This play has a false climax and then an even grander climactic moment. At first, it seems that the play has reached its highest point when Elwood Dowd agrees to accept the injection that will make him stop seeing Harvey. The whole play, after all, is focused on their relationship, and his willing participation in shock therapy signals the end of that. The entrance of the cab driver, E. J. Lofgren, seems almost inconsequential at first, because audiences have their attention directed toward what is happening to Dowd.