TAXI DRIVER Paul Schrader
TAXI DRIVERWritten byPaul SchraderCopyright 1976,Columbia Pictures Corporation,Los Angeles, CA;Bill-Phillips, US;Italo-Judeo Productions, USShooting Script, 1976
"The whole conviction of my life now rests upon the beliefthat loneliness, far from being a rare and curious phenomenon,is the central and inevitable fact of human existence."THOMAS WOLFE,"God's Lonely Man"TRAVIS BICKLE, age 26, lean, hard, the consummate loner. Onthe surface he appears good-looking, even handsome; he has aquiet steady look and a disarming smile which flashes fromnowhere, lighting up his whole face. But behind that smile,around his dark eyes, in his gaunt cheeks, one can see theominous stains caused by a life of private fear, emptinessand loneliness. He seems to have wandered in from a landwhere it is always cold, a country where the inhabitantsseldom speak. The head moves, the expression changes, butthe eyes remain ever-fixed, unblinking, piercing empty space.Travis is now drifting in and out of the New York City nightlife, a dark shadow among darker shadows. Not noticed, noreason to be noticed, Travis is one with his surroundings.He wears rider jeans, cowboy boots, a plaid western shirtand a worn beige Army jacket with a patch reading, "KingKong Company 1968-70".He has the smell of sex about him: Sick sex, repressed sex,lonely sex, but sex nonetheless. He is a raw male force,driving forward; toward what, one cannot tell. Then one lookscloser and sees the evitable. The clock sprig cannot be woundcontinually tighter. As the earth moves toward the sun, TravisBickle moves toward violence.FILM OPENSsign abovescuttle incurbs, theon EXT. of MANHATTAN CAB GARAGE. Weather-beatendriveway reads, "Taxi Enter Here". Yellow cabsand out. It is WINTER, snow is piled on thewind is howling.INSIDE GARAGE are parked row upon row of multi-colored taxis.Echoing SOUNDS of cabs idling, cabbies talking. Steamy breathand exhaust fill the air.INT. CORRIDOR of cab company offices. Lettering on ajar doorREADS:PERSONAL OFFICE Marvis Cab Company Blue and White Cab Co.Acme Taxi Dependable Taxi Services JRB Cab Company SpeedoTaxi Service(CONTINUED)
2.CONTINUED:SOUND of office busywork: shuffling, typing, arguing.PERSONAL OFFICE is a cluttered disarray. Sheets with heading"Marvis, B&W, Acme" and so forth are tacked to crumblingplaster wall: It is March. Desk is cluttered with forms,reports and an old upright Royal typewriter.Dishelved middle-aged New Yorker looks up from the desk. WeCUT IN to ongoing conversation between the middle-agedPERSONNEL OFFICER and a YOUNG MAN standing in front on hisdesk.The young man is TRAVIS BICKLE. He wears his jeans, bootsand Army jacket. He takes a drag off his unfiltered cigarette.The PERSONNEL OFFICER is beat and exhausted: he arrives atwork exhausted. TRAVIS is something else again. His intensesteely gaze is enough to jar even the PERSONNEL OFFICER outof his workaday boredom.PERSONNEL OFFICER (O.S.)No trouble with the Hack Bureau?TRAVIS (O.S.)No Sir.PERSONNEL OFFICER (O.S.)Got your license?TRAVIS (O.S.)Yes.PERSONNEL OFFICERSo why do you want to be a taxidriver?TRAVISI can't sleep nights.PERSONNEL OFFICERThere's porno theatres for that.TRAVISI know. I tried that.The PERSONNEL OFFICER, though officious, is mildly probingand curious. TRAVIS is a cipher, cold and distant. He speaksas if his mind doesn't know what his mouth is saying.PERSONNEL OFFICERSo whatja do now?(CONTINUED)
3.CONTINUED:TRAVISI ride around nights mostly.Subways, buses. See things. Figur'd I might as well get paidfor it.PERSONNEL OFFICERWe don't need any misfits aroundhere, son.A thin smile cracks almost indiscernibly across TRAVIS' lips.TRAVISYou kiddin? Who else would hackthrough South Bronx or Harlem atnight?PERSONNEL OFFICERYou want to work uptown nights?TRAVISI'll work anywhere, anytime. I knowI can't be choosy.PERSONNEL OFFICER(thinks a moment)How's your driving record?TRAVISClean. Real clean.(pause, thin smile)As clean as my conscience.PERSONNEL OFFICERListen, son, you gonna get smart,you can leave right now.TRAVIS(apologetic)Sorry, sir. I didn't mean that.PERSONNEL OFFICERPhysical? Criminal?TRAVISAlso clean.PERSONNEL OFFICERAge?PERSONNEL OFFICERTwenty-six.(CONTINUED)
4.CONTINUED:PERSONNEL OFFICEREducation?TRAVISSome. Here and there.PERSONNEL OFFICERMilitary record?TRAVISHonorable discharge. May 1971.PERSONNEL OFFICERYou moonlightin?TRAVISNo, I want long shifts.PERSONNEL OFFICER(casually, almost tohimself)We hire a lot of moonlighters here.TRAVISSo I hear.PERSONNEL OFFICER(looks up at Travis)Hell, we ain't that much fussy anyway.There's always opening on one fleetor another.(rummages through hisdrawer, collectingvarious pink, yellowand white forms)Fill out these forms and give themto the girl at the desk, and leaveyour phone number. You gotta phone?TRAVISNo.PERSONNEL OFFICERWell then check back tomorrow.TRAVISYes, Sir.CUT TO:CREDITS
5.CREDITS appear over scenes from MANHATTAN NIGHTLIFE. Thesnow has melted, it is spring.A rainy, slick, wet miserable night in Manhattan's theatredistrict.Cabs and umbrellas are congested everywhere; well-dressedpedestrians are pushing, running, waving down taxis. Thehigh-class theatre patrons crowding out of the midtown showsare shocked to find that the same rain that falls on thepoor and common is also falling on them.The unremitting SOUNDS of HONKING and SHOUTING play againstthe dull pitter-patter of rain. The glare of yellow, red andgreen lights reflects off the pavements and autos."When it rains, the boss of the city is the taxi driver" so goes the cabbie's maxim, proven true by this particularnight's activity. Only the taxis seem to rise above thesituation: They glide effortlessly through the rain andtraffic, picking up whom they choose, going where they please.Further uptown, the crowds are neither so frantic nor soglittering. The rain also falls on the street bums and agedpoor. Junkies still stand around on rainy street corners,hookers still prowl rainy sidewalks. And the taxis servicethem too.All through the CREDITS the exterior sounds are muted, as ifcoming from a distant room or storefront around the corner.The listener is at a safe but privileged distance.After examining various strata of Manhattan nightlife, CAMERAbegins to CLOSE IN on one particular taxi, and it is assumedthat this taxi is being driven by TRAVIS BICKLE.END CREDITSCUT TO:Travis's yellow taxi pulls in foreground. On left rear doorare lettered the words "Dependable Taxi Service".We are somewhere on the upper fifties on Fifth Ave. The rainhas not let up.An ELDERLY WOMAN climbs in the right rear door, crushing herumbrella. Travis waits a moment, then pulls away from thecurb with a start.(CONTINUED)
6.CONTINUED:Later, we see Travis' taxi speeding down the rain-slickedavenue. The action is periodically accompanied by Travis'narration. He is reading from a haphazard personal diary.TRAVIS (V.O.)(monotone)April 10, 1972. Thank God for therain which has helped wash the garbageand trash off the sidewalks.TRAVIS' POV of sleazy Midtown side street: Bums, Hookers,Junkies.TRAVIS (V.O.)I'm working a single now, which meansstretch-shifts, six to six, sometimessix to eight in the a.m., six days aweek.A MAN IN BUSINESS SUIT hails Travis to the curb.TRAVIS (V.O.)It's a hustle, but it keeps me busy.I can take in three to three-fifty a week, more with skims.MAN IN BUSINESS SUIT, now seated in back seat, speaks up:MAN IN BUSINESS SUIT(urgent)Is Kennedy operating, cabbie? Is itgrounded?On seat next to TRAVIS is half-eaten cheeseburger and orderof french fries. He puts his cigarette down and gulps as heanswers:TRAVISWhy should it be grounded?MAN IN BUSINESS SUITListen - I mean I just saw the needleof the Empire State Building.You can't see it for the fog!TRAVISThen it's a good guess it's grounded.MAN IN BUSINESS SUITThe Empire State in fog meanssomething, don't it? Do you know,or don't you? What is your number,cabbie?(CONTINUED)
7.CONTINUED:TRAVISHave you tried the telephone?MAN IN BUSINESS SUIT(hostile, impatient)There isn't time for that. In otherwords, you don't know.TRAVISNo.MAN IN BUSINESS SUITWell, you should know, damn it, orwho else would know? Pull over righthere.(points out window)Why don't you stick your goddamnhead out of the goddamn window oncein a while and find out about thegoddamn fog!TRAVIS pulls to the curb. The BUSINESS MAN stuffs a dollarbill into the pay drawer and jumps out of the cab. He turnsto hail another taxi.MAN IN BUSINESS SUITTaxi! Taxi!Travis writes up his trip card and drives away.It is LATER THAT NIGHT. The rain has turned to drizzle.Travis drives trough another section of Manhattan.TRAVIS (V.O.)I work the whole city, up, down,don't make no difference to me does to some.STREETSIDE: TRAVIS' P.O.V. Black PROSTITUTE wearing whitevinyl boots, leopard-skin mini-skirt and blond wig hailstaxi. On her arm hangs half-drunk seedy EXECUTIVE TYPE.TRAVIS pulls over.PROSTITUTE and JOHN climb into back seat. TRAVIS checks outthe action in rear view mirror.TRAVIS (V.O.)Some won't take spooks - Hell, don'tmake no difference tom me.TRAVIS' taxi drives through Central Park.(CONTINUED)
8.CONTINUED:GRUNTS, GROANS coming from back seat. HOOKER and JOHN goingat it in back seat. He's having a hard time and she's probablytrying to get him to come off manually.JOHN (O.S.)Oh baby, baby.PROSTITUTE (O.S.)(forceful)Come on.TRAVIS stares blankly ahead.CUT TO:TRAVIS' APARTMENT. CAMERA PANS SILENTLY across INT. room,indicating this is not a new scene.TRAVIS is sitting at plain table writing. He wears shirt,jeans, boots. An unfiltered cigarette rests in a bent coffeecan ash tray.CLOSE UP of notebook. It is a plain lined dimestore notebookand the words TRAVIS is writing with a stubby pencil arethose he is saying. The columns are straight, disciplined.Some of the writing is in pencil, some in ink. The handwritingis jagged.CAMERA continues to PAN, examining TRAVIS' apartment. It isunusual, to say the least:A ratty old mattress is thrown against one wall. The flooris littered with old newspapers, worn and unfolded streetsmaps and pornography. The pornography is of the sort thatlooks cheap but costs 10 a threw - black and white photosof naked women tied and gagged with black leather straps andclothesline. There is no furniture other than the ricketychair and table. A beat-up portable TV rests on an uprightmelon crate. The red silk mass in another corner looks likea Vietnamese flag. Indecipherable words, figures, numbersare scribbled on the plain plaster walls. Ragged black wiresdangle from the wall where the telephone once hung.TRAVIS (V.O.)They're all animals anyway. All theanimals come out at night: Whores,skunk pussies, buggers, queens,fairies, dopers, junkies, sick, venal.(a beat)Someday a real rain will come andwash all this scum off the streets.(CONTINUED)
9.CONTINUED:It's EARLY MORNING: 6 a.m. The air is clean and fresh andthe streets nearly deserted.EXT. of TAXI GARAGE.TRAVIS' taxi pulls into the driveway.TRAVIS (V.O.)Each night when I return the cab tothe garage I have to clean the comeoff the back seat. Some nights Iclean off the blood.INT. of TAXI GARAGE.TRAVIS pulls his taxi into garagestall. TRAVIS reaches across the cab and extracts a smallvial of bennies from the glove compartment.TRAVIS stands next to the cab, straightens his back, andtucks the bottle of pills into his jacket pocket. He lowershis head, looks into back seat, opens rear door and bendsinside.He shakes a cigarette out of his pack of camels and lightsit.SLIGHT TIMECUT: TRAVIS books it at garage office. Old, rottingslabs of wood are screwed to a grey crumblingconcrete wall. Each available space is covered with handlettered signs, time schedules, check-out sheets, memos. Thesigns read:BE ALERT!!THE SAFE DRIVERIS ALWAYS READYFOR THE UNEXPECTEDSLOW DOWNAND GAUGE SPEED TOROAD CONDITIONSYOU CAN'T STOPON A DIME!ALL NIGHT DRIVERSHAVING PERSONAL INJURY(CONTINUED)
10.CONTINUED:ACCIDENTSMUST PHONE IN AT ONCE TOJUDSON 2-3410AND MUST FILE A REPORT Promptly AT 9 AM THE FOLLOWING MORNINGAT43 W. 61ST.A half dozen haggard cabbies hang around the office. Theirshirts are wrinkle, their heads dropping, the mouthsincessantly chattering. We pick up snatches of cabbie smalltalk:1ST CABBIE. hadda piss like a bull steer, soI pull over on 10th Ave, yank up thehood and do the engine job.(gestures as if takinga piss into the hood)There I am with my dong in my handwhen a guy come up and asks if Ineed any help. Just checking thebattery, I says, and, meanwhile.(takes imaginary piss)2ND CABBIEIf he thinks I'm going up into TheJungle this time of night, he canshove it.3RD CABBIE(talking into payphone)Fuck that Violets First. Fuckingsaddle horse. No, no, the OTB. Fuckthem. No, it was TKR. TCR and I'damade seven fucking grand. Fuck themtoo. Alright, what about the secondrace?4TH CABBIEOver at Love, this hooker took onthe whole garage. Blew the wholefucking joint and they wouldn't evenlet her use the drinking fountain.Travis hands his trip sheet to a CAB OFFICIAL, nods slightly,turns and walks toward the door.(CONTINUED)
11.CONTINUED:OUTSIDE, TRAVIS walks pleasantly down Broadway, his hands inhis jacket pockets. The sidewalks are deserted, except fordiligent fruit and vegetable VENDORS setting up their stalls.He takes a deep breath of fresh air, pulls a white pill fromhis pocket, pops it into his mouth.Travis turns a corner, keeps walking. Ahead of him is a 24hour PORNO THEATRE. The theatre, a blaze of cheap day-glowreds and yellows, is an offense to the clear, crisp morningair. The permanent lettering reads, "Adam Theatre, 16mmSound Features". Underneath, today's feature are handlettered: "Six-Day Cruise" and "Beaver Dam".Travis stops at the box office, purchases a ticket, and walksin.INT. PORNO THEATRETravis stands in the aisle for a moment. He turns around,walking back toward the concession stand.CONCESSION STANDA plain dumpy-looking GIRL sits listlessly on a stool behindthe shabby concession stand. A plaster-of-Paris Venus deMilo sits atop a piece of purple velvet cloth on the counter.The SOUND of the feature drones in the background.CONCESSION GIRLKin I help ya?Travis rests his elbow on the counter, looking at the Girl.He is obviously trying to be friendly - no easy task forhim.God knows he needs a friend.TRAVISWhat is your name? My name is Travis.CONCESSION GIRLAwh, come off it, Pal.TRAVISNo, I'm serious, really.(CONTINUED)
12.CONTINUED:CONCESSION GIRLYa want me to call da boss? Huh?That what you want?CONCESSION GIRLNo, no, it's alright. I'll have abig Coca-Cola - without ice - and alarge buttered popcorn, and.(pointing). some of them chocolate coveredmalted milk balls. and ju-jukes, abox. They last.CONCESSION GIRLWe don't have ju-jukes. We don'thave Coca-Cola. We only got RoyalCrown Cola.TRAVISThat's fine.CONCESSION GIRLThat's a dollar forty-seven.Travis lays two dollar bills on the counter.INT. THEATRE AUDITORIUMSlight TIMECUT to Travis sitting in theatre, drinking hisRoyal Crown Cola, eating his popcorn and milk balls. Hiseyes are fixed on the screen. A MALE VOICE emanates from thescreen:MALE MOVIE VOICE (O.S.)Come here, bitch. I'm gonna splityou in half.Male Voice yields to Travis' monotone narration.TRAVIS (V.O.)Twelve hours of work and I stillcannot sleep. The days dwindle onforever and do not end.FADE TO:EXT. CHARLES PALANTINE CAMPAIGN HEADQUARTERSThe Headquarters of the "New Yorkers for Charles Palantinefor President Committee", located at the corner of 50th Streetand Broadway, are festooned in traditional red, white andblue banners, ribbons and signs.(CONTINUED)
13.CONTINUED:One large sign proclaims "Palantine". Another sign reads"Register for New York Primary, July 20.". The smiling middleaged face of Charles Palantine keeps watch over the bustlingpedestrians.It is LATE AFTERNOON.INSIDE HEADQUARTERSA variety of YOUNG WORKERS joke and chatter as they laborthrough stacks of papers. The room is pierced with the soundof ringing phones.Seen from a distance - the only way Travis can see them those are America's chosen youth: Healthy, energetic, wellgroomed, attractive, all recruited from the bucolic fieldsof Massachusetts and Connecticut.CAMERA FAVORS BETSY, about 25, an extremely attractive womansitting at the reception desk between two phones and severalstacks of papers. Her attractions, however, are more thanskin deep. Beneath that Cover Girl facial there is a keen,though highly specialized sensibility: Her eyes scan everyman who passes her desk as her mind computes his desirability:Political, intellectual, sexual, emotional, material. Simplepose and status do not impress her; she seeks out theextraordinary qualities in men. She is, in other words, starfucker of the highest order.Betsy, putting down the phone, calls TOM, a lanky, amiableand modishly long-haired campaign workder over to her desk:BETSYTom.Tom is pleasant and good-looking, but lacks those specialqualities which interest Betsy. He gets nowhere with Betsy yet he keeps trying.Just another of those routine office flirtations which passthe hours and free the fantasies.BETSYTom, come here a moment.(he walks over)I think this canvas report is aboutready to go out. Check it out withAndy, and if he okays if, have acopy made for the campaignheadquarters in every county.(MORE)(CONTINUED)
14.CONTINUED:BETSY (CONT'D)(a beat)And don't forget to add the new photoreleases.TOMThe senator's white paper is almostready, Bets. Should we wait for that?BETSYAndy usually just sends those to thenational media. The local pressdoesn't know what to do with aposition paper until UPI and AP tellthem anyway.TOMI think we should try to get maximumcoverage for this new mandatorywelfare program. Push the issues.BETSY(as if instructing achild)First push the man, then the issue.Senator Palantine is first of all a dynamic man, anintelligent, interesting, fascinating man.TOMYou forgot "sexy".BETSYNo, I didn't forget "sexy".TOMJust didn't get around to it, huh?BETSYOh, Tom, please.TOMWell, for Christsakes, you soundlike you're selling. I don't knowwhat. cars. not issues.BETSYHave you ever wondered why CBS Newshas the highest ratings?TOMMore people watch it.(CONTINUED)
15.CONTINUED:BETSYAlright, forget it if you're notgoing to be serious,TOMNo, c'mon, I'm listening. I wasjust.BETSYJust what?TOMKidding around. you know, fun.Betsy looks toward the street, then back at Tom.BETSYMaybe if you'd try thinking once ina while, you'd get somewhere.TOMWith who?BETSYAlright, now. You want to know whyCBS has the highest ratings? Youtheir news is any different fromNBC, ABC? It's all the same news.Same stories. Same order usually.What, you thought they had good newsfor people, right? You thought that'swhy people watched CBS? I'll tellyou why people watch CBS.Cronkite. The man. You got it? Notthe news, not the issues, the man.If Walter Cronkite told people toeat soap, they'd do it. We are sellingcars, goddamn it.Betsy's attention is being distracted by something she seesacross the street. She puts on her glasses and looks outacross the street again.TOMWell, if Cronkite's so great, whydon't we run him instead?BETSYThat's the last. The finish. Period.Some pople can learn. Some peoplecan't. And you wonder why we neverget serious----(CONTINUED)
16.CONTINUED:TOMSure we could run him. You realizehe's already of his block association.BETSY(looks across streetagain)Have you been noticing anythingstrange?TOMNo, why?BETSYWhy's that taxi driver across thestreet been staring at us?TOMWhat taxi driver?BETSYThat taxi driver. The one that'sbeen sitting here.TOMHow long has he been there?BETSYI don't know - but it feels like along time.Travis' cold piercingly eyes Stare out from his cab parkedacross the street from Palantine Headquarters. He is like alone wolf watching the warm campfires of civilization from adistance. A thin red dot glows from his cigarette.Tom exchanges Travis' gaze.TOM(determined)Well, I'll go out and ask him.As Tom walks toward front door Betsy's eyes alternate betweenhim and the position where Travis sits.EXT. PALANTINE HEADQUARTERSTom strides out the front door and walks briskly across thestreet toward Travis' taxi.Travis spots Tom walking toward him and quickly stares uphis cab, then squeals off in a burst of billowing exhaust.(CONTINUED)
17.CONTINUED:Tom watches the speeding taxi quizzically.Travis' taxi continues down Broadway.CUT TO:INT. TRAVIS' APARTMENTHe lies on his mattress at the ceiling. He is fully clothedand appears deep in thought.Near his mattress rest several medications: A large bottleof vitamin pills, two smaller bottles of pills, a bottle ofpeach-flavored brandy.TRAVIS (V.O.)All my life needed was a sense ofdirection, a sense of someplace togo. I do not believe one shoulddevote his life to morbid selfattention, but should become a personlike other people.ANOTHER DAY - LATE AFTERNOONTravis' taxi is driving down Broadway with the "Off Duty"sign on.POV TRACKING SHOT down Broadway. CAMERA stops at PalantineCampaign Headquarters. A few WORKERS remain in the office.Betsy's desk is vacant.FIFTH AVENUE - THE SAME AFTERNOONCAMERA TRACKS with crowded mass of MANHATTANITES as theyooze through the sidewalks toward their various destination.Individuals are indiscernible: It is simply a congested mass.TRAVIS (V.O.)I first saw her at Palantine CampaignHeadquarters at 58th and Broadway.She was wearing a yellow dress,answering the phone at her desk.Suddenly: Cut of the congested human mass, IN SLOWING MOTION,appears the slender figure of BETSY in a stylish yellow dress.The crowd parts like the Red Sea, and there she is: Walkingall alone, untouched by the crowd, suspended in space andtime.(CONTINUED)
18.CONTINUED:TRAVIS (V.O.)She appeared like an angel out ofthis open sewer. Out of this filthymass. She is alone: They cannot touchher.INT. TRAVIS' APARTMENTHe is at the table, writing in his diary.CLOSEUP - His stubby pencil rests on the word "her".CUT TO:It is 3:30 IN THE MORNING in a bacon-shaped all night WESTSIDE REATAURANT. The thick smell hangs in the air - friedgrease, smoke, sweat, regurgitated wine.Whatever doesn't flush away in New York at night turns up inplaces like this. A burly grease-stained COOK stands overthe grill. A JUNKIE shuffles from one side of the door toanother. Slouched over the small four-person formica tablesare several WELL-DRESSED BLACKS (too well-dressed for thistime and place), a cluster of STREET PEOPLE and a lost OLDCOOT who hangs onto his cup of coffee as if it were his lastpossession.The restaurant, brightly lit, perfectly conveys the imageurban plasticity - without the slightest hint of anaccompanying cleanliness.Toward the rear of the restaurant sit three cabbies: WIZARD,a worn man about fifty, DOUGH-BOY, younger family man, CHARLIET., fourtyish Black.Wizard is telling Dough-Boy a story. Charlie T., his elbowspopped against table top, is not listening. He stares silentlydown at a plate of cold scrambled eggs and a Racing Forum.His eyes may not be open.WIZARDFirst she did her make-up. You know,I hate it when they do that.I mean she does the whole works, themascara, the eye-shadow, the lipstick,the rouge.DOUGH-BOYNot rouge. Blush-On, they call it.WIZARDThe kind with a brush.(CONTINUED)
19.CONTINUED:Travis appears at the door. He has to push aside the JUNKIESto enter without making physical contact - something Traviswould not relish. He may be repulsed with these people andthis place, but he is too much a part of this to let hisfeelings rise to the surface.Wizard gives Travis a perfunctory wave.WIZARDTravis.TRAVISHey Wizard.Travis straddles a seat at the table. Dough-Boy gives Travissomething between a wink and an eye-twitch saying:DOUGH-BOYYeah, that's Blush-On. My wife usesit,WIZARD(ironic)Ask Travis. He's the ladies man.Travis shrugs and motions for a cup of coffee.WIZARD(continuing)Well, whatever the fuck it is, sheused it. And then the spray perfume.You know, the real sweat kind and, on top of that, get this,right when we're crossing the Triborobridge - she changes her pantyhose!DOUGH-BOYNo.Travis turns his head. He appears not to be interested, butis.WIZARDYeah.DOUGH-BOYCould you see anything?WIZARDWell, she was trying to keep herskirt down, sort of, you know. Butit was pretty obvious what she was(MORE)(CONTINUED)
20.CONTINUED:WIZARD (CONT'D)doing. I mean, Christ, it was rushhour and the traffic's practicallystanding still.DOUGH-BOYWhat did you do?WIZARDThrew on the emergency, jumped theseat and fucked her brains out What do you think!(they laugh)What do I have to do? Draw you apicture?DOUGH-BOYYeah.WIZARDWhat was I supposed to do? I waswatching in the rear view. You know,just checkin' traffic.(to Travis)So howsit?TRAVIS(w/o inflection)Some fleet driver for Bell just cutup. Just heard it on the radio.DOUGH-BOYStick up?A WAITRESS brings Travis' coffee and a glass of water. Heasks for a cheeseburger.WIZARDSure. What do you think? She wantedto get out of the cab. I said "Look,you're in the middle of the fuckingbridge."DOUGH-BOYYou said that?WIZARDWell, I said, "Lady, please, we'reon a bridge."DOUGH-BOYAnd what happened?(CONTINUED)
21.CONTINUED:Travis awaits Wizard's answer.WIZARDShe stayed in the cab, what's shegonna do? but she stiffed me. A realskunk.DOUGH-BOYA real skunk.Wizard realizes Travis and Dough-Boy may not have met.WIZARD(paternal)Travis, you know Dough-Boy, CharlieT.?Charlie T. nods sleepily. Travis indicates he knows DoughBoy.DOUGH-BOYYeah. We went to Harvard together.(laughs)WIZARDWe call him Dough-Boy cause he likesthe dollars. He'll chase a buckstraight into Jersey.DOUGH-BOYLook who's talking?(gestures around table)Who else would stay up all night tocatch the morning rush hour?Travis sips his coffee. Charlie T.'s eyelids slip shut.WIZARD(to Travis)So howsit?TRAVIS(w/o inflection)Some fleet driver for Bell just gotcut up. Just heard it on the radio.DOUGH-BOYStick up?TRAVISNo, just some crazy fucker. Cut havehis ear off.(CONTINUED)
22.CONTINUED:DOUGH-BOYWhere.TRAVISIn the jungle. 122nd.Travis' eyes turn toward the restaurant's other patrons.POV: THREE STREET PEOPLE sitting at a table. One GUY, stoned,stares straight ahead. A raggedly attractive GIRL rest herhead on the shoulder of the other, a heavily bearded YOUNGMAN with a headband. They kiss and tease each other,momentarily lost in their separate world.Travis watches the hippie couple closely, his feeling sharplydivided between cultural contempt and morose jealousy.Why should these people enjoy the love and intimacy that hasalways eluded him? He must enjoy these schizoid emotions,because his eyes dwell on the couple.DOUGH-BOY(changing the subject)You run all over town, don't you,Travis?WIZARD(referring to 122ndSt.)Fuckin' Mau Mau land, that's what itis.Travis turns back to his companions.TRAVISHuh?DOUGH-BOYI mean, you handle some pretty roughtraffic, huh?TRAVIS(catching on)I have.DOUGH-BOYYou carry a piece? You need one?TRAVISNah.(a beat)I suppose not.(CONTINUED)
23.CONTINUED:Waitress slaps down smudge-marked glass of water, and acheeseburger plate that looks more like a shrunken head on aserving platter.DOUGH-BOYWell, you ever need one, I know afeller that kin getcha a real nicedeal. Lotsa shit around.WIZARDThe cops and company raise hell theyfind out.Travis drops two Alka-Seltzer into his glass of water.DOUGH-BOYTruck drivers bring up Harlem Specialsthat blow up in your hand. But thisguy don't deal no shit. Just quality.If you ever need anything, I can putyou in touch.WIZARDFor a fee.DOUGH-BOYFor a fee.WIZARDI never use mine. But it's a goodthing to have. Just as a threat.DOUGH-BOY(getting up)well, if there's this many hackiesinside, there must be lots of haresoutside. And I'm gonna hustle 'em.WIZARDWhat ya gonna do with all that money,Dough-Boy?DOUGH-BOYSupport my kids. Can you dig it?(pause)nice to meet ya, Travis. So long,Wizard. Say hello to Malcolm X forme.(nods to Charlie T.)Charlie T. remains unmoved: He issleeping.(CONTINUED)
24.CONTINUED:Dough-Boy exits. Travis smiles perfunctorily, then looksback at Wizard. They really don't have much to talk about,and the Wizard doesn't care to manufacture any moreconversations.Travis scans the greasy spoon: The scene is unchanged.CUT TO:EXT. PALANTINE HEADQUARTERS - ANOTHER DAYTraffic passes.INT. PALANTINE HEADQUARTERSTom and Betsy are talking. She takes out a cigarette. Hetakes out matches to light it.BETSYTry holding the match like this.TOMThis is gotta be a game, right?BETSY(putting on glasses)This I gotta see.TOM(burning fingers)Ouch!BETSY(giggling)Oh, are you all right?TOMI'm great. Always set my fingers onfire. If you want to see anothertrick. I do this thing with my nose.BETSYNo. I just wanted to see if you couldlight it that way. The guy at thenewsstand can.TOMAh, yes, the guy at the newsstand,Mr. Asbestos.BETSYHe happens to be missing fingers. Ifirst noticed when (CONTINUED)
25.CONTINUED:TOMIs he Italian?BETSYNo, why?TOMYou sure he's not Italian?BETSYHe's Black, OK?TOMWell, If he had beencould have been shotthe mob does that tolesson, If they blowsomething.Italian, theyoff. Sometimesteach guys aa job orBETSYAs I said, he isn't Italian.Besides, I thought they just killedthem.TOMDon't be naive. They can't killeverybody. They have differentpunishments for different things.Like, if they kill a stoo pigeon,they leave a canary on the body.It's symbolic.BETSYWhy don't they leave a pidgeon insteadof a canary?TOMI don't know. Maybe they don't leavea canary. Don't be technical. WhatI'm saying is if this newsstand guy'sItalian and his fingers are gone,maybe he's a thief.BETSYFirst, he's not Italian. Second he'snot a thief. I noticed the fingerswhen he was getting my change - theright change. Two of his fingers aremissing. Just stubs. Like they wereblown away. I was putting my changein my purse when I saw him get out acigarette. I couldn't help watching.(MORE)(CONTINUED)
26.CONTINUED:BETSY (CONT'D)I was dying to
TRAVIS pulls to the curb. The BUSINESS MAN stuffs a dollar bill into the pay drawer and jumps out of the cab. He turns to hail another taxi. MAN IN BUSINESS SUIT Taxi! Taxi! Travis writes up his trip card and drives away. It is LATER THAT NIGHT. The rain has turned to drizzle. Travis
B2B taxi booking A B2B taxi booking is a successful booking that has been placed from a Taxi Butler at a venue. Successful booking A successful booking is a booking that has been placed and accepted by a taxi driver and confirmed to have arrived at the desired location. Taxi Butler A taxi booking device that allows venue staff to book taxis .
What are the Taxi Butler ONE's main features? The Taxi Butler ONE is the first ever one-click taxi booking device. The ONE is the perfect companion for venue staff working in restaurants, hotels, bars, and virtually any other venue. The Taxi Butler ONE has a simple design with two buttons. One button allows you to order a taxi and
(c) Taxi driver participation fees shall be subject to prior review a d approval of the director. [Eff OCT 0 4 199 ( ] (Auth: HRS §261-12) (Imp: HRS §261-7) §19-38.1-6 Taxi driver qualification; taxi vehicle requirements. (a) No taxi driver shall be authorized to operate at a public airport without the necessary
Taxi Butler's vision is to connect passengers, taxis and venues through an excellent ordering experience from every venue in the world. We provide an innovative, one click, simple taxi booking device built specifically for hotels, bars, restaurants, company receptions, and businesses. Taxi companies and fleets are using the Taxi Butler
taxi business problems. Finally, the value of the taxi business intelligence system is demonstrated by applying it to some real-world scenarios. Results show that this system can significantly improve the quality of taxi services. Keywords-inefficient taxi business;GPS equipment; spatial-temporal data mining; decision making; intelligent system I.
SCHRADER TANK VALVES FOR USE IN AIR BLADDER APPLICATIONS, BICYCLE SUSPENSION SYSTEMS, TELECOMMUNICATIONS, WATER STORAGE SYSTEMS, ETC. SI. 1.800.288.1804 TA VAVS 2 D t esponsibl es ormance, saf equirement . Demand an authentic Schrader valve built by the company that set the quality standard for tank valves more than 50 years ago. .File Size: 2MBPage Count: 8
Ford Motor Company. The Schrader Pacific Advanced Valves SCAR form is based on an 8D format. Supplier Evaluation Form - Document sent to new and existing suppliers to obtain current information in specific areas of interest to Schrader Pacific Advanced Valves. SQE - Supplier Quality Engineer. Reports directly to the Quality Assurance Manager.
Abrasive water jet machining (AWJM) process is one of the most recent developed non-traditional machining processes used for machining of composite materials. In AWJM process, machining of work piece material takes place when a high speed water jet mixed with abrasives impinges on it. This process is suitable for heat sensitive materials especially composites because it produces almost no heat .
