The Lift

CHARACTERS
EMIL, thirties or forties, uneasy
RAE, about the same age but serene
ETHEL, about the same age but uneasy
(both played by the same actress)

SETTING
An elevator. The entrance is downstage, facing out.

(Emil holds the elevator door for Rae, who rushes in.)

Rae
Thanks for letting me in.

Emil
Sure.

(There is a sound as the doors close. Emil and Rae look up in the direction of the number panel. Then—)

Oh, no! I can’t believe it!

Rae
What?

Emil
We’re stuck! Not moving! Look—nothing’s lighting up!

Rae
Aren’t we still in the lobby?

Emil
Right. Hold on, I’ll— (into intercom) Hello? Hello? If you can hear me—I need the “emergency assistance” that’s advertised on your—well, the words are obscured, scratched out by a key, probably twenty years ago by a psychotic bike messenger, but— (puts his hand over it; to Rae) I only hear crackling, like there’s a fire in the—Jesus, why did I say “fire” at a time like—and look at me, I’ve got my hand over the receiver like it’s a phone in a nineteen-forties country store—(into intercom) Hold on! I’m going into my bag! I’ll be right back with more information about me!

(He takes out pills, chews them.)

Rae
Are you all right?

Emil
I’m, well—you probably can’t tell, but I’m actually a little agoraphobic, claustrophobic, call it what you want—small spaces. I should have taken the stairs, but—twenty-five flights. I trusted technology and look what it— I took a chance. I should have stayed afraid.

Rae
Maybe it’s just a matter of being patient.

Emil
But I’ve got a therapy session on the twenty-fifth floor at 3:30. How much longer can—? (checks watch) I can’t have just ten minutes of therapy. What would that improve?

Rae
Well, maybe you can make being late the subject of your session.

Emil
That might be a little embarrassing.

Rae
Why?

Emil
Because I’m the therapist.

Rae
Oh.

Emil
Oh, no! You hear that? That’s the other elevator! It could be my patient, Ethel—she’s probably on her way up. If I’m not there, it will not go well with her— Sorry, it’s unethical for me to say any more. But I hope no one’s standing under the awning outside, that’s all I can… Sorry, my lips are sealed. (But he makes a “she’s nuts” gesture.)

Rae
Maybe you should give her more credit.

Emil
I didn’t say a word. And so what if someone is incredibly high-strung, neurotic, and suicidal? We can’t all be well-adjusted. (into the intercom) Help! Somebody please help! Pick up the— (to Rae) It’s still just crackling, like a furnace in hell—!

Rae
It’s funny how people are different.

Emil
What do you mean?

Rae
I like this.

Emil
You do?

Rae
Yes. I actually go around town, getting into over-crowded elevators, not to go anywhere, just to feel the—flesh—of other people through their clothes. So many strangers, and yet I feel I know them so well.

(He looks at her.)

Emil
That sounds—well, if you don’t mind my saying, pathological.

Rae
Or simply pleasurable.

Emil
But how can you bear it? How can you breathe? My only consolation today is that it’s not crowded.

Rae
Really? And is it only in elevators, or—

Emil
No, it’s everywhere. Even when I climb stairs, I race past landings, where all the people are. I only see the patients in my practice, because they can only come so close. There’s a swivel chair between us. Otherwise, I keep my own company.

Rae
That’s not good for you. Studies have shown a lonely life isn’t a long one.

Emil
Well, why would there be any old hoboes if that were true? Or all those elderly mountain men with straggly beards, stringy legs, and banjos—a hound dog is usually all they have in their huts or hovels. They do just fine.

Rae
Have you ever asked one his age? He could be twenty-eight.

Emil
(shakes head) No apartment could ever be enormous enough for me not to feel suffocated by someone else.

Rae
So it’s an intimacy issue?

Emil
Of course. I’m not stupid. I am accredited. You see, my mother—well, don’t get me started.

Rae
Why not? I’m not going anywhere, are you?

Emil
I’d prefer not to. Whatever you imagine would never be worse than what I could… This is more than I’ve ever said to anyone.

(Beat)

Rae
I like knowing this about you, as little as it is. It makes me feel closer.

Emil
This must be disappointing for you. I’m the only one here, and I’m so far away.

Rae
It’s just different. I’ll have to work harder, that’s all.

(Beat)

Do you mind if I…

Emil
What, if you—

(She nods, advances, puts her arms around him.)

Rae
Is this so awful?

Emil
No, it’s—not that bad. It’s actually all right. I— (voice contracting) Okay, maybe you should take a break now. I—

Rae
But I’m so light—I’m barely touching you—it’s as if you were held by the steam after your shower.

Emil
Well, that would explain why I’m sweating so much, then—

Rae
Intimacy opens an entire other world to us—as if there’s a window that allows us to see.

(There is a lighting shift. On a wall, a window becomes visible.)

See?

Emil
(transfixed) My God.

Rae
It’s your opportunity—take it.

Emil
I will. (raises a hand)

Rae
That’s it—wave—

Emil
(waving) Help! Help! Help me!

Rae
Well, don’t waste it that way—

(Now light streams in)

Isn’t it warm?

Emil
I’m blind!

Rae
Just—close your eyes.

(Emil does.)

And stand in the spill of the—relax your face. Your eyes are being swallowed by the rest of your face. Now open your eyes.

(He does. A lighting shift seems to expand the place. Sounds of a crowd. He stares.)

Emil 
Wow. There’s so much space in here now. There’s a—mall—so many stores—and a multiplex—even its own parking lot.

Rae
In your job, you help people stop seeing what isn’t there. Well, with me, it’s the opposite. This is what can happen when you let someone in.

Emil
This is good for me. I should be delusional, it’s much better— (recoils) Uh-oh. Now hundreds of people are…

Rae
Rushing in—surrounding us. Yes, it’s good—

Emil
(being held by them, strangled) But there’s only so much air!

Rae
We can all breathe it at the same time. You swallow what spills out of them, then spit it back into their mouths.

Emil
That’s so unsanitary—

Rae 
No, it’s not—it comes out of you recycled.

Emil
But I’m afraid I—won’t exist—that they’ll squeeze me and erase me. My mother… I mustn’t say.

Rae
No—I told you—having others around you makes you live longer.

Emil
Well, there’s so many here, I might be immortal. 

(He feels them hold him.)

It does—it does—it does—for a second—feel safe. 

(There is a lighting shift and the space “contracts.” Sounds of a crowd fade. Emil watches them go. The window vanishes. Then—)

You helped me. Tell me about you. I want to know—at least—your name.

Rae
You already know everything important.

Emil
But—where are you from?

Rae
You’ll see.

(The elevator starts.)

Emil
Hey, we’re moving!

Rae
I know—isn’t it thrilling?

Emil
They must have fixed the— (calls into intercom) Thank you for your wonderful work! (to Rae) Everyone should know they’re appreciated. Hey, how many floors are we—

Rae
Just hold on.

Emil
I mean—there are only twenty-eight in the building and—that digital X has been up there a long time—

Rae
We’ll get there soon.

Emil
I’m afraid I won’t be able to—

Rae
I can feel the peak coming—it’s good—almost there—

Emil
I don’t know how long I can last!

Rae
So close—don’t give up—think of something else!

Emil
I can’t even look at you—it’s too exciting!

Rae
Close your eyes, then. That’s it!

Emil
I made it! Me! And it feels so good!

(They have stopped, panting. There is a sound of rushing air as the doors open. Emil looks out.)

Where are we? Is that a wall treatment of some sky? Or could that be a …real cloud? 

(Rae straightens her clothing, gets out. He starts to follow, then stops.)

Come back—what’ll I do without you? (stares) That’s not fair—I can’t fly!

(There is a sound as the doors close in his face. After a beat, they reopen. The same woman gets on, but it’s a different woman.)

Emil
Ethel.

Ethel
Dr. Cryer.

Emil
The, uh, elevator was stuck.

Ethel
(looks) No, you just forgot to press for your floor. You could have gotten out at any time.

Emil
(abashed) Oh. I knew that. I was just…waiting for you.

Ethel
I’m sorry I’m so late. I overslept. I almost took too many pills.

Emil
That’s all right. You can tell me what you dreamed.

Ethel
(nods) “All that matters is what we imagine. Some people’s dreams are more true than other people’s realities.” That’s what you always say.

Emil
Is it?

Ethel
Yes.

Emil
Maybe I should start seeing myself.

Ethel
(indicates going up) Is it too late?

Emil
Not at all.

(He presses the button. They start up.)

LAURENCE KLAVAN

Laurence Klavan received two Drama Desk nominations for the book and lyrics to Bed and Sofa, a musical produced by the Vineyard Theater in New York and the Finborough Theatre in London. His one-act The Summer Sublet, produced in the Ensemble Studio Theater Marathon in New York, is included in Best American Short Plays 2000–2001, and his The Show Must Go On was the most-produced one-act play in American high schools in 2015–2016. His website is laurenceklavan.com.