Taxi Driver’s Travis Bickle, a master pick-up artist (PUA)?

After having read several books on social dynamics and the art of seduction, I couldn’t help but be surprised to see such a powerful rendition of what today is known as the “art of the pickup” in a classic scene in Martin Scorsese’s movie, “Taxi Driver.” Despite my infatuation with New York, especially when it is represented on the silver screen in a way that is so original, raw and edgy, surprisingly, I had never seen this movie. Also, I probably would have never given much thought to this particular scene in the movie had it not been for my seeing it right at the height of reading this material.



For those who haven’t seen the movie or need a refresher on the characters, here goes: Travis Bickle (portrayed by Robert DeNiro) is a 26 year old drifter, former marine and Vietnam vet who takes the night shift of driving a yellow taxi in NYC because he “can’t sleep nights.” As he drives his taxi around one day during the day time, he spots a beautiful white, blonde woman in a building. He becomes obsessed with her, and begins to drive to her building on a daily basis. Eventually she notices him and his despondent awkwardness as she makes eye contact through the window while seated at her desk.


Betsty (We never learn her last name is portrayed by the foxy Cybil Sheperd), is an extremely attractive, well-dressed woman about 25 years of age who is one of the top aides at Senator Charles Palentine’s campaign headquarters; and just so happens to be the "target" or the woman of interest. Finally, something snaps in Travis and he decides to make a move. This time however, he is well dressed, wearing a red velvet blazer, a matching maroon-ish plaid long-sleeve shirt, khakis and brown cowboy boots. (Mystery the author of the book, "The Mystery Method”, would refer to his outfit as a “peacocking” avatar. As Mystery explains in his book, there are three stages to seduction: 1) Attract or “pick up”, 2) Build Comfort or “mid-game” and 3) Seduce or “end game”, each of which has subsequent phases.).

Listed below is the actual movie script dialogue (courtesty of: http://www.imsdb.com/scripts/Taxi-Driver.html) of Travis’ pickup of Betsy at Charles Palentine’s campaign headquarters, which is quite an unusual "gaming" location. Travis, while perceived as an "average frustrated chump" or (AFC) actually is not in that he suffers from no "approach anxiety" (i.e., the urge to run away from a woman possessing high replication value, even in the presence of an equally overwhelming urge to mate with her).

TRAVIS (at Betsy's desk): I want to volunteer (Here Travis starts off with an "opener", a short story or comment used to get a group's attention and earn their acceptance of your presence. It is the the first stage of "pickup". The opener is known as the A1: Opener phase, which has as its immediate goal to reach social acceptance or a "hook point." By achieving the hook point, it demonstrates "social proof" or showing that others value you highly. Now that the set is open, it’s time to create attraction the next phase of the Attract phase or A2: Female-to-Male Interest).

TOM (at Betsy's desk, is the campaign manager and "obstacle" or friend of the target. He could also be classified as an "orbiter", a nice guy who poses as a woman's friend but secretly wants to have sex with her.): If you'll come this way.

TRAVIS (Travis elbows Tom off; turns towards Betsy): No. I want to volunteer to you.

TOM (under his voice): Bets.

BETSY (waves TOM off with a short gesture, indicating everything is OK. Tom walks away. Curious, she says): And why is that? (Here Betsy is demonstrating A2 or Female-to-Male Interest).

TRAVIS (TRAVIS is on his best behavior. He smiles slightly): Because you are the most beautiful woman I have ever seen (With this statement, Travis jumps right to A3: Male-to-Female Interest. Mystery writes she must be baited to invest herself in the interaction by expressing a "direct statement of interest" or an explicit verbal statement making clear your growing interest in a traget).

BETSY is momentarily taken back, but pleased. TRAVIS' presence has a definite sexual charge. He has those star qualities BETSY looks for: She senses there is something special about the young man who stands before her. And then, too, there is that disarming smile. He is, as Betsy would say, "fascinating" (In this moment, Betsy is giving off "Indicator of Interest" or IOIs to Travis).

BETSY(smiling, more IOIs): Is that so? (pause) But what do you think of Charles Palantine?

TRAVIS (his mind elsewhere): Who mam?

BETSY: Charles Palantine. The man you want to volunteer to help elect president.

TRAVIS: Oh, I think he's a wonderful man. Make a great, great President.

BETSY: You want to canvass?

TRAVIS: Yes, mam.

Betsy is interviewing Travis, but she is also teasing him a little, leading him on in a gentle feminine way (In this body language driven portion of their "conversation", Betsy continues to give IOIs to Travis. Senator Charles Palentine’s campaign headquarters represents their meeting location or pick-up locale also known as the stage for Comfort building or C1).

BETSY: How do you feel about Senator Palantine's stand on welfare?

This takes TRAVIS back a bit. He obviously doesn't have the slightest idea what Palantine's stand on welfare is, in fact, he doesn't have any idea about politics whatsoever. TRAVIS thinks a moment, then improvises an answer.

TRAVIS: Welfare, mam? I think the Senator's right. People should work for a living. I do. I like to work. Every day. Get those old coots off welfare and make 'em work for a change.

Betsy does a subtle double-take: This isn't exactly Palantine's position on welfare. She remain intrigued by Travis.

BETSY: Well, that's not exactly what the Senator has proposed. You might not want to canvass, but there is plenty more other work we need done: Office work, filing, poster hanging.

TRAVIS: I'm a good worker, Betsy mam, a real good worker.

BETSY: (gesturing) If you talk to Tom, he'll assign you to something.

TRAVIS: If you don't mind, mam, I'd rather work for you.

BETSY: Well, we're all working tonight.

TRAVIS: Well, Betsy mam, I drive a taxi at night.

BETSY: Well, then, what is it you exactly want to do?

TRAVIS: (bolstering courage) If you don't mind, mam, I'd be mighty pleased if you'd go out and have some coffee and pie with me (Here Travis is attempting to move their interaction to the next phase – "mid-game" or the C2 portion of the comfort building phase).

Betsy doesn't quite know what to make of Travis. She is curious, intrigued, tantalized. Like a moth, she draws closer to the flame (This is what is known as "Cat-string theory" or keeping "bait" just of of the target's reach and continually enticing her in small increments).

BETSY: Why? (This statement is called a "protection shield", which are strategies, built up over time, that collectively enable women to avoid constant approaches from men).

TRAVIS: Well, Betsy mam, I drive by this place here in my taxi many times a day. And I watch you sitting here at this big long desk with these telephones, and I say to myself, that's a lonely girl. She needs a friend. And I'm gonna be her friend. (smiles) (Here Travis “disarms” Betsy by temporarily removing himself as a threat in the eye of Betsy by “negging” her. A “neg” is a subtle, yet negative statement that puts the target off-guard and makes her question her own value, increasing yours on a relative basis.)

Travis rarely smiles, but when he does his whole face glows. It is as if he is able to tap an inner reserve of charm unknown even to himself (This is accomplished by the fact that Travis doesn't "telegraph" his interest for more than just coffee and pie. Of course, he wants much more than that, but in not telegraphing interest, Betsy is completely disarmed.).

BETSY: I don't know...(Here Betsy is "congruence testing" Travis. Congruence testing is conscious or unconscious screening by women in the field to determine if a man will be able to adequately support and protect her offspring. She wants to see if he's willing to overcome her objections. If a man can't overcome a woman's objections, he will be perceived as having demonstrating "lower social value.").

TRAVIS: It's just to the corner, mam. In broad daytime. Nothing can happen. I'll be there to protect you (The act of Travis and Betsy changing venues, i.e., going from the campaign headquarters to the diner is known as “bouncing.” The diner represents a "comfort-building" location, which is a quiet, secluded setting where you can share in lengthier dialogue.).

BETSY: (smiles) All right. (relents) All right. I'm taking a break at four o'clock. If you're here then we'll go to the corner and have some coffee and pie.

TRAVIS: Oh, I appreciate that, Betsy mam. I'll be here at four o'clock exactly. (pause) And... ah... Betsy...

BETSY: Yes?

TRAVIS: My name is Travis.

BETSY: Thank you, Travis.


And that ladies and gentlemen is a true pick-up! At this point, Travis and Betsy are set on going to build more comfort at a public diner. Of course this is a Hollywood movie, but the important point to note is that an AFC can get a beautiful woman! The movie script is entirely too long to go any further. For those who have seen the movie, you know whether Travis has what it takes to take Betsy to the "end-game" or "seduction phase" or whether he has a "great collapse." An important concept to note is the "7 hour rule", which is the average length of cumulative comfort building it takes before a woman is ready for seduction (i.e., sex). Of course this is a movie, but based off the elapsed time they spend together, maybe you can make the call? Other advanced topics seen later on in the movie include, "kino" or physical touching of any kind, short for "kinesthetic." As well as "kino escalation" or progressively more intimate physical contact.