* Hero's triumphant return in the final scene.
* Here's to a scheming clergyman whose plan actually has the desired effect. Yes, Laurence, we're looking at you.
* Antonio's series of monologues in 5.1 where he pretty much tells off everyone.
--> '''Antonio:''' Boys, apes, braggarts, jacks, milksops!
--> '''Leonato:''' Brother Anthony-
--> '''Antonio:''' HOLD YOU CONTENT!
* When Boracchio is explaining the plot to destroy Hero to Don John. Bonus points if Don John throws on an EvilLaugh for good measure.
* Beatrice and Benedick's first argument.
* Dogberry and his bumbling crew exposing the whole sham.
-->'''Borachio''': What your wisdoms could not perceive, these shallow fools have brought to light.
* Let's face it. B & B have slapped each other around so much, they have the best chance at happiness of any pair Shakespeare ever wrote.
* Leonato railing at Claudio and Don Pedro for their treatment of Hero and his brother, Antonio, backing him right up, openly challenging the duo to a fight.
** Bonus points for the 1993 movie of Antonio played by ''Brian Blessed.''
** Also bonus for a production that turns the role into Atoni''a''. A woman railing about and challenging these lords is even more amazing.
*** Or the Tennant/Tate version, where Hero's mother Innogen, who is mentioned some versions of Shakespeare's script, but has no lines, is given Antonio's role and most of his lines.
* When the truth is discovered and Leonato shows up, he coldly mocks Claudio and Don Pedro for their actions, clearly getting some satisfaction out of it.
-->'''Leonato''': I thank you, princes, for my daughter's death. Record it with your high and worthy deeds. Twas bravely done if you think of it.
* Beatrice's 'If I were a man' speech, when she shows Benedick and the audience ''exactly'' how little she is prepared to take Claudio and Don Pedro's shitty treatment of Hero, and actually convinces Benedick to challenge Claudio to a duel since she can't do it herself, however much she'd love to.
--> '''Beatrice:''' Is he not approved in the height a villain, that hath slandered, scorned, dishonored my kinswoman? Oh, that I were a man! What, bear her in hand until they come to take hands and then, with public accusation, uncovered slander, unmitigated rancor—O God, that I were a man! I would eat his heart in the marketplace.
--> '''Benedick:''' Hear me, Beatrice,—
--> '''Beatrice:''' Talk with a man out at a window! a proper saying!
--> '''Benedick:''' Nay, but Beatrice,—
--> '''Beatrice:''' Sweet Hero! she is wronged, she is slandered, she is undone.
--> '''Benedick:''' Beat—-
--> '''Beatrice:''' Princes and counties! Surely, a princely testimony, a goodly Count Comfect; a sweet gallant, surely! O! that I were a man for his sake, or that I had any friend would be a man for my sake! But manhood is melted into cursies, valour into compliment, and men are only turned into tongue, and trim ones too: he is now as valiant as Hercules, that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving.
** In this, Creator/EmmaThompson's [[https://www.youtube.com/watch?v=1WDos5YgNjI enraged rant from the 1993 version]] kicks Creator/AmyAcker's quiet boil from the 2012 version to the curb. You halfway expect Thompson's Beatrice to issue Claudio a challenge and take care of business herself without the need to use Benedick as an intermediary.
* Benedick coldly telling Claudio "you are a villain," the young man laughing until he realizes Benedick is dead serious. Benedick then quits the Prince's company while telling him and Claudio off for their part in this.
** The 1993 version makes it more dramatic as Benedick grabs Claudio by the face and ''rams'' him into a wall before delivering his speech to make sure the message gets across.