the finished film.
The profiles of Willingham and Mr. Henry are as follows:
Calder Willingham was born in Atlanta, Georgia on December 23, 1922. He studied at the University of Virginia in the early 1940s. His debut novel "The End of Being a Man" was published in In 1947, it was adapted into the film The Stranger in 1957, the same year he co-wrote the screenplay "Paths of Glory" with Stanley Kubrick and Tim Thompson.
Buck Henry, formerly known as Buck Henry Zuckerman, was born in New York City in 1930, studied at Dartmoor, joined the "Hope Troupe" in 1960, and later moved to Hollywood where he prepared material for the play "It's That Week"; He wrote the outline for the series "Get Smart" with Mel Brooks; he made his directorial debut in 1978 with "Heaven Can't Wait," with Warren Beatty, for which he was nominated for an Academy Award.
Sam Thomas
exterior, open air auditorium, daytime, helicopter viewpoint
The camera walks through the clouds. Out of the way of the clouds, we saw a huge open-air auditorium far below. Everything was silent, except for the rustling wind. The camera approaches the auditorium, and we vaguely hear what appears to be a few words coming from a loudspeaker.
EXT, OPEN-AIR AUDIENCE, Podium - Daytime
in his graduation gown, Ben is standing in front of the microphone, the wind is still blowing, and he has to hold on to the speech in his hand.
EXTERIOR, ALTERNATIVE AUDIENCE, AUDIENCE, DAY
Thousands of expressionless students sit there.
EXT, ALTERNATIVE AUDIENCE, Podium, Day
Benn: Today, we should ask ourselves the most important question: What is the purpose of school life in these years? What is all that meticulous academic purpose for? What are the sacrifices made by those who love us! The struggles, fierce competition and ambition of the past few years would be meaningless without a goal. Yes, we have a goal and I have to tell you about it. I ask you to always remember this goal, and I promise, I will fight for it all my life.
The open-air auditorium, the auditorium, during the day the
students looked at him indifferently.
Cross-cutting shots: students sitting upright; Benn standing alone on the huge podium; close-up view of Benn speaking; loudspeakers; manuscript paper on the podium lifted by the wind.
EXT. Podium in the open-air auditorium, DAY
Benn (continues speaking): The goal, my graduates, the goal is—
he paused and thought about an appropriate word. CLOSE-UP - Ben starts to sweat.
Audience shot. People are watching.
The scene of
the podium Benn's hand groped in the speech, and the well draft began to blow off page by page.
In the auditorium, during the day everyone watched intently.
Podium, Day
Benn: It happened for a reason, friends, the reason is --
a close-up of Benn, panicking, looking up at the auditorium.
Open air auditorium, daytime. The audience dispersed.
Podium, Day
Benn: The reason—the goal is—the
wind turned into the whistling of an approaching plane.
Open air auditorium, daytime. Empty auditorium. The plane is roaring
Captain's voiceover: Ladies and gentlemen, we're about to land in Los Angeles—
the roar of the engines.
(Toggles)
INT, IN THE CABIN, CLOSE-UP OF BENN, NIGHT
he suddenly opens his eyes.
Captain's voiceover: What you heard just now is the sound of the speed reducer. The weather in Los Angeles was sunny with a pleasant 72 degrees Fahrenheit. No blockages are expected at the airport and the plane, which has been flying for four hours and 18 minutes, will land smoothly. Welcome to this flight and hope to see you again soon.
The camera slowly pulls up from a snowflake TV screen, and we see a large row of TVs mounted on the ceiling of the aircraft, full of snowflakes on the screen.
Reverse shot. The camera zooms away from Benn's close-up to reveal a line of passengers with headphones on their heads, staring straight ahead. Ben turned his head and looked out the window.
EXT. LOS ANGELES, seen from the air, Los Angeles
at night, with thousands of lights. Hear the broadcast music and the flight attendant's landing announcement.
The opening credits begin.
Stewardess' voiceover: Ladies and gentlemen, please buckle up and prepare to land, please do not smoke. After landing you will hear an intensification of the roar as the engine reverses to help the plane slow down.
AIRPORT, MOVING WALK, NIGHT
BENNE and other passengers on the moving walk.
Men's Voiceover: Travellers, please take note! American Airlines flight 421, non-stop to New York, will take off at gate 40, please board.
AIRPORT, MOVING WALK - NIGHT BEN STANDING ON THE MOVING WALK
.
MAN'S VOICE OVER: Please hold on to the handrail and stand on the right side. If you are going ahead, go left.
The man's voice repeated the instruction.
AIRPORT BAGGAGE RECOVERY - NIGHT
BENNE's suitcases are being sent from the first conveyor belt, through a metal door, and slid into the baggage claim ramp.
Woman's Voiceover: Mr. Justin! Mr. George Justin, please come to the information desk.
AIRPORT, AUTOMATIC DOOR, NIGHT
Benn passing through the automatic door.
AIRPORT, BAGGAGE RECOVERY, NIGHT
Another shot of Ben lifting his suitcase from the carousel.
Exterior, airport, shot from outside automatic gates, night
footage takes us down the street.
Recorded broadcast: Please note, parking here is limited to three minutes, please do not leave empty cars here.
We saw Ben turning to us with the suitcase and waving in our direction. The automatic door hissed open in front of him, and Ben walked over with a smile.
End of subtitles.
(Fades out)
INT, BEN'S BEDROOM,
CLOSE UP NIGHT BEN, eyes wide open, trying to remember something. There was laughter from the next room, and a radio was playing music not far away. Moments later, there is the sound of the door opening, the laughter intensifies, and we can hear Mrs. Tehuon's voice.
Mrs. Tehuon's voice: The assistant editor of the school magazine has just started, and the editor-in-chief is very experienced—the
door closing. The voices of Mrs. Tehuon and the guests were muted, and we could still hear her stuttering. After a few minutes, I heard the lights turn on. A beam of light, like a chandelier, fell on Ben's face. He was motionless. After a while. The sound of turning off the radio came.
Mr. Braddock's voice: What's the matter?
Ben's mouth moved, but closed again.
Mr. Braddock's voice: The guests are downstairs, Ben, they're all waiting to see you.
Ben: Dad, can't you explain to them that I need to be alone for a while?
Mr. Braddock's voiceover: Ben, they're all good friends of ours, most of whom have known you since - well - you were born.
Ben still didn't move, but the bed he was lying on turned upside down, as if someone was sitting next to him.
Mr. Braddock's voiceover: How is it, Ben?
The camera starts to pull back slowly.
Ben: I am—
Mr. Braddock: Worried?
Ben: Um--
Mr. Braddock: What are you worried about?
Ben: I think—worried about my future.
Mr. Braddock: What about the future?
Ben: I don't know, I hope it is—
Mr. Braddock: What is it?
Ben (quietly): Different.
As Ben said this, the bedroom door opened and Mrs. Braddock poked her head in.
Mrs. Braddock: What's the matter?
Mr. Braddock: All right, all right, let's go downstairs.
Mr. Braddock got up from the bed, went to a chair, and grabbed Ben's coat, which was draped over it.
Mrs. Braddock: Here comes the Carlson family.
Mr. Braddock (to Mrs. Braddock) Yes? (to Ben) Come on.
Mr. Braddock put the coat over Ben.
Mrs. Braddock: They come all the way from Tarzana, let's hurry up.
Mr. Braddock: It's great to have so many close friends.
They went out the door, Mr. Braddock carrying Ben.
HALL AND
STAIRS - NIGHT As the Braddocks descend the stairs, they are greeted by Mrs. Phil and Mimi Carlson.
Mr. Carlson: Hey! These are our award-winning scholars.
Mrs. Carlson: We are all so proud of you, Ben.
Ben: Thank you, Mrs. Carlson.
Mr. Carlson: Is that car outside the door a new one? That red Italian car?
Mr. Braddock: That's Benn's graduation present.
MR. CARSON (puts his arms around Ben's shoulders) It's easy to find people with it, right?
Ben: What?
Mr. Carlson: Ladies, little girls, follow the hippies. (Note: teenagers, especially women, who imitated hippies in the 1960s.)
Mrs. Carlson: I think Ben is past the hippie stage—right? Benn.
Mrs. Carlson gave Ben a hard wink, and Ben squeezed a smile and winked politely.
Ben: Yes, ma'am. (They go down the stairs and into the lobby) I'm sorry, but I thought I'd find something in the car, so I'll be right there.
Ben went to the front door and opened it. Mr. Loomis stepped through the door and grabbed Ben's hand.
Mr. Loomis: Ah, Your Excellency Athletics, how are you, Athletics?
Ben: Very good, Mr. Loomis.
Mr. Loomis closed the door and pushed Ben back into the hall.
Mr. Loomis: I'll have a drink, and then I'd like to hear everything about your award, the Hopperman Award.
Benn: Heppinman.
Mr. Loomis: Yes! Hope you are here waiting.
Mr. Loomis turned and walked into the dining room, Ben turned back to the stairs, and the three ladies were coming out of the living room. One lady took Ben's right hand, another took his left, and a third stroked his chest.
Wife A: We are all proud of you.
Wife B: Proud, proud, proud, proud, proud.
Wife C: What are you going to do now?
Ben: I'll go upstairs.
Wife C: I mean your future.
Wife B: Your grand plan.
Ben: Ah, that's a little tricky--
Mr. McQuarrie (appears behind Ben, excitedly): Ben.
Ben: Mr. McQuarrie.
Mr. McQuarrie took Ben's arm and pulled him across the hall to the back of the house and out the back door.
EXT - BRADDOC'S BACK YARD AND POOL, NIGHT POOL
LIGHTING Eerie novel, four people standing on the edge of the yard talking, cups in their hands.
Mr. McQuarrie: Stay with me for a minute, Ben, I'll just say a word to you, a word.
Ben: Yes, sir.
Mr. McQuarrie: Are you listening?
Ben: Yes, I'm listening.
Mr. McQuarrie (solemnly): Plastic.
The two stared at each other for a moment.
Ben: What exactly do you mean?
Mr. McQuarrie: Plastic has a lot to offer. Think about it, can you think about it?
Ben: Well, I'll think about it.
Mr. McQuarrie: Well, that's it, that's it.
Mr. McQuarrie turned and walked into the house, and the four men across the yard looked at Ben.
First Woman: It's him, it's Ben.
Ben: Sorry, stay away.
Ben walked into the house through the back door.
EXT - BRADDOK'S BACK YARD AND POOL - NIGHT
Through the window we can see Ben looking for his way through the crowd as people stop and greet him. Ben walked through room after room, upstairs, back to his bedroom. There was a knock on the door.
INT - EXT - BENN'S BEDROOM - NIGHT
Ben leaning against the door. The noise of the dance came from downstairs. Ben walked across the bedroom to the window, the wind rustling.
Long shot, over Benn to shoot the pool and the people below
Hearing the door open, Ben turned around. Mrs. Robinson went into the bedroom.
Mrs. Robinson: Oh, I don't think this is a toilet, is it?
Ben: The toilet is downstairs in the lobby.
The two stood and looked at each other.
Mrs. Robinson: How are you? Benn.
Ben: Good, thank you—Mrs. Robinson. The toilet is on the edge of the hall downstairs.
MRS ROBINSON (coming into the house) What a beautiful bedroom.
Ben: Ah--Mrs. Robinson, I'm not being rude, but--
Mrs. Robinson (removes a cigarette from her pocket and lights it): Is there an ashtray?
Ben: No.
Mrs. Robinson: Oh—I forgot, track stars don't smoke.
She blew out the fire match and carefully placed it on the bedspread. Ben picked up a wastebasket, went to the bed, picked up the match and threw it in the wastebasket.
Mrs. Robinson: Because of a girl?
Ben: What girl?
Mrs. Robinson: Then why are you upset?
Ben: Oh—nothing. I'm just a little uncomfortable.
Mrs. Robinson: That's all?
Ben: That's all.
long silence.
Mrs. Robinson: Then—congratulations.
Ben: Thank you.
MRS. ROBINSON (goes out of the room but turns back in): Benjamin, I want to ask you something.
Ben: What's the matter?
Mrs. Robinson: Can you take me home?
Ben: What?
Mrs. Robinson: My husband drove away, can you drive me back?
Ben reached into his pocket and handed Mrs. Robinson a set of car keys.
Ben: Here it is, take it. (Mrs. Robinson looks at him) Do you know how to change gears in foreign cars? (Mrs. Robinson shakes her head) You won't?
Mrs. Robinson: No. (Following another moment of silence)
Ben: Let's go.
She threw him the key and he grabbed it.
(Toggle)
EXT, Braddocks house, night
camera enters through open door, Mr. Braddock is standing at the door talking to Mr. and Mrs. Thurns, Benn and Mrs. Robinson coming downstairs.
Ben: Dad, Mrs. Robinson needs a ride home, so I'll be right back.
Mr. Braddock tapped Ben on the shoulder, and Mrs. Robinson walked out the door first.
MRS. ROBINSON (as she walks past the camera): What a party.
(Switch)
EXT. ROBINSON'S HOUSE, NIGHT A
car approaches and stops in front of Robinson's house. The two did not get out of the car immediately.
Mrs. Robinson: Thank you.
Ben: That's it.
She didn't move. Ben got up and walked over to her side, opening the door for her.
Mrs. Robinson: Aren't you coming in? please.
Ben: What?
Mrs. Robinson: I'd like to invite you in and wait until I turn on the light before you go.
Ben: Why?
Mrs. Robinson: Because I only feel safe with the lights on.
They walked to the gate, and she took out the key and opened the door.
Robinson's Foyer and Sunroom - Night
Mrs. Robinson: Can you walk in front of me into the sunroom hallway, I don't feel comfortable entering a dark room.
Ben: But there is light over there now.
Mrs. Robinson: Please.
Ben turned and walked across the hall, and they entered the sunroom.
Mrs. Robinson: What do you drink? Bourbon?
Ben: You see, Mrs. Robinson, I'll drive you home, and I'd love to help, but I've got something on my mind, you know?
Mrs. Robinson (nods) understands.
Ben: All right, then—
Mrs. Robinson: What are you drinking? (He looks at her) Benjamin, I'm sorry to treat you this way, but I don't want to be alone in this house.
Ben: Why?
Mrs. Robinson: You wait until my husband comes back.
Ben: When is he coming back?
Mrs. Robinson: I don't know. (She pours herself a glass of wine) Have a drink?
Ben: No.
She handed him a glass, and a silence followed.
Ben: Are you always so afraid of being alone?
Mrs. Robinson: Yes.
Ben: Then why don't you lock the door and go to bed?
Mrs. Robinson: I am very neurotic. (She turns on the record player. Music comes from the record player) Can I ask you a question? (Ben looks at her) What do you think of me?
Ben: What do you mean?
Mrs. Robinson: You've known me almost since you were a child, and you must have some opinion.
Ben: Well—I always thought you were a very—nice—person.
Mrs. Robinson: Did you know I'm an alcoholic?
Ben: What?
Mrs. Robinson: Did you know in the past?
Ben: Look, I think I should go—
Mrs. Robinson: Sit down, Benjamin.
Ben: Mrs. Robinson, if you don't mind, I'd say this conversation is a bit out of the way. I'm sure now that Mr. Robinson could come back at any time, and—
Mrs. Robinson: No.
Ben: What?
Mrs. Robinson: My husband is coming home very late.
The two looked at each other, and Ben was half-standing and half-sitting.
Mrs. Robinson: He's going to be gone for hours.
She took a step towards him, and he raised a hand and retreated behind the chair.
Ben: Oh, God.
Mrs. Robinson: What did you say?
Ben: Oh no, Mrs. Robinson, oh no.
Mrs. Robinson: What's the matter?
Ben: Mrs. Robinson, you don't—I mean, you don't want me—
Mrs. Robinson: What?
Ben: I mean—you don't really think I'd do something like that.
Mrs. Robinson: What kind of thing?
Ben: What do you say?
Mrs. Robinson: Ah, I don't know.
Ben: For God's sake, Mrs. Robinson, here we are, you let me in your house, you poured me wine, you played music, and now you're revealing your personal life to me, and Tell me, is your husband going home early?
Mrs. Robinson: So what?
Ben: Mrs. Robinson, you're trying to seduce me. (Silence. She looks at him. He lowers his voice) Isn't it?
Mrs. Robinson: Why not. I didn't expect this, but you made me feel a little flattered--
BEN Mrs. Robinson, please forgive what I just said.
Mrs. Robinson: All right.
Ben: Well, that's the most vicious thing I've ever said to anyone in my life.
Mrs. Robinson: Please sit down.
Ben: Please forgive me. because I like you. I hate to think of you that way, but I'm confused.
Mrs. Robinson: Okay, now drink up your bar.
Ben: Mrs. Robinson, what I just said made me sad.
Mrs. Robinson: I'll forget about it now. Finish your bar.
Ben: What the hell is wrong with me?
Mrs. Robinson: Have you seen Elaine's portrait?
Ben: Her portrait?
Mrs. Robinson: Yes.
Ben: No.
Mrs. Robinson: We asked someone to paint it last Christmas. Would you like to see it?
Ben: Very much.
We walked out of the sunroom with Mrs. Robinson and Ben. Enter the hall, go up the stairs, and cross the hallway to Elaine's bedroom door.
ELION'S BEDROOM -
NIGHTBEN enters the room and looks up at the portrait.
Ben: Elaine is such a charming girl, isn't she?
Mrs. Robinson watched him from the background.
Ben (looking at the portrait): I don't remember her eyes being brown.
Mrs. Robinson: Benjamin?
Ben: Huh?
Mrs. Robinson: Can you come over?
Ben: To your place?
Mrs. Robinson: Exactly.
Ben: Of course.
Mrs. Robinson: Can you unzip the zipper on my skirt for me? (He backs away) I think it's time for me to go to bed.
Ben: Oh, well, good night.
Mrs. Robinson: Won't you unzip my zipper?
Ben: I guess don't pull it, Mrs. Robinson.
MRS. ROBINSON: If you still think I'm seducing you--
BEN: No, no, but I just feel a little uncomfortable.
Mrs. Robinson: Benjamin—you haven't known me for a day or two.
Ben: I know. But I—
Mrs. Robinson: Come on. (she turns away) I can't reach the zipper. (Ben reaches out. Pulls the zipper down) Thank you.
Ben: All right. (After saying that, he walks to the door)
Mrs. Robinson: What are you afraid of?
Ben: I'm nothing, Mrs. Robinson.
Mrs. Robinson: Then why do you keep trying to run away?
Ben: Since you're going to bed, I don't think I should be here.
MRS. ROBINSON (letting her skirt fall to the floor) Have you ever seen a petticoat carcass before?
Ben: Yes, I have, (he turns his head to look at Elaine's portrait) But I just—you see—what if Mr. Robinson walked in right now?
Mrs. Robinson: What if he comes in?
Ben: Ah, that scene would be a little awkward, wouldn't it?
Mrs. Robinson: Don't you think he'd be comfortable with the two of us together?
Ben: Of course he was relieved, but he might have misunderstood. Everyone will be misunderstood.
Mrs. Robinson: I don't see why there is a misunderstanding, I'm twice your age, who would have thought--
BEN: But they would. Can't you see it?
Mrs. Robinson: Benjamin, I'm not trying to seduce you. I hope you—
Ben: I know, Mrs. Robinson, but please, it's too embarrassing for me.
Mrs. Robinson: Why are you so embarrassed?
Ben: Because I'm so confused, I can't tell what's imaginary and what's real. I don't—Mrs.
Robinson: Don't you like me seducing you?
Ben: What?
Mrs. Robinson: Isn't that what you're trying to tell me?
Ben: I'm going home now, I'm sorry for what I said, I hope you forget it. But I'm going home now.
Ben walked out of the door to the hall downstairs. The camera follows him through the door, and we see the entire staircase and part of the hall downstairs. Ben walked to the top of the stairs and walked downstairs.
Mrs. Robinson's voice: Benjamin?
Ben: What's the matter?
Mrs. Robinson's voice: Could you please bring my purse here before you go?
Ben: Sorry, I have to go now.
Mrs. Robinson walks into the hallway, facing the camera and covering her skirt.
Mrs. Robinson: I really don't make this joke anymore, please help bring it up.
Ben: Where is it?
Mrs. Robinson: On a chair in the living room. (She walks off the screen)
Ben: Mrs. Robinson?
Mrs. Robinson's voiceover: I'm in the bathroom.
Ben: This is your wallet.
Mrs. Robinson's voiceover: Can you send it here?
Ben: Well, I'll pass it to you. (He starts going upstairs) Come to the top of the stairs and I'll pass it to you.
Mrs. Robinson's voice-over: Benjamin, I'm getting a little tired of this suspicion, and if you don't want to do me a little favor, don't force it.
Ben (steps up the stairs, in the frame): I put it on the top step.
Mrs. Robinson's voiceover: For God's sake, Benjamin, can you stop this trick and give me your wallet.
Ben went up to the top of the stairs and started walking slowly down the hall.
Ben: Then I'll put it by the door.
Mrs. Robinson's voiceover: Can you bring it in for me?
Ben: I don't want to.
Mrs. Robinson's voiceover: Well, put it in the bedroom we just entered.
Ben: All right.
ELION'S BEDROOM - NIGHT
BEEN hurries into the bedroom, goes to the bed and puts down his wallet. As he turned around, he glanced up at Elaine's portrait. The portrait glass reflected a figure, and he turned sharply. Mrs. Robinson was naked and was gently closing the bedroom door behind her.
Ben: Ah, God! (She smiles slightly) Let me out.
MRS. ROBINSON (locking the door) Don't be nervous.
Ben: Avoid that door.
Mrs. Robinson: Let me make one point first.
Ben: Jesus Christ!
Mrs. Robinson: Benjamin—I want to tell you that I am willing to you, if you don't share my bed with me
this time—BEN: Oh, my God.
Mrs. Robinson: If you don't share my bed with me this time, Benjamin, I want to tell you that you can call me anytime you want and we can make some arrangement.
Ben: Let me out!
Mrs. Robinson: Do you understand what I'm saying?
Ben: Got it, got it, let me out!
Mrs. Robinson: Because I find you attractive, any time--the
sound of a car outside the door, Ben rushes to the door, and he shoves Mrs. Robinson away, twists the lock, and opens the door, Rush into the hallway and run down the stairs.
SUNROOM - NIGHTBEN
rushes into the sunroom and sits down. Footsteps came from outside the door. Ben jumped up, picked up the glass he had been drinking from, and sat down again. Hear the door open and close.
Mr. Robinson's voiceover: Is that Benn's car outside?
Ben (jumping up): Yes, sir!
Footsteps enter the sunroom, and Mr. Robinson steps into the picture.
Ben: I drive—I drive Mrs. Robinson home, and she wants me to drive her home, so I—I drive her home.
Mr. Robinson: Good, thank you.
Ben: She's upstairs and she told me to wait for you downstairs.
Mr. Robinson: Sentinel guarding the castle, isn't it:
Benn: Yes, sir.
Mr. Robinson: Congratulations.
Ben: Thank you.
Mr. Robinson (reaches for Ben's glass) Hey, looks like you need some more.
Ben: Oh no, I have to go.
Mr. Robinson: What happened? It looks like something is wrong with you.
Ben: No, no—I just—I'm just a little worried about my future.
Mr. Robinson (takes the glass from his hand) Well, let's have a nightcap together. (turns his back to Ben to mix) Scotch?
Benn: Bourbon.
Mr. Robinson turned around and handed Ben the wine.
Ben: Thank you very much, sir.
Mr. Robinson: Ben, how old are you this year?
Ben: Twenty. Twenty-one next week.
MR. ROBINSON (pulling out a cigarette): That's a good age.
Ben: Thank you.
Mr. Robinson: How good would I be if I were this age. Because, Ben--
Ben: Sir?
Mr. Robinson: Homecoming.
Ben: I understand.
Mr. Robinson: Ben, can I say something to you?
Ben: What's the matter?
Mr. Robinson: How long have we known each other? (Ben shakes his head) How long have I known you? How long have your father and I been together?
Ben: It's been a long time.
Mr. Robinson: I watched you grow, Ben.
Ben: Yes, sir.
Mr. Robinson: In many ways, I feel as if you were my own son.
Ben: Thank you.
Mr. Robinson: So I hope you don't mind my friendly advice to you.
Ben: I'm all ears.
Mr. Robinson: Ben—I think—I think you must be more poised than you seem. (Ben nods) Sow a few wild wheat seeds and let it grow. Have fun with the girls, that's all.
Mrs. Robinson came in, still wearing the same dress she had worn earlier. Ben wanted to get up.
Robinson Lightborn: No need. (Ben sits down) I was here just now admonishing Ben to sow a few wild wheat seeds and have some fun. Don't you think this is good advice?
MRS. ROBINSON (nodding): Yes, that's a good idea.
Ben: I have to go.
He rose, and Mr. Robinson rose with him.
Mr. Robinson: Indulge yourself this summer, and I promise you're a terrific lad who'll make the ladies fall for it.
Ben: Oh no.
Mr. Robinson: Why? You look like a lover who can't be beat. (to Mrs. Robinson) You don't look like he's the kind of guy who fascinates the ladies.
Mrs. Robinson: Yes, he is like.
They went out to the sun room.
Robinson's Foyer - Night
Mr. Robinson: Oh, listen, Elaine is coming back from Berkeley on Saturday.
Ben: Oh, yes.
Mr. Robinson: Ben—I want you to give her a call.
Ben: I'll fight.
Mr. Robinson: Great.
Mr. Robinson opened the door and Ben went out.
EXT - ROBINSON'S
HOUSE - NIGHT CAMERA GOES OVER CAR TO HOUSE, BEN IS ALWAYS TO CAR, MRS. ROBINSON APPEARS AT THE DOOR, LIGHTS ARE BREAKING FROM BEHIND WE HAVE DIFFICULTY VERIFICATION OF HER face.
Mrs. Robinson: Benjamin?
Ben: Yes.
Mrs. Robinson: Thank you for taking me home. (Ben nods) Hope to see you soon.
Ben continued to walk towards us.
Mr. Braddock's voiceover: Ladies and gentlemen, please note this afternoon's special.
(Toggle)
EXT. Braddock's backyard and swimming pool,
sunny during the day . The Braddocks, their friends, the Arnolds, and their seven- or eight-year-old children, Peter and Louis, sat or stood by the pool. On the other side of the house, the neighbor's girl and her boyfriend were watching across the fence. On the other side, there were also four well-dressed adult men watching outside the fence. They held wine glasses in their hands, as if they were attending a cocktail party, and some people were holding their children. . The Braddocks and the Arnolds all wore popular California sportswear. Everyone looks too young, and children look too old-fashioned.
Mr. Braddock stood alone near the house on one side of the pool, while the others gathered in groups on the other side. Braddock was very excited.
Mr. Braddock: Hey! Come here—I say you: everyone, please pay attention.
Mr. Braddock moved to a window that led to the kitchen. He lowered his voice and spoke quickly into the window.
Mr. Braddock: Are you ready? special program.
Ben's voiceover: Dad, can I have a word with you?
Mr. Braddock: Now I'm going to give this lad a big round of applause--wait a minute--I'll add, this young man--because it's his twenty-first birthday- -
Mr. Arnold (hands rolled into trumpet): Let's watch the show!
Mr. Braddock: Wait a minute, because I have a few more words to say—
Mr. Arnold: You always have something to say.
The crowd laughed. Mrs Arnold grimaced at Mr Arnold, who grinned at the reaction to his joke.
Ben's voiceover: Dad, can we just have a word on this?
Mr. Braddock (rushing into the window) Ben, I can't hold them any longer, come out!
Benn's voiceover: I'm going to talk about this.
Mr. Braddock (to audience): The boy--sorry--the lad will soon be continuing his studies as a Frank Happingham Scholar--but until then- (he turns sharply back Towards the window)—before that—(towards the window) You let everyone down, Ben, you let everyone down. BEN'S VOICE OVER
: Daddy—you listen to me—
Mr. Braddock (threateningly) I'll give you ten seconds. (Turns to the crowd) He's going to give us a special show, and I dare say it's a very exciting birthday show--it's got to be exciting, I'll bet two hundred dollars--now let's do it again. Welcome—
Mr. Braddock went to the screen door, pushed it open, and slammed against the wall inside the house.
Mr. Braddock: Benjamin Braddock.
INT, Braddock's restaurant, shot from inside to lobby, daytime
Benn standing at the end of the restaurant, wearing a diving suit, fins on his feet, an oxygen cylinder on his back, a mask on his forehead, a gas tube hanging , holding a spear gun in his hand. The crowd applauded. EXT. BRUDDOK'S BACK YARD AND POOL -
DAY, Benn's subjective shot
Everyone is standing in the courtyard, with his father standing outside the screen door.
Mr. Braddock: Guys, this amazing lad is going to perform the most spectacular and exciting miracle for you, he's going to jump into this six-foot-deep water --
Ben's arm comes into the picture, pulls the mask off .
We are now looking out through the mask. We were walking forward, and through the diving goggles everything was a little distorted. Ben's hand lifted again, it was holding the respirator.
Acoustics: The rhythmic sound of breathing air drowns out the vague applause and conversation of the crowd around the pool.
We stepped out of the screen door to the pool, and Mr. Braddock ran back and forth, clapping his hands to show his guidance.
We walked down the steps and into the shallow end of the pool. Mr. Braddock followed along the shore and motioned us to the deep side. He carried him to the other end of the pool and stood with Mr. Arnold, and they both motioned for us to go over. We walked to the deep end of the pool, and Mr. Braddock gestured us to dive. He knelt by the pool and reached out a hand to press us. He was laughing.
We surfaced again and quickly panned around. Through the diving goggles we see the slightly deformed figures of Mrs Arnold and Mrs Braddock, watching and laughing. Neighbors on either side of the house watched through the fence, laughing and pointing. Mr. Arnold nodded in encouragement and said something, and Mr. Braddock got down on his knees, smiling and reaching out to press us. We dive again, to the bottom of the pool.
EXT. Braddock's swimming pool, daytime
overhead shot (helicopter viewpoint). Looking down at the swimming pool, Ben in a diving suit sank to the bottom of the pool, and everyone gathered around the pool and looked down.
The camera pulls up, pulls up and pulls up, all the way to the thirty houses below the frame, whose owners swim, play, dine, cook, read the newspaper, dance, sunbathe, and work by thirty swimming pools. The sound of Ben's breathing gradually turned into the sound of wind.
For a few seconds, then: The
sound of a coin being put into a payphone is a call.
(Superimposed)
Interior, Taft Hotel Lobby,
Close-up of Night Benn. in the phone room. The telephone booth is located at the entrance between the gate and the hall. Ben held the receiver. The phone rings.
Mrs. Robinson's voiceover: Hello.
Ben: I really don't know what to say --
Mrs. Robinson's voiceover: Benjamin?
Ben: Well--I think of the time after that party--
Mrs. Robinson: Where are you?
Ben: I'm not sure if I can get you a drink or—
Mrs. Robinson: Where are you?
Ben: Mmmm—the Taft Hotel.
Mrs. Robinson's voiceover: Did you get the room?
Ben: No. I think it's too late now, if you can—
Mrs. Robinson's voiceover: Give me an hour.
Ben: What?
Mrs. Robinson's voiceover: I'll be there in an hour.
Hearing the sound of her hanging up, Ben slowly hung up the receiver. He stood in the phone booth, looked around, moved involuntarily, then took off his coat and put it on his arm. He walked out of the telephone booth and walked straight to the door leading to the hall. Just as he was about to reach out to push the door, the door opened, and a group of old-fashioned old men filed into the corridor. Ben stood politely aside and held a door for the old men. When they were done, Ben tried to pull the door open. At this moment, a dozen or so young people pushed him aside and entered the hall as if there was no one else, their attire like high school students attending a dance. Ben stepped back and leaned against the other door, pressing the open door to let the young man go first. He smiled politely, but they ignored him. Ben followed the group into the hall, and they walked to the front desk, and Ben was still with them. A lad at the front of the crowd leaned on the counter and said something to the receptionist behind the counter.
The receptionist pointed across the hall and said something to him. Out of nowhere came the sound of the band playing. The group of young people walked past the desk, and Ben then walked to the front. He stopped in front of the stage and glanced quickly at the hundreds of boxes with room numbers on the wall, and the tempting keys hanging inside.
Receptionist: Sir, can I help you?
Ben: What? Oh—no—I just wanted to—
he gestured vaguely in the direction of the group of young men.
Receptionist: Are you here for an appointment? gentlemen?
With horror and distrust in Ben's eyes, he looked at the receptionist helplessly.
Ben: What?
Receptionist: Singerman family dance, sir?
Ben: Oh—yes. Singerman Family Ball.
Receptionist: In the Grand Ballroom.
Ben: Ah—thank you.
Ben turned and walked across the hall, putting on his coat as he walked. He came to the entrance of the Grand Ballroom, stopped in front of the door, and looked inside.
Ben sees: people dancing and talking, sitting, etc. He pulled away again and walked back into the hall. He stopped.
Benn sees: The receptionist is looking at him across the hall.
Ben grinned and pointed into the ballroom, as if to say he found the Singerman Ball inside interesting, then turned and walked into the ballroom.
Ballroom - Night
Ben has just entered the ballroom.
Voiceover: Hello.
Ben turned around. Four people stood in a row, the official host: Mr. Singerman, Mr. Singerman, Miss DeWitt, and a twelve-year-old boy, Geoffrey. They were all wearing gowns and smiling confidently.
Ben: Hello.
It was the elderly lady who greeted him.
Mrs. Singerman: You must be from the Potters. (She grabs Ben's hand and shakes it up)
Ben: No—
I'm not actually— Mrs. Singerman: I'm glad to introduce you to my sister. Miss DeWitt—
from the looks of it, Miss DeWitt has been and always will be Miss DeWitt. She took Ben's hand.
Miss DeWitt: Hello.
Ben: Hello, Miss DeWitt.
Mrs. Singerman:—and my husband, Mr. Singerman—
Ben found himself holding the hand of the twelve-year-old.
Ben (apologetically): Oh—sorry—
Jeffrey Singerman: It's okay, thanks.
Mrs. Singerman: Never mind, this is Jeffrey.
Benn (taking Mr. Singerman's hand again) Of course.
Mr. Singerman: Your first and last name, Mr.
Benn: Benjamin Braddock, sir.
MRS SINGERMAN (looking at the seating chart in her hand) Braddock—Braddock?
Ben: Yes, but I'm sorry—
Mrs. Singerman: I'll seat you right now. Braddock. Not Braniff? We hired a Braniff.
Ben: No—I'm actually looking for a friend.
Mrs. Singerman: I'm sorry, I don't seem to understand.
Ben (backs away): I'm not here for your dance—sorry.
Mr. Singerman: Hey--I still don't get it--
Ben stepped back.
Miss DeWitt: Nice to meet you, Mr. Braniff.
Mrs. Singerman: Angola—don't do that!
Ben exits the ballroom.
Hotel Lobby - NIGHT BEEN TRAVELING THROUGH THE LOBBY AND THE COURSE OF PEOPLE IN AND OUT OF THE HOTEL
. He stopped at the porch entrance.
INTERIOR, VERSION, NIGHT
This is a large veranda with a bar and many tables by the windows facing the garden outside the hotel. The veranda was dimly lit and a little cold, and only a few guests sat there. The camera stops in the doorway, and Ben steps into the hallway, where he goes straight to the far end and sits at a table by the window. The camera advances to Ben who is sitting there. The hotel plays Ken King music.
(toggles)
Ben sits there and sucks.
(toggle)
A new angle of Benn sitting.
(toggles)
Another angle of Ben sitting there drinking.
(toggles)
Ben. In the background, Mrs. Robinson stood in the door facing the hall. She paused for a moment, looked into the hall, saw Ben, and walked towards him. Ben was looking out the window at this time, and he saw her coming.
Mrs. Robinson: Hello, Benjamin.
Ben: Oh, hello, hello. (he gets up quickly)
Mrs. Robinson: May I sit down?
Ben: Of course. (He pulls a chair for her)
Mrs. Robinson: Thank you. (they sit down)
Mrs. Robinson: How are you?
Ben: Good, thank you.
Ben squeezed out a smile, then turned his head to look out the window, then looked down at the table.
Mrs. Robinson: Can I have a drink?
Ben: Have a drink? Of course.
Ben looked up for the passing waiter and raised a hand. The waiter ignored him. Ben looked back apologetically at Mrs. Robinson.
Ben: He didn't see me.
Mrs. Robinson: Waiter!
At this moment, all the noise in the veranda seemed to be suppressed. The waiter stopped and turned towards them. The waiter came to their table. The noise in the hall rang again. The waiter looked at Mrs. Robinson.
Mrs. Robinson: I want a martini.
Waiter 1: Yes, ma'am.
The waiter leaves. Ben watched him.
Mrs. Robinson: You don't have to be so nervous, ah.
Ben: Nervous, um, I'm a little nervous, I mean—when you—you have a hard time letting go—(shakes head)
Mrs. Robinson: Did you get us a room?
Ben: What?
Mrs. Robinson: Have you made a room for us?
Ben: I haven't. no.
Mrs. Robinson: Do you want a room?
Ben: Um--I don't want to. I mean I can, maybe we just talk.
Mrs. Robinson: Do you want me to open one?
Ben: You? Oh no. No. I go.
Mrs. Robinson: Are you going now?
Ben: Now?
Robinson: Yes.
Ben: Um--I don't know.
Mrs. Robinson: Why don't you go?
Ben: Why don't I go? All right—I'll go right now. (He stands up) Please wait a moment. (He exits the veranda and enters the lobby)
INT, HOTEL LOB, NIGHT
BEEN GOES TO THE COUNTER AND STOPS.
Receptionist: Hello?
Ben: A room. Please open me a room.
Receptionist: Single or double room?
Ben: Single room, just me.
Receptionist: Please fill in the reservation card.
He pushed a watch and a pen towards Ben. Ben wrote his name on the watch, stared at it, balled it off, and started writing another.
Receptionist: Sir, is there something wrong?
Ben: What? No. nothing.
Receptionist (takes out a key from behind the counter): Do you have any luggage? (Looking at the reservation card) Mr. Glastone.
Ben: Luggage, yes, yes, I have.
Receptionist: Where is it?
Ben: What?
Poet picker: Where is your luggage?
Ben: Ah, in the car. in the car outside.
Receptionist: Good sir, I'll let the bellboy move in.
Ben: Oh, no need.
Receptionist: Sir?
Ben: I mean I—I don't want to mess with it, I just bring a toothbrush, I can take it myself, okay?
Receptionist: Of course.
Ben reached for the key.
Receptionist: I'll ask the porter to take you into the house.
Ben: Ah, well, actually, I can find it myself, I'll go get the toothbrush first, I think I can handle it myself.
Receptionist: As you like, sir.
Ben: Thank you.
INT - VERSION - NIGHT
Mrs. Robinson sits peacefully, not making a sound, staring straight ahead, sipping her martini.
Waiter No. 1: Mrs. Robinson.
She looked up. A waiter stood beside her with a phone.
Mrs. Robinson: Is it me?
The waiter plugged the phone into the wall socket at the table and handed the receiver to her.
Mrs. Robinson: Thank you.
The waiter nodded and left.
MRS. ROBINSON (into the microphone) Hello?
Benn's Voiceover: Is that Mrs. Robinson?
Mrs. Robinson: It's me.
Benn's voiceover: I'm Benjamin.
Mrs. Robinson: Really?
Benn's voiceover: Benjamin Braddock.
Mrs. Robinson: Benjamin—where are you?
Ben's voiceover: You look into the glass door.
Mrs. Robinson turned her chair and looked into the hall through the glass door.
LOBBY, TELEPHONE
BOOM - NIGHT Mrs. Robinson meets: Ben is in the hall phone booth twenty feet away.
Ben's voice: Did you see me?
Mrs. Robinson: Yes, I see.
LOBBY TELEPHONE ROOM - NIGHT
Across Ben's shoulders, we see his face reflected in the glass door, and through the glass we see Mrs. Robinson sitting in the veranda.
Alternately switch between two people talking on the phone.
Ben: I booked a single room.
Mrs. Robinson: Very well.
Ben: But there is a problem, the front office receptionist seems a little suspicious. I mean—I don't know what the rules are here—but—
Mrs. Robinson: Well—do you want to go up first yourself?
Ben: Yes—I think it's safe.
Mrs. Robinson: I'll be up again in five minutes.
Ben: All right—more later—
Mrs. Robinson: Benjamin.
Ben: Huh?
Mrs. Robinson: Do you have anything else to say to me?
Ben: tell you?
Mrs. Robinson: Yes.
Ben: Well--I want you to know that I'm very happy to be--
really- Mrs. Robinson: Number.
Ben: What?
Mrs. Robinson: Room number, Benjamin. I think you have to tell me this.
Ben: Huh? You are definitely right, for sure. 512.
Mrs. Robinson: Thank you.
Ben: You're welcome. Well—see you later, Mrs. Robinson. (He hangs up.)
INTERNATIONAL LOBBY, TELEPHONE CABINET
Benn leaves the phone booth and walks back into the lobby.
Hotel Lobby - NIGHT
He walks towards the elevator and taps his pocket as he walks past the service desk.
Ben: I got it.
The receptionist looked up.
Ben, I said I got it.
Receptionist: What?
Ben: Toothbrush. I took it myself.
Receptionist: Very good, sir.
Ben: Yes, that's fine—good night.
Receptionist: Good night, sir.
Ben stepped out of the picture.
Hotel Corridor - Ye
Benn exits the elevator and walks down the corridor. He walked outside a room and opened the door.
interior, room, night
Ben closed the door behind him and leaned back against it. Chi looked into the room for a while, the only light coming from the window. Ben turned on the light switch by the door, and three lamps and a chandelier illuminated the room. He quickly turned off the light, he walked to the bathroom, went in and turned on the light inside.
- Guest Room - NIGHT
Ben comes out of the bathroom and goes to the window. We saw the swimming pool through the glass windows. Ben closed the shutters. There was a knock at the door, and Ben crossed the room and opened the door.
Mrs. Robinson: Hello, Benjamin.
Ben: Hello, Mrs. Robinson.
Mrs. Robinson went to the stage and put down her purse and gloves. She looked at herself in the mirror for a moment, then turned slowly to scan the room, her eyes finally resting on Ben's face. She walked towards him.
Robinson: Huh?
He swallowed and kissed her.
Ben: Hmm.
Mrs. Robinson: Benjamin.
Ben: What's the matter?
Mrs. Robinson: I should undress now, okay?
Ben: Sure, can I—I mean can I just stand here? ---I don't know what you want me to do.
Mrs. Robinson: Why don't you watch?
Ben: Oh—of course. thank you.
MRS. ROBINSON (taking off her coat) Can you get me a coat hanger?
Ben: What?
Mrs. Robinson: The hanger.
Ben (opens the closet) Ah—yes. wooden?
Mrs. Robinson: What?
Ben: Surgical head or wire? All breeds here.
Mrs. Robinson: Either way.
Ben: All right.
He brought her a coat hanger on which she hung her coat.
Mrs. Robinson: Do me a favor. (she turns away)
Ben: Of course. (He pulls the zipper on her back)
Mrs. Robinson: Thank you.
Ben: You're welcome.
MRS. ROBINSON (turning to look at him, he backs away): Would it be better for you to have the lights in the dark?
Ben: Mrs. Robinson—I can't do this.
Mrs. Robinson: What are you?
Ben: This is outrageous.
Mrs. Robinson: Benjamin—do you think I'm not good enough?
Ben: Oh no, Mrs. Robinson. I think—I think you're the most charming of all my parents' friends. I really think so. I think you're sweet enough, but I—for God's sake, can you imagine what would have happened to my parents? Can you imagine what they would say if they saw us in this room now?
Mrs. Robinson: What would they say?
Ben: I don't know, Mrs. Robinson. But for God's sake, they raised me, they laid out my future. I don't think they deserve that, I don't think they should be rewarded for having sex with my friend's wife.
Mrs. Robinson: Are you afraid of me?
Ben: No—but think about it—maybe we could do something else together. Mrs. Robinson—shall we go to a movie?
Mrs. Robinson: Can I ask you a personal question?
Ben: Just ask.
Mrs. Robinson: Is this your first time?
Ben: Yes—what?
Mrs. Robinson: Really? This is your first time.
Ben: It's funny, Mrs. Robinson. So funny, haha.
Mrs. Robinson: You dare not admit it?
Ben: Are you kidding me?
Mrs. Robinson: There's nothing to be ashamed of—
BEN: Wait a minute.
Mrs. Robinson: When your first--
Ben: Who said it was my first.
Mrs. Robinson: You'll be afraid--
BEN: Wait a minute.
Mrs. Robinson:—incompetent—I mean just because you are incompetent in one way—BEN
: Incompetent!
long silence.
MRS. ROBINSON (starts getting dressed) All right—I think I'd better—
BEN:
Don't move!
He slammed the bathroom door. No light in the room.
(Fade Out/Fade In)
EXT. Braddock's yard and swimming pool.
The hot summer sun during the day is shining on the Braddock's swimming pool and Benn lying on a rubber raft in the pool. Ben was tanned in large sunglasses and had a can of beer in his hand.
Background sound: The screaming and swimming of teenagers in the neighbor's swimming pool, a radio playing rock music, a TV showing a ball game.
(Dissolving)
Close-up - Benn floating on the water.
(
Dissolving ) A close-up shot from above - Benn floating on the water.
(Dissolving)
Close-up - Benn. The sound of closing the door. Ben opened his eyes and turned his head slightly.
Ben saw that Mr. Braddock was poking the fire of the roast with interest, and Mrs. Braddock was walking towards him from inside the house, holding something odd wrapped in tinfoil.
Ben rolled off the rubber raft and swam towards the end of the pool. He climbed ashore, walked to the back door, picked up his shirt from a chair, and got dressed as he walked out the door.
Interior, Specially Furnished Taft Hotel Room
Ben had just closed the bathroom door, wearing only a buttoned shirt and no trousers. The camera pans with him across the room and past Mrs. Robinson. She was standing in front of the mirror, taking off her bracelet and watch. He went to a chair and sat down. Pick up a cigarette from an ashtray on a table next to the chair. Mrs. Robinson moved to Ben, knelt before him, and began to unbutton his shirt. He pulled a cigarette from his mouth.
INT, THAT BRADDOK'S STUDY AND DINING ROOM BY SPECIALLY ESTABLISHED - NIGHT, NEW PERSPECTIVE
We now see a door behind Ben, and on this side of the door is the Braddock's study, where Ben is sitting now place. In the dining room, the Braddocks were eating dinner, and they looked at Ben through the door from time to time. Ben got up, walked over to the door, and closed it.
BREDOC'S STUDY - NIGHT - REVERSE CAMERA BEEN'S BACK, GOING BACK TO THE CHAIR AND SITTING DOWN
. There is a TV in front of the chair, which is on. Ben grabs a can of beer and drinks. There was a cartoon showing on TV, and Ben was watching it.
Shot back. Ben's face, he's watching TV. The camera zooms in close-up.
Shot back. Close-up of TV and cartoons.
(Toggle)
INTERNATIONAL TAFT HOTEL ROOM, NIGHT BENNE'S
FACE CLOSE-UP VIEWING. Pulling back the camera, we see that we are now in a guest room at the Taft Hotel. Ben was sitting on the bed, leaning against the backrest, watching the TV on the closet in front of the bed.
Hear the hum of the test pattern. The lens is pulled to a wide angle that covers the entire room, with only the dim light from the TV screen in the room. Mrs. Robinson comes into the picture, wearing only her underwear. She passed between Ben and the TV, out of the picture. Ben was still staring at the TV. Hear the sound of the zipper.
Mrs. Robinson re-enters the frame, but exits at the other end. The sound of wearing a bracelet. Mrs. Robinson came into the picture from that end again. The sound of putting on the coat and the sound of closing the purse. Mrs. Robinson, now fully dressed, holding her purse, crosses the frame again without looking back, walking from door to door, opening the door, out.
INT, BEN'S ROOM, BEN'S CLOSE-UP, DAY
Door closing sound. The camera follows Ben as he stands up and walks towards the window, and we can now see that he is at the Braddock's house, in his bedroom. He opened the closed shutters on the window, the sun was shining outside, and his swimming trunks were hanging on the window frame. He took off his swimming trunks, put them on, then walked to the door, opened it, and went out.
EXT - Braddock Yard and Pool - Daytime
we see Mrs. Braddock in the kitchen. Ben went through the back door to the pool and jumped into the water. The rubber raft was still floating in the middle of the pool.
Underwater Shot - Ben swimming towards us from afar.
WATERLINE CAMERA - Ben surfaced, leaned slightly, and climbed onto the rubber raft.
(Toggle)
TAFT HOTEL ROOM - NIGHT
BED - Ben is lying on top of Mrs. Robinson, holding his position for a long time.
Mrs. Robinson's voice-over: Ben—what are you doing?
Ben turned to the camera, looked at the camera.
(
CUT ) EXT. Braddock Yard & Pool, Daytime
subjective shot of Benn sitting on a rubber raft: Mr. Braddock is standing by the pool with the sun high behind him.
Ben's Voice: All right—I'll just float around for a while.
(toggles)
Ben on the raft.
Ben:—here—in the pool.
Mr. Braddock: Why?
Ben: Hmmmm--so comfortable-- just floating around.
Mr. Braddock: Have you ever thought about going to graduate school?
Ben: No.
Mr. Braddock: Can you tell me--what's the point of going to college for those four years? What is the purpose of studying hard in the cold window?
Ben: You put me on.
Mr. Braddock (trying to control himself) Listen to me, Ben. I think a young man should relax after a period of practice, play, drink, etc.; but after a few weeks, I think one should think about his abilities and situation, and start thinking about doing something.
MRS Braddock (goes to Mr. Braddock) Here comes the Robinsons.
Mr. Robinson came into the picture and stood beside the crowd. They block the sun.
Mr. Robinson: Hey, Ben, what are you doing these days?
Ben: Oh—nothing, idle.
Mr. Robinson: I'd do it if I could, and that's beyond reproach. Hey Ben, Elaine is coming back from Berkeley. This time I want you to call her.
Ben: I'll fight.
Mr. Robinson: Because I think you two will get along well together.
Mrs. Robinson enters the frame and stands beside the crowd. No one spoke for a long time.
Mrs. Braddock: Say hello to Mrs. Robinson, Benjamin.
Ben: Hello, Mrs. Robinson.
Mrs. Robinson; hello, Benjamin.
(FUSION)
IN BENN'S BATHROOM - NIGHT
Ben is getting dressed and ready to go out, wearing sweatpants, shirt and tie, sitting on a chair. The door opened and Mrs. Braddock came in.
Mrs. Braddock: Son, may I have a word with you?
Ben: Of course.
Mrs. Braddock: Benjamin, I want to ask you something. If you don't want to, you don't have to answer.
Ben: What's the matter?
Mrs. Braddock: Well, let me ask you, what were you doing out that night?
Ben: When did I go out?
Mrs. Braddock: Don't force me to tell me if you don't want to.
Ben: No, I would. I would like to tell you. (After a period of silence) I'm going for a drive.
Mrs. Braddock: What else?
Ben: No more.
Mrs. Braddock: Ah, can you drive from midnight to noon the next day? Benjamin.
Ben: Ah, no.
Mrs. Braddock: Then what are you doing? Who are you meeting?
Ben: Meeting with whom? (she nods) Why do you say that?
Mrs. Braddock: Well, it's your business, Benjamin (she starts walking towards the door). I don't want to fight you haha.
Ben: No. Wait a minute, wait a minute. (she stops)
Ben: I didn't see anyone, Mom. But why do you say that?
Mrs. Braddock: Benjamin, I don't want to get involved in your personal affairs, but I'd rather you keep your mouth shut than lie. Good night, son.
Ben: Well, wait a minute. (she looks at him) You think I'm lying. (She nods) So why do you—why do you think so?
Mrs. Braddock: Because I know you don't drive twelve hours straight.
Ben: Well, I won't, can I tell you what I've done?
Mrs. Braddock: If you are willing.
Ben: I volunteer.
Mrs. Braddock: I don't want you making up stories.
Ben: I don't make it up, but I—I'm proud of what I do. I used to get drunk all the time, so I drove to Los Angeles, went into a bar, and got really drunk. Then I entered a hotel room. So I didn't get to drive home on the highway. I mean I'm too scared to go home because I—
Mrs. Braddock: Good night, Mu Jieming.
Ben: Do you believe me?
Mrs. Braddock: No.
Ben: You don't believe me? (She shakes her head) But I want you to believe it, please, please believe me.
Mrs Braddock's shot.
MRS BRADDOC (out of frame) Good night.
Ben's voiceover: Wait a minute.
(CUT)
INTERIOR, Taft Hotel Room,
Shot by Night Benn. Mrs. Brinson's hands were untying his tie. Ben was dressed the same as before, but with an extra coat.
Ben: Wait a minute. (He pushes her hand away) Sit for a while.
Mrs. Robinson looked at him and raised her eyebrows.
Ben: Could you please sit down for a while.
Mrs. Robinson went to the bed and sat down. She bent over to take off her shoes.
Ben: Could you stop moving that shoe, please. (she stands up) Now- can we just say a few words this time?
Mrs. Robinson: If you will.
Ben: Well, I mean are we dead or something?
Mrs. Robinson: Well, I just don't think there's much to say between us.
Ben: All we do is come here, undress, go to bed.
Mrs. Robinson: Are you tired?
Ben: No, I didn't. But don't you think we can liven things up with a few words now, and—?
Mrs. Robinson: What do you want to talk about?
Ben: Anything, anything.
Mrs. Robinson: Would you like to tell me about your experience in college?
Ben: Oh my god.
Mrs. Robinson: What's the matter?
Ben: Mrs. Robinson, if that's all we can talk about, let's undress the fuck right now- (she bends over to take off her shoes) Don't take off your shoes! We do this now. Let's chat now. Change the subject.
Mrs. Robinson: How about talking about art?
Ben: Art, that's a good topic. You speak first.
Mrs. Robinson: You start by saying that I don't know anything about art.
Ben: Oh.
Mrs. Robinson: How about you?
Ben: Yes, I can. I know a little bit.
Mrs. Robinson: Go ahead then.
Ben: Art, um, what do you want to know? (She shrugs) Are you more interested in modern art or classical art.
Mrs. Robinson: Neither.
Ben: Are you not interested in art?
Mrs. Robinson: Not interested.
Ben: Then why are you talking about it?
Mrs. Robinson: I didn't. (Ben nods, then looks at the carpet) Can I take my shoes off now?
Ben: No. Another topic. Tell me Ling Tian what have you done?
Mrs. Robinson: You really want to know?
Ben: Yes, I want to know.
Mrs. Robinson: I got up. (Ben starts shaking his head) Do you really want to hear it?
Ben: I want to hear it, but you should think more vividly.
Mrs. Robinson: I get up, have breakfast, and go shopping. I read a novel in the afternoon.
Ben: Whose novel?
Mrs. Robinson: What?
Ben: Which novel did you read?
Mrs. Robinson: I can't remember. (Ben nods) Then I prepare dinner for my husband and wait—
Ben: Okay!
Mrs. Robinson: What's the matter?
Ben: Your husband! Mrs. Robinson! Now we have something to talk about!
Mrs. Robinson: Talk to him?
Ben: I mean everything. I don't know a thing about you--how you fooled him. I don't know how you sneak out of the house at night. I don't know what's at risk.
Robinson: Don't take risks.
Ben: No danger at all? (She nods) So how did you sneak out of the house?
Mrs. Robinson: I came out,
Ben: You swagger out the gate? (She nods) What did you tell him?
Mrs. Robinson: He fell asleep.
Ben: Haven't been awake?
Mrs. Robinson: Benjamin. The topic is not interesting at all.
Ben: Please, tell me, how did you know he wouldn't wake up and follow you.
Mrs. Robinson: Because he took sleeping pills. He swallows three sleeping pills every night at ten o'clock.
Ben: But if the noise of the cars,
if- Mrs. Robinson: The driveway is on this side of my room.
Ben (smiling): We chatted.
Mrs. Robinson: What?
Ben: We talked, Mrs. Robinson, we talked.
Mrs. Robinson: Be quiet, Benjamin.
Ben: Let's go on.
Mrs. Robinson: Can I talk while undressing?
Ben: All right.
Mrs. Robinson: Thank you.
Ben: Well, you said the driveway is over your room, so I guess you couple don't sleep in the same room.
Mrs. Robinson: We don't sleep together.
Ben: How long has it been?
MRS. ROBINSON (glancing at the ceiling) About five years.
Ben: Oh no, you coax me.
Mrs. Robinson: No, I didn't.
Ben: You haven't slept with your husband in five years?
Mrs. Robinson: Sometimes sleeps too, he gets drunk a few times a year.
Ben: How many times a year?
Mrs. Robinson: Once on New Year's Eve, sometimes on his birthday.
Ben: That's funny.
Mrs. Robinson: Really?
Ben: So you don't love him, you don't say you—
Mrs. Robinson: We've talked enough, Benjamin.
Ben: Wait a minute, so you wouldn't say you loved him.
Mrs. Robinson: Not exactly.
Ben: But you don't hate him.
Mrs. Robinson: Yes, I don't hate him. Benjamin, unhook my corset.
Ben (unhooks her): So what do you think of him?
Mrs. Robinson: I don't feel it. (She nods, takes off her bra)
Ben: You still loved him, I think. when you first met him.
Mrs. Robinson: No.
Ben: What?
Mrs. Robinson: I never loved him, Mu Jaming. We're now-
Ben: Ah, wait a minute. You are still married to him. (She nods) Why are you doing this.
MRS. ROBINSON (taking off her stockings) See if you can guess.
Ben: I can't guess.
Mrs. Robinson: Guess hard, Benjamin.
Ben: I can't guess why you're marrying him, unless... you had to marry him then, did you?
Mrs. Robinson: Don't tell Elaine.
Ben: Oh no. You have to marry him because you are pregnant?
Mrs. Robinson: Are you surprised?
Ben: It never occurred to me that you and Mr. Robinson were like this before….
Mrs. Robinson: All right, let's go to bed.
Ben: Wait, wait a minute. How exactly did this happen?
Mrs. Robinson: What?
Ben: I mean can you tell me what happened?
Mrs. Robinson: Can't remember exactly.
Ben: Was he a law student at the time? (She nods) You are also a student.
Mrs. Robinson: Yes.
Ben: Go to college.
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