Out Of Sight (1998) http://movieclips.com/csuC-out-of-sight-movie-karens-in-the-lobby/ Foley: She just looked right at me. Buddy: Who? Foley: Karen. Buddy: Karen Sisco? Foley: Yeah. She's in the lobby. Buddy: She's in the lobby? Foley: Yeah.

No dialog here. But one of the more amusing elevator scenes is in "The Blues Brothers" where the superficial calm of the elevator (and "The Girl from Ipanema") plays against the chaos of the pursuers. http://www.youtube.com/watch?v=inb1NxdoKNc This gets its own homage a recent episode of "Castle" (http://www.youtube.com/watch?v=Wz0yjTSOVAQ)

Also not much dialog here: "Elf" [Buddy presses all of the elevator buttons at the same time] Buddy: It looks like a Christmas tree. http://www.youtube.com/watch?v=UOCCHKzyqnI

Rain Man (1988) Susanna and Raymond are dancing in the elevator after Raymond missed his date with Iris. Susanna: It's nice. Susanna: You're very good. Susanna: Iris missed a beautiful dance. Raymond: Yeah. Susanna: And a kiss. Raymond: Yeah, a kiss. Susanna: Have you ever kissed a girl? Raymond: I don't know. Susanna: You don't know? Open your mouth. Open. Raymond: Yeah. Susanna: Like this. Like you were tasting something very good... and very soft. Susanna: Like this. Close your eyes. Susanna: It's okay, Ray. Raymond: Yeah. Susanna: How was that? Raymond: Wet. Susanna: Then we did it right. Raymond: Elevator's definitely stuck. Susanna: No, it's not stuck. http://www.youtube.com/watch?v=JUwa6ZkHtnY

You've featured this scene from Being John Malkovich before, but it might be fun to revisit.

Hudsucker Proxy. http://www.youtube.com/watch?v=wAu25sFvLGg CUT TO: ELEVATOR DOORS ROCKETING OPEN. We MOVE IN ON the young elevator operator who leers INTO CAMERA. He wears a brass-buttoned uniform, white gloves and a pillbox hat. The name BUZZ is stitched onto his breast pocket. As Norville enters the elevators: BUZZ Hiya, buddy! The name is Buzz, I got the fuzz... He lifts his pillbox hat to reveal a white crewcut, then lets the elastic chin strap snap the cap back down onto his head. BUZZ ...I make the elevator do what she duzz! He holds out his hand but as Norville reaches to shake it he snaps it away and pats down his crewcut: BUZZ ...Hang it up to dry. He cackles and powers the ELEVATOR into GEAR. Norville's knees buckle under a huge upward surge; Buzz is accustomed to it. BUZZ ...What's your pleasure, buddy? NORVILLE (regaining his balance) Forty-fourth floor, and it's very -- BUZZ Forty-four, the top brass floor say, buddy! What takes fifty years to get up to the top floor and thirty seconds to get down? NORVILLE I -- BUZZ Waring Hudsucker! Na-ha-ha-ha-ha! Say, buddy! With a powerful DOWN-SHIFTING SOUND, Buzz brakes the elevator to a sharp halt. Norville continues upward with the inertia, painfully smacking his head against a corner of the elevator. Buzz opens the door and a couple of people enter. BUZZ Mr. Kline, up to nine. Mrs. Dell, personnel. Mr. Levin, thirty-seven. MR. LEVIN Thirty-six. BUZZ Walk down. Ladies and gentlemen, step to the rear; here comes gargantuan Mr. Grier. An obese MAN enters, smoking a cigar: FAT MAN Buzz. Buzz has already thrown the doors shut and sent the elevator into its power-rise. Norville, bracing himself now, sinks only a little under the G-force. BUZZ Say, buddy! Who's the most liquid businessman on the street? NORVILLE Well, I -- BUZZ Waring Hudsucker! Na-ha-ha-ha-ha! Say, buddy! When is the sidewalk fully dressed? When it's 'wearing' Hudsucker! Na-ha-ha-ha! He turns to look at Norville. BUZZ ...Ya get it, buddy, it's a pun, it's a knee-slapper, it's a play on Jesus, Joseph and Mary, is that a blue letter?! All heads in the elevator turn, aghast, to look, and those near Norville shrink away. BUZZ ...Cripes a'mighty, whyn't ya tell a guy?! Hold on, folks, we're express to the top floor! The ELEVATOR SCREAMS into overdrive and we: CUT TO: ELEVATOR DOORS Sweeping open. Norville staggers out. BUZZ (hissing) Good luck, buddy! The door sweeps shut. Norville looks nervously around. Behind him the elevator doors suddenly open again. BUZZ -- You'll need it! The elevator doors slam shut and we hear its ENGINES SCREAM as it power-dives away. Norville turns toward the executive offices. Plush, thick-carpeted silence. Norville starts walking. A SCRAPING SOUND stands out in the high-powered executive quiet. Norville looks to one side. A workman in painter's overalls squats in front of a pair of heavy oak doors. With a razor blade he is scraping off the name "WARING HUDSUCKER."

You've Got Mail http://www.youtube.com/watch?v=o7eMH8QoMZk EXT. JOE'S STREET - NIGHT As a taxi comes down the street and stops in front of Joe's building. PATRICIA (V.O.) What I was thinking was she'd probably make a great children's book either. JOE (V.O.) Why would you think that? They get out of the cab. PATRICIA She knows everything. She has flawless taste. She's famous for it. The salesmen swear by her. If she likes it, it sells. Period. INT. JOE'S LOBBY - CONTINUOUS As they enter the lobby and walk toward the elevator. JOE So you're going to offer her a job? PATRICIA Why not? What else has she got to do? JOE Now that she's destitute -- PATRICIA Thanks to you. JOE Well, I can't imagine her working for you. PATRICIA Why not? JOE She has a horrible personality, she's... nice to everyone all the time. It's exhausting. And her staff turnover is ... non-existent. They've been there forever. Until... recently, when they all found out they were going to lose their jobs. PATRICIA Thanks to you. The elevator door is closing. PATRICIA (cont'd) Hold the elevator! They get in. INT. ELEVATOR - CONTINUOUS JOE Hello, Charlie, Veronica. PATRICIA Last time, we rode in an elevator, we made the deal of the century. What is going to happen this time? CHARLIE Miss Grant's going to get me a part in one of her movies, that's what's going to happen. VERONICA In your dream, Charlie. PATRICIA (back to the conversation with Joe) I love how you've totally forgotten you had any role in her current situation. It's so obtuse. It reminds me of someone ... Who? Who does it remind me of? (thinks for a moment) Me! The elevator suddenly stops. PATRICIA Shit. VERONICA Shit. JOE It is stuck? CHARLIE Could be. He pushes the open button. Nothing. Turns the key, hits the open button, flicks the emergency switch. The he starts hitting the buttons in every possible combination. JOE Charlie, what are you doing? CHARLIE Bang the door. PATRICIA Really. Joe bangs the door. Nothing. CHARLIE I hope this thing doesn't plummet to the basement. VERONICA Can it do that? JOE No. He picks up the phone. JOE This is Joe Fox. Who is this? Hi, Juan. We're stuck on the sixth floor. There are four of us -- PATRICIA (grabs the phone) -- and if you don't get your ass up here in two shakes and get us out -- He hangs up. JOE (to Veronica) Are you all right? VERONICA It's hot. Joe hands her his handkerchief. CHARLIE Everyone should jump in the air. PATRICIA What? CHARLIE We jump. The elevator thinks that no one is here and it opens. Everyone stares at each other. JOE One -- two -- three -- They all jump into the air. They all land. Nothing happens. INT. ELEVATOR - A LITTLE LATER Patricia is sitting on the elevator floor, polishing her nails. We hear the fire department banging outside... VERONICA If I ever get out of here, I'm going to start speaking to my mother. She slept with Oscar, and maybe it was Oscar's fault, I don't know, and then she sold the story to Inside Edition. That could have been Oscar's idea, too. Who knows? But I divorced him. I wonder what she's doing right this minute. I think of her... whenever I hear about a new pill. Ecstasy, Zoloft, Fenphen, I just think, I hope Mama knows about that. She takes out a tissue and dabs at her eyes. PATRICIA Maybe you can make up on Rosie. That would be so great for the book. CHARLIE (trying to figure it out) If I ever get out of here... PATRICIA If I ever get out of here, I'm having my eyes lasered. CHARLIE I'm marrying Oreet. I love her. I should marry her. I don't know what's been stopping me. He takes out his wallet and looks at a picture of Oreet, shows it to Joe. JOE If I ever get out of here, I'm going to -- He stops, he looks at Patricia who is fishing through her purse. PATRICIA Where is my TicTacs? (looks at Joe) What? The firemen crowbar open the elevator door. EXT. 79TH STREET BOAT BASIN - NIGHT Joe and Brinkley walk out on the dock toward Joe's boat. Joe is carrying Brinkley's pillow, his laptop and a suitcase. He boards his boat and goes below. A light goes on. We hear the sound of the computer. JOE (V.O.) I came home tonight and got into the elevator to go to my apartment. An hour later, I got out of the elevator and Brinkley and I moved out. Suddenly everything had become clear. (continued)

I know it's not an 'elevator' but it does take place on a lift, which is sorta kinda a precursor to elevators... maybe. GLADIATOR

Maximus: I knew a man once who said, "Death smiles at us all. All a man can do is smile back." Commodus: I wonder, did your friend smile at his own death? Maximus: You must know. He was your father. Commodus: You loved my father, I know. But so did I. That makes us brothers, doesn't it? Smile for me now, brother. [stabs him]

NORTH BY NORTHWEST (1959) directed by Alfred Hitchcock written by Ernest Lehman Clara Thornhill: You gentlemen aren't REALLY trying to kill my son, are you?

I started to post this one - then changed my mind and deleted it, because there's not actually much dialogue. But good Teddy, I am glad you posted it - I absolutely love this scene! The lady with the crowbar, the half-floor view of all the feet walking by!!

Wow, these are some outstanding suggestions. Isn't that funny, how an idea seemingly as simple as an elevator can surface such a wide range of possibilities? Good work, all, and thanks! Should be an interesting week of Daily Dialogues!

Let's go lowbrow, shall we? Liar Liar: http://www.youtube.com/watch?v=UaDOikdErZI Busty Woman on Elevator: Everybody's been real nice. Fletcher: Well, that's because you've got big jugs. I mean your boobs are huge. I mean, I wanna squeeze 'em. Mama! [puckers up]

Speaking of lowbrow, that reminds me... true story: My first week in Hollywood in a crappy apartment building on Yucca Street (yeah, I know, and twenty years ago it was a REAL hell-hole.) I get on the elevator on my floor to go down to the lobby. Two guys are in there already as I enter. Doors close. The three of us stand there in silence for about five seconds as we go down. Then, all of a sudden one of the guys says really loud: "Fucking tits like this (makes holding-melons-gesture), I was like YEAH!!!" Quiet. Pling. Doors open and we all exit to the lobby. Nothing more is said. Gotta love Hollywood.

True Romance elevator scene is great, very tense! http://www.youtube.com/watch?v=SiJROFftRQw INT. BEVERLY WILSHIRE v ELEVATOR v DAY The four of them are riding in the elevator. As luck would have it, they have the car to themselves. Rinky-drink elevator Muzak is playing. They are all silent. CLARENCE Elliot. ELLIOT Yeah? CLARENCE Get on your knees. Not sure he heard him right. ELLIOT What? Clarence hits the stop button on the elevator panel and whips out his .38. CLARENCE I said get on your fuckin' knees. Elliot does it immediately. Dick and Alabama react. CLARENCE Shut up, both of you, I know what I'm doin'. BACK TO: COPS' ROOM Pandemonium. DIMES He knows. NICHOLSON How the fuck could he know? DIMES He saw the wire. NICHOLSON How's he supposed to see the wire? DIMES He knows something's up. BACK TO: ELEVATOR Clarence puts the .38 against Elliot's forehead. CLARENCE You must think I'm pretty stupid, don't you? No answer. CLARENCE Don't you? ELLIOT (petrified) No. CLARENCE (yelling) Don't lie to me, motherfucker. You apparently think I'm the dumbest motherfucker in the world! Don't you? Say: Clarence, you are without a doubt, the dumbest motherfucker in the whole wide world. Say it! BACK TO: COPS' ROOM DIMES We gotta get him outta there. NICHOLSON Whatta we gonna do? He's in an elevator. BACK TO: ELEVATOR CLARENCE Say it, goddamn it! ELLIOT You are the dumbest person in the world. CLARENCE Apparently I'm not as dumb as you thought I am. ELLIOT No. No you're not. CLARENCE What's waiting for us up there. Tell me or I'll pump two right in your face. BACK TO: COPS NICHOLSON He's bluffin ya, Elliot. Can't you see that? You're an actor, remember, the show must go on. DIMES This guy's gonna kill him. BACK TO: ELEVATOR CLARENCE Stand up. Elliot does. The .38 is still pressed against his forehead. CLARENCE Like Nick Carter used to say: I I'm wrong, I'll apologize. I want you to tell me what's waiting for us up there. Something's amiss. I can feel it. If anything out of the ordinary goes down, believe this, you're gonna be the first one shot. Trust me, I am AIDS, you fuck with me, you die. Now quit making me mad and tell me why I'm so fucking nervous. BACK TO: COPS' ROOM NICHOLSON He's bluffin', I knew it. He doesn't know shit. DIMES Don't blow it, Elliot. He's bluffin'. He just told you so himself. NICHOLSON You're am actor, so act, motherfucker. BACK TO: ELEVATOR Elliot still hasn't answered. CLARENCE OK. With the .38 up against Elliot's head Clarence puts his palm over the top of the gun to shield himself from the splatter. Alabama and Dick can't believe what he's gonna do. Elliot, tears running down, starts talking for the benefit of the people at the other end of the wire. He sounds like a little boy. ELLIOT I don't wanna be here. I wanna go home. I wish somebody would just come and get me 'cause I don't like this. This is not what I thought it would be. And I wish somebody would just take me away. Just take me away Come and get me. 'Cause I don't like this anymore. I can't take this. I'm sorry but I just can't. So, if somebody would just come to my rescue, everything would be alright. BACK TO: COPS' ROOM Nicholson and Dimes shake their hands, They have a "well, that's that" expression an their faces. BACK TO: ELEVATOR Clarence puts down the gun and hugs Elliot. CLARENCE Sorry, Elliot. Nothing personal. I just hadda make sure you're all right. I'm sure. I really apologize for scaring you so bad, but believe me, I'm just as scared as you. Friends? Elliot, in a state of shock, takes Clarence's hand. Dick and Alabama are relieved.