Get out!

Andre Hayworth, whose own consciousness is now trapped in the Sunken Place while his body exists as “Logan King,” yells the movie’s most iconic line at Chris after Chris’s phone camera flashing disrupts his Coagula conditioning. This sudden, alarming outburst and Andre’s simultaneous and profuse nosebleed are the first undeniable sign that something is wrong at the Armitage estate. Though the guests dismiss his reaction as a seizure in order to reassure Chris, Chris recognizes the urgency and panic in Andre’s voice and begins to grow suspicious of Dean, Missy, Rose, and Jeremy. 

This moment also reveals that the Coagula procedure does not completely erase the original owner of the body. Rather than being a passive passenger, Andre still exists and is fighting to get out. The flash temporarily frees him, but he only has seconds to convince Chris that he is in danger. He uses his brutally brief moment of free will to try to warn him, and the brevity and simplicity of the phrase he chooses—two words, screamed—is chilling. Chris knows that something is badly wrong, but by the time he realizes the full truth, the Armitages have already trapped him. 

Missy Armitage: Now, sink into the floor. 

 

Chris Washington: Wait, wait, wait, wait, wait. 

 

Missy Armitage: Sink. [...] Now, you're in the Sunken Place. 

This dialogue occurs between Missy and Chris during the “therapy” session where she first hypnotizes him. The combination of her words and the rhythmic stirring of her spoon in her teacup send Chris into a trance. He’s mostly conscious, but he cannot move and can only see his body and surroundings through a small, screenlike opening. It’s a moment of complete and involuntary loss of control, where Chris is forced to watch his own body move without his input or his consent.  

The phrase itself reinforces Missy’s dominance over Chris and the other people she hypnotizes. She has invented the “Sunken Place” as a way of pacifying her victims, and she is powerful enough to convince Chris he is truly trapped in it. She speaks calmly, showing no emotion as she takes away Chris’s autonomy. After this moment in the movie, Chris loses all physical power whenever he hears the sound of Missy’s spoon in her teacup. This disruption of his bodily agency eventually allows the Armitages to subdue him and begin preparing him for the Coagula procedure. The movie later reveals that Missy has permanently trapped the consciousnesses of Georgina, Walter, and Andre in the Sunken Place—a horrifying fate that Chris nearly shares.  

You were one of my favorites.

Rose says this to Chris after he’s been hypnotized by her mother and is being carried down into the basement of the Armitage house. Her detached tone makes it clear that she never really loved Chris and saw him only as a target. This moment removes any doubt about whether Rose felt real affection for him—her entire relationship with Chris was just part of the Coagula cult’s scheme.  

The statement that Chris was “one of” her favorites also chillingly implies that Rose has done this many times before (this was previously hinted at when Chris found a hidden box with photos of Rose posing affectionately with other Black men, despite having told Chris that he is her first Black boyfriend). Her use of the past tense here also suggests that she has already moved on from Chris; she expresses no regret or guilt for the trap she laid, the brutal surgery Chris is soon to endure, or the horrible fate he is destined for. This line exposes the depth of Rose’s manipulation and her utter lack of real feelings for the Black men she victimizes. She plays the role of a loving partner until the moment it no longer serves her purpose. Once she reveals her true self, Rose completely withdraws from the emotional connection she feigned with her “boyfriends.” She never saw Chris as anything more than a means to an end.

Chris: So, I was the first Black guy you ever dated.

 

Rose: Yeah, so what? 

 

Chris: Yeah, so this is uncharted territory for them. You know, I don't want to get chased off the lawn with a shotgun.

 


Rose: You're not going to. First of all, my dad would have voted for Obama a third time if he could've. Like, the love is so real.

This exchange between Rose and Chris early in the movie establishes Chris’s initial unease about meeting Rose’s family. It also foreshadows the awful, many-layered deception at the heart of Get Out. Chris approaches the conversation with humor even though he’s nervous; he’s trying to mask his concern about how Rose’s family might react to their interracial relationship. His comment about getting “chased off the lawn with a shotgun” is a reference to the all-too-common historical (and current day) violence perpetrated against Black men in white spaces. That violence was often even more vicious when those Black men were romantically or sexually involved (or suspected to be) with white women. Chris understands that even seemingly progressive families can hold prejudices, and he wants to prepare himself and Rose for any discomfort or hostility. 

Rose immediately dismisses his concern, protesting cringe-ly that “the love is so real.” By brushing off the significance of Chris being her first Black partner, she’s trying to present herself as someone who does not see race as an issue. She assures him that her family is welcoming, trying to emphasize their lack of prejudice with her comment about her father voting for Obama, a statement that comes off as a little performative. It also feels a little rehearsed, as she brings up her father’s supposed political views without prompting, and Dean himself makes a very similar comment when Rose and Chris arrive at his home. 

I want your eye, man. I want those things you see through.

Jim Hudson, a blind art dealer and former artist, says this to Chris while explaining why he bid on him during the Armitages' secret auction. Unlike the Armitages’ other guests, who express creepy, fetishized views of Black bodies, Jim insists that he doesn’t care about Chris’s race. Instead, he claims he wants Chris’s artistic "eye"—his talent and unique way of seeing the world. Regardless of how he tries to frame his intentions, his true goal is to steal Chris’s body and abilities for himself. Even under the guise of admiration, Jim’s desire reduces Chris to a set of traits he can possess, emphasizing how deeply selfish and entitled Jim is. He insists that he does not care about race, yet he enthusiastically participates in, and hopes to benefit from, the Armitages’ sinister system of control and dehumanization.  

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