Invasion of the body snatchers beat sheet

Invasion of the Body Snatchers Beat Sheet
Establishing shot pan following police car. Non-diegetic music (violins) putting the audience on edge.
Miles’ fist line of dialogue, protesting he’s not crazy whilst looking like a mad man and being held back. Emphatic sound, a non-diegetic sound effect matching Miles’ actions as he lunges forward and grabs the doctor. (1:55)
Finds out other man is a doctor from a mental institute and shouts he’s not insane. Reaction shot CU, over-the-shoulder. (2:08)
Miles starts to narrate the story as the films told in flashback. Dissolves to the next scene. “First glance everything looked the same. It wasn’t. Something evil had taken possession of the town”; sets the scene. (2:37)
Young boy runs out in front of car with Woman running after him who goes to explain he doesn’t want to go to school. Miles narrates “The boys panic should have told me it was more than school he was afraid of”; connoting to the audience something behind the scene is going on. Non-diegetic sound creating suspense. (4:18)
Cuts to Miles in doctor’s surgery, no major incidents got rushed back for nothing. (5:10)
Continuity cut to outside. All Miles’ patients are out and about doing their usual thing, nothing at all seems wrong. (5:25)
Miles’ old love, Becky, tells how her cousin believes her Uncle is an imposter. Non-diegetic sound adds emotion and suspense. Shot-reverse-shot. (6:16)
Sam meant to have appointment but says it wasn’t anything important. (7:45)
Miles about to leave surgery, woman drags young boy in (same one from earlier in the film) who’s in hysterics saying his mother isn’t his mother. Begs Bennell not to let her get him(8:40)
Bennell dismisses the boys claims and tells his grandmother to look after her for a few days while the boy in the background countinues to plea. Boy persists his mother isn't his mother and shouts at Bennell when he suggests it.(9:43)
Bennell goes to Wilmer's house to investigate her claims that her uncle was not her uncle. at 11:00, she explains in more detail the symptoms of being exactly the same but something's missing; no emotion.
12:00: Bennell assures Wilmer that there is no way it can't be her uncle.
12:53: Wilmer asks Bennell if she's going crazy. Bennell says no but says that she should go see his doctor friend Dan that we see in the opening sequence of the movie.
14:00: Encounters her uncle directly. His actions are eerie. Narration describes Bennell's distrust of her uncle despite what he's said to Wilmer but can't see why.

0:21:37 - "Body" has no fingerprints.
0:22:20 - Wife speculates the body is a clone of Jack.
0:25:52 - "Body" has same cut on hand as Jack. Changing into him.
0:27:35 - Doc rushes to Becky's house, check she's safe.
0:29:00 - Searches Becky's house for Becky.
0:30:12 - Finds Becky clone in house basement.
0:31:10 - Takes real Becky and runs for safety in his own home.
0:32:15 - Doc, Jack & Dan enter Jack's home, "Body" is gone, no trace.
0:33:05 - Dan tries to rationalise the "Body" incident.
0:34:14 - "Body" at Becky's has also disappered.
0:35:00 - Dan continues to rationalise experiences.
0:35:35 - Police officer arrives, gives an explanation of missing "Body" at Jack's
0:38:45 - Patient cancels phychiatrist appointment
0:39:15 - Patient walks inside house, no expression , monotone voice.
0:39:42 - Small delerious boy from start of film is in Doc's office, made full recovery.
0:39:58 - Doc asks himself why all his patients cancelled, knowing he didnt help them.


Bennell arrives at Jack's house where they are preparing a barbique.

cut to dutch angle of inside Jack's glasshouse when Bennel enters to find something to help the coal burn. Revealed there is an alien pod inside the glasshouse beginning to take form of someone.

Bennell notices the pod. Extreme close up of his face to stress his shock.

The whole group is alerted to the presence of the pod. Close ups of members of the groups to show the shock and their reaction.
Dialogue tells the audience the nature of the the seed pods. "Something or somebody wants this duplication to take place... when the process is completed the original is probably destoryed or disintergrates... There isn't any danger until it's fully formed."
The group then realise it's when you fall asleep it's when the transformation takes place.

Dutch angle of a group of alien pods foaming.

Bennell tries to call the FBI. Mentions that so many discoveries have been made over the past few years the pods could have come from anywhere, including atomic radiation.
Dialogue during this sequence reminds audience of what has happened during the film and summarises what we know about the alien pods.
The operator tells Bennell his call hasn't gone through; Bennell suspects the telephone office has been taken over.

Human shapes begin forming from the pod's foam. Jack realises they all resemble the group at his house.

Bennell sends Jack and his wife off to nearest town to get help. Bennell realises that they've taken over the phone lines; he has to stay with the phone to answer it when the operator calls back or they'll know they've left town and will block the roads.

Bennell goes into the greenhouse to kill the pod humans; unable to bring himself to kill Bekkie's duplicate.

Bennell and Bekkie decide to leave to find his nurse Sally, his "best bet" for someone to trust. Stop at gas station to try and use a pay phone to call her.

Gas man takes keys "to open the gas tank." Bennell notices him in the boot of his car and is suspicious.

Bekkie and Bennell drive off; in a dark road they pull over and open the trunk to find two alien pods. They set fire to them before driving off. Bennell no longer sure if he can trust anyone.

Arrives at Sally's house. Bennell goes to have a look to make sure it's safe while Bekkie waits in the car. Ready to make drive off quickly.

Bennell discovers a group of sinister invaded in Sally's house. They have a pod ready to replace the baby of the house.

Bennell approached from behind by an invaded policeman. Is told "we've been waiting for you". Bennell escapes but is pursuied by the invaded members of the house.

cuts to inside police cars with a voice over the radio telling all units to catch Bennell and Bekkie. Also shots of various police cars travelling in various directions to show these roadbloacks being installed and the whole force is after the couple.

Bekkie and Bennell turn down a dark alley and park their car and abandon it. Framed in an enclosed hallway to show that they are caged in and trapped.

The two hide in a wardrobe to prevent being seen. Look out onto the room through a barred window to represent their entrapment while waiting for Jack to return with help.

The pair take drugs to help them stay awake. Dialogue reinforces what happens if they fall asleep; they'll become like them. Also reinforeces the importance of individualism and Bennell's feelings for Bekkie whom he kisses.

Population of the town turn up outside. It's too early for this type of activity (7.45am). Realises it's becaus ethere are a bus load of strangers in town and the police arrest them.

Jack arrives; reveals he's been invaded and he turns up with police. Told not to fight it, he has to sleep some time.
Told there's no need for emotion; everyone will be the same.
They also gather to hand out pods to the population to spread the invasion tp sorrounding towns.

1:00:30 - shot reverse shot, eyeline match, non diagetic sound, "there is no need for love", plants (reminder of what once was?) and desk (give aliens more authority).




1:01:16 - "I want to love and be loved", violin fades in, reaction shot, close up.




1:03:53 - doors block exit, medium close up pan, revenge, slightly louder




1:05:45 - average american street, long shot, scream as the actors pretend to be emotion-less, diagetic, shot reverse shot/action shot.




1:07:15 - hills and vegitation as well as people with car, crane high angle pan, town/them running to get them, diagetic and emphatic, establishing shot/reaction shot.




1:09:54 - mining cave with doards in floor, long shot, scared and exasperated/fearing for their lives, diagetic and empathetic, interior shot.




1:15:16 - mud and water, close up, emotion-less, non-diagetic, establishing shot.




1:18:06 - traffic at night (car lights), close up, terror "you're next", reaction shot.




1:18:34 - simple and plain room, medium close up three shot, sarcasm and despiration "you don't believe me", diagetic, reaction shot/jump cut.




1:20:02 - doorway in hospital, close up, fearful but releaved, emphatic, reaction shot.