thescriptlab's 10 Classic Reversal Scenes

Act Three: Evelyn Tells the Truth.

This is the King Kong of reversal scenes. Suspense, tension, and a twist that tops all twists. It’s the ultimate reversal of expectations hangs down. Private investigator J.J. Gittes (Jack Nicholson) has been investigating an adultery case turned high stakes murder scheme of Hollis Mulwray, the chief engineer for Los Angeles’ Department of Water. Gittes arrives at Evelyn Mulwray’s home to tell Evelyn (Faye Dunaway) that he is going to turn her over to the police now that he has the evidence (Hollis’s glasses) to prove she in fact is the guilty party in her husband’s murder. Gittes is so confident in his conclusion that he calls Lt. Escobar, giving him Mrs. Mulwray’s address. Now with Escobar on his way to the house, Gittes wants to know the truth about Katherine, the girl upstairs. With great hesitation, Evelyn explains, “She’s my daughter.” Gittes slaps her. “I said I want the truth,” he demands. “She’s my sister.” Slap. “She’s my daughter.” Slap. “My sister. My daughter.” More slaps. Gittes throws her across the room: “I said I want the truth!” Evelyn screams out: “She’s my sister AND my daughter.” Phew. Intense. After this revelation sinks in for Gittes, Evelyn confirms, “My father and I. Or is it too hard for you?” This new information changes everything, forcing Gittes to reverse his entire objective that he was so undoubtedly sure of only moments earlier. Gittes now arranges for Evelyn and Katherine to evade Escobar by going to Chinatown where he will meet them there to help them escape, proving one of the most powerful reversal scenes of all time.

Act Three: Rick Leaves Ilsa.

This reversal scene is the home of three of the most famous movie quotes of all time. In the final scene of the film, Rick (Humphrey Bogart) and Ilsa (Ingrid Bergman) are getting ready to escape to America together. But at the last minute, Rick reveals that Ilsa is not going to America. In fact, he has arranged for her to board a plane to Lisbon with her husband, Victor Laszlo (Paul Henreid). Ilsa cries out in distress. She has every intention of running away with Rick, but he stoically assures her that she belongs with Victor, and if she did not go with her husband, she would regret it for the rest of her life. But Rick’s, “We’ll always have Paris” reinforces the fact that they’ll be together forever at least in memory. Bogie then seals the deal by lifting up her head, and muttering, “Here’s looking at you, Kid”. Ah. Ilsa never stood a chance. She melts to his requests, and departs with her husband, leaving Rick and Captain Louis Renault (Claude Rains) on the tarmac while they walk off together in the night mist as Rick delivers that last unforgettable line: “Louie, I think this is the beginning of a beautiful friendship.”

Act Two: Kay and Michael Fight.

Michael (Al Pacino) enters the scene trying to mollify Kay (Diane Keaton). She is upset and threatening to leave him, but Michael tells her that she is just having a hard time because they recently lost a baby. He assures her that they can come through it together, but by no means should she ever threaten to leave. He makes it clear that she will never take his children away from him. But Kay fires back, telling Michael, “It wasn’t a miscarriage. It was an abortion. An abortion, Michael. Just like our marriage is an abortion. Something that’s unholy and evil.” She goes on to say that it was a boy, and she “had it killed” because she didn’t want to bring another one of his sons into this world, a world that “must all end.” Michael screams, losing all control, and slaps her painfully hard, leaving him (and us) with a reversal that is two-fold. In one sense, Michael starts the scene by comforting her and ends by physically harming her. But he also begins by stating that she will never take his children, but by the end he learns that she already has... a truth that will haunt their relationship forever.

Act Three: The Bride Meets Bill.

Finally. The Bride (Uma Thurman) finds Bill (David Carradine). With a samurai sword secured to her back and a gun in hand, the Bride enters Bill’s hacienda. The Bride is ready for the kill (pardon the pun), but when she turns the corner, she stops, a swirl of emotions at war in her eyes. She sees not only Bill, but her daughter as well, the very child that was abducted from her years ago. The Bride, now with Bill dead in her sights, is paralyzed by the shock of seeing her daughter and lowers her weapon. Immediately, she takes on the role of mommy (and more surprisingly, wife), pretending to play possum and die from a pretend bullet from the play gun her daughter holds. This scene proves to be especially powerful because The Bride enters the scene with such high stakes. It is literally a moment of life and death when she finally faces the ultimate objective (for not just one film, but two) that has propelled her entire journey: killing bill and regaining her daughter. This notion, coupled with the juxtaposition of The Bride’s roles, makes this scene truly unforgettable.

Act Two: The Narrator Gets Fired.

The Narrator (Edward Norton) walks into his boss’ office to convince him to keep him on as an “outside consultant.” Not surprisingly, his blackmail suggestion does not fly. As his boss rejects the offer, promptly firing him, The Narrator flies off and into a rage, literally beating himself up. Security bursts through the door to discover The Narrator bloodied to a pulp and on his knees in front of his boss, yelling, “Please don’t hurt me.” Because it looks as if the boss is actually the abuser, The Narrator scores with a generous severance package, including a telephone, a computer, a fax machine, 52 weekly paychecks, and 48 airplane flight coupons. Mission accomplished. Thank you, Project Mayhem.

Act One: Butch Fights Logan.

After casing out a bank in town, Butch Cassidy (Paul Newman) and The Sundance Kid (Robert Redford) arrive back at Butch’s Hole in the Wall Gang only to discover that Butch is no longer in charge since Harvey Logan (Ted Cassidy) has taken over command of the gang. (Reversal #1). Butch, who has been the leader from the beginning, is flabbergasted, but after Flat Nose Curry (Charles Dierkop) reminds Butch, “you always said any one of us could challenge you,” Butch is forced to face the music. Logan asks, “Guns or knives?” And when Butch complains, “I don’t want to shoot with you, Harvey,” Logan pulls out a twelve-inch blade. Forced to fight (Reversal #2), Butch (and the audience) thinks things will end in bloodshed when he makes Sundance promise to kill Logan if Butch dies in the fight. However, Butch switches it up with a clever ruse, along with an impressive kick to the groin, to get Logan on the ground. And one punch later, the fight is over as Butch has regained control of the gang. (Reversal #3) With Butch, it’s brains over brawn every time.

Act One: Ned Convinces Ned.

Sometimes the reversal of expectations comes in the form of an internal struggle. In Unforgiven, Munny (Clint Eastwood) comes to grips with the fact that he's a failure as a hog farmer. Motivated by money that could help his children, he decides to take The ‘Schofield’ Kid (Jaimz Woolvett) up on his offer to help him kill two no good cowboys who “cut up a lady.” On his way out to catch up with The Kid, Munny stops at the home of his former partner, Ned Logan (Morgan Freeman). Munny tells Ned about the situation and the reward money for killing the two cowboys, asking Ned to look in on his kids while he’s gone. Ned is immediately against the idea of Munny going on this killing, listing reasons why Munny should definitely not go, including the fact that Munny hasn’t shot a gun in eleven years. After doing his best to convince Munny to stay, Ned has an internal change of heart. (Reversal!) And as Munny walks out the door, Logan asks if they could split the bounty three ways. Munny agrees, and the men begin on their journey, together. As any cowboy knows, two guns are better than one.

Act One: Clarice Meets Hannibal.

In this scene, we meet Hannibal Lector... the world’s most charming cannibalistic serial killer. FBI agent Clarice Starling (Jodie Foster) has been warned not to let Dr. Hannibal Lecter (Anthony Hopkins) into her head (or into her organs… liver with fava beans, anyone?) and that she must be the one in control throughout the interview with Hannibal. When she arrives at his cell, she has one purpose: see if Hannibal can help her profile a current serial killer, Buffalo Bill (Ted Levine). Clarice thinks she has the necessary training and tools she needs to be in complete control; however, soon it’s clear that Hannibal is the one calling the shots. Turning the tables, he profiles Clarice, giving a summary of her life… and his assessment is chillingly spot on, leaving her emotionally and psychologically frazzled. The notion that Hannibal has taken control is further illustrated when the only clue he gives her is in the form of a riddle.

Act Two: Kaffee Arranges a Deal.

While this film’s most famous scene is the explosion of “You can’t handle the truth!” the second act of A Few Good Men yields an amazing reversal of expectations scene. Lt. Daniel Kaffee (Tom Cruise) visits his clients, D2, Downey (James Marshall) and Dawson (Wolfgang Bodison). He storms into the room with great news. He has secured the Marines a deal where they will only have to serve 6 months in jail... a tremendous feat considering they are on the line for a “code red.” Kaffee is ready to wrap this case up and wash his hands of it when Dawson rejects the deal. In a powerful moment, Dawson says that he believes he “was right, Sir.” He goes on, saying that he refuses to “dishonor myself, my unit, or the Corps, so I can go home in six months... Sir.” The stinging moment checks Kaffee’s ego. Instead of leaving with a successful plea deal, he leaves the room ready to quit the case.

Act Two: Venkman’s Date with Dana.

It’s no wonder that Venkman (Bill Murray) was psyched for his date with Dana (Sigourney Weaver). I mean, Venkman and Dana…? They go together like ghosts and slime (well...it’s actually the ectoplasm of ghosts in the physical world. Okay. Ghost lesson over). Anyway, Venkman shows up to Dana’s apartment ready for the perfect date night, but as he enters her apartment with flowers in hand, hoping to score, Dana is acting... well, supernaturally odd. Venkman has no doubt been the aggressor in the relationship so far, but in this scene their roles flip. Even though he arrives with intentions of seducing Dana, it is Dana who begins to seduce him. We would expect Venkman to welcome the advances with open arms, but once he realizes that she possessed by Zuul, we are pleasantly surprised watching him squirm to avoid her physical advances. Venkman denying a sultry seductress? A reversal of expectations, indeed!