Beat Analysis - TAKEN (2008)

I'm working on a couple of projects for clients that are similar to TAKEN, so I decided to do a beat analysis.

Director: Pierre Morel
Writers: Luc Besson, Robert Mark Kamen
Stars: Liam Neeson, Maggie Grace, Famke Janssen

Log Line: A retired CIA agent travels to Europe and relies on his old skills to save his estranged daughter, who has been kidnapped while on a trip to Paris.

The real attraction here is that the first film was a success: It did $226M worldwide off $25 budget. But even more interesting is that the sequels did even better. TAKEN 2: $376M w.w. off $45M budget.
TAKEN 3: $325M w.w. off $48M budget.

Moral Premise Statement: Ignoring the presence of evil leads to danger and death; but awareness and prevention of evil leads to safety and life.

Another version could be: Narcissism leads to death, bit Sacrifice leads to life.  (This would more easily embrace Kim's mother, Lenore. 

Two charts and some explanation should suffice.

DISCLAIMER: The two charts in this post are significantly determined by my subjective evaluation of  what is "a beat" and how "intense" the action is in that beat. If I did this again, the charts would look a little different. If you were to do this, they might look a lot different.

BASIS OF ANALYSIS: Most movies move through "sequences" and climax in "moments." "Moments" are often "turning points," "disasters," or "act climaxes." Typically a sequence might have a screen duration of 8-11 minutes, and the climactic moment at the end of the sequence might be 1-4 minutes long. Elsewhere on this blog I write about Paul Gulino's Sequence Approach of dividing the feature motion picture into 8 shorter "sequence" movies, that when strung together gives you the full length feature. At the end of each sequence is a climax, disaster or turning point of some type. What we tend to find is that moments are portrayed in real time and involve a lot of tension, action or decision making; while sequences are portrayed as taking hours or days and involve less tension, little action and are used to "setup" the next moment, or turning point. This sort of structure is very evident in TAKEN.

CHART 1: Beat Action vs. Beat Duration in TAKEN (2008)

This first chart is something new for me. It shows in blue the action intensity of each dramatic "beat" on a scale of 1-10. The orange shows the corresponding "beat" duration in minutes.  Those familiar with the beat structure I teach may remember that a motion picture typically as somewhere between 13-22 major beats. The chart above has 34. I didn't add anything, I simply split up some of the long sequence beats (that could be 12-15 min long) into collections of scenes that seemed to go together as a short sequence. One of the guidelines here were "set pieces" where a great deal of action took place and was isolated. In a movie like TAKEN our hero (Bryan Mills) is on a hunt and he moves from location to location, or set to set, in his pursuit. That's why there are 34, and not 22 or less. Thus, in the chart above the x-axis divisions are equal, and the duration of the 34 beats varies from about 25 seconds to 5 minutes and is indicated by the height of the peaks and valleys of the orange area.

OBSERVATION: I was actually looking for a pattern and I may be reading into this more than is evident. However, I have a theory that in good action thriller films, as the story unfolds, the sequences become shorter and the moments become longer. Since the  moments are where the action is, such a plan would accelerate the action as we get closer to the end. Also, since sequences set up moments, they can be shorter and shorter toward the end because our knowledge about the story world increases as we move deeper into the story and so we need to know less for each new setup.

The above chart suggests this theory. The volume of the orange (beat duration) clearly decreases as the movie unreels, and the the blue (action intensity) clearly increases correspondingly.

Okay, enough of that. Here's the mother-load.

CHART 2: Action Intensity vs. Minutes in TAKEN (2008)

(Click on the chart to enlarge it.) The data of the two charts comes from the same action analysis—that is, the same 34 beats used in Chart 1. Here however, each beat's length is visualized by the width of each column (from about 25 seconds to 5 min 18 seconds).

LABELS
The round tangerine circles indicate important moments:

• I.I. = Inciting Incident.
• A1X = Act 1 Climax
• A2 = Beginning of Act 2 (Crossing the Threshold)
• PPA = Pinch Point A
• MOG = Moment of Grace (Mid Point)
• PPB = Pinch Point B
• PPB2 = Another Pinch Point in Act 2B.
• A2X = Act 2 Climax
• R = Resurrection Beat
• A3X = Act 3 Climax (Final hand to hand battle)

GOALS
Bryan has two goals stated and implied in the Act 1 Climax. Each goal has three parts.

Goal 1. Re: the Kidnappers: "I will look for you. I will find you. I will kill you." (Explicitly stated)
Those three goals are achieved at G:1A, G:1B, and G:1C.

2. Re: his daughter, Kim: "I will look for you. I will find you. I will save you." (Implied)
Those three goals are achieved at G:2A, G:2B, and G:2C.

Notice how the goals are established simultaneously just before he crosses the threshold into Act 2. These are the story questions that the audience hangs on and hopes are all answered: "Will Bryan look for, find and kill the bad guys; and will he look for, find and save his daughter?" Notice how the achievement of the second and third goals are spread out, so the audience always has something to look forward to. A good story holds a carrot out in front, leading us to the end, and the end better be the most important of all the goals. Imagine how dull this movie would be if Kim was rescued early in Act 2—there might be three more goals to achieve, but since Kim is rescued, who cares. "Let's leave." Rightly, the filmmakers rescue Kim at the very end.

THREE DAUGHTERS
Assuming you've watched the movie, notice how there are three daughters that Bryan rescues, each of whom foreshadows the rescue of Kim, his biological daughter. Notice also how the first rescue is from a knife wielding man -- as is the last (bookends). Notice how Bryan acts like a caring father to each of the girls, even though the first two are NOT his daughters. The filmmakers do a good job (casting mostly) by revealing the ironic character of our hero. They never say it, they just show it—at once, he is both extremely ruthless and kind. This trait intrigues our audience in deep, deep ways. It is classically ironic and provides a secondary hook to intrigue the audience.

I will not explain the various beat criteria and how this movie fits them, except to say it does with a few noteworthy exceptions.

EXCEPTIONS TO THE RULE

Exceptions to beat structure work when they are natural to the dynamic of the story. Usually such divergences enhance the organic and natural structure an audience expects. TAKEN is no exception regarding these exceptions.

1. MOMENTS and TURNING POINTS

Major Turning Points: Ideal vs. Actual

• Inciting Incident: Ideal 12.5%, TAKEN 15%.
• Act 1 Climax: Ideal 25%, TAKEN 30%
• Moment of Grace: Ideal 50%, TAKEN 54%
• Act 2 Climax: Ideal 75%, TAKEN 87%
• Final Conflict: Ideal 95%, TAKEN 94%

The differences here are all the consequence of respecting the story's dynamic. Noteworthy is that the Act 2 Climax (Near Death) is delayed because there are two wonderful Pinch Points in Act 2B.

2. NO TIME FOR DARK NIGHT OF THE SOUL

Notice that the Climax of Act 2 (NEAR DEATH) is slammed up next to Bryan's Resurrection Beat, when he pulls the steam pipe out of the ceiling. This again is a good example of the filmmaker respecting the dynamics of an action thriller in the third act. Who wants to wait around for some hero to mope? In DIE HARD, we have a Protagonist, and so the Dark Night of the Soul is a necessary couple of minutes for John McClane to mope about. There's even time for a confessional scene between the sinner (John McClain) and the authority figure or priest (Sgt. Al Powell). But TAKEN does not have a PROTAGONIST; it has a HERO. The difference? See Hero vs. Protagonist post. 

3. MOMENT OF GRACE

Normally, what happens at the midpoint is that the protagonist recognizes the truth of the Moral Premise for the first time and makes some transformation toward it. He/she won't fully transform until Act 3, but at the midpoint, there's a realization of what the character needs to do to achieve the goal.

But in a hero-based movie, the story isn't about the transformation of the hero, but the transformation of things around him or her. So, what do you do at the midpoint? Here is what TAKEN does:

A. Bryan is offered grace the moment he sees Kim's jacket.
B. Bryan is offered grace when he realizes that here's an eyewitness who has spoken with Kim.
C. Bryan makes clear and definite progress toward his ultimate goal by getting Kim's jacket, which he holds close to his heart minutes later when there's time to reflect. And this offers grace to the audience, knowing that he's going to succeed despite all odds.
D. When the drugged girl comes around, he gets his first direct information as to where Kim is...or was, as it turns out. It's a big dose of grace. 

Addendum (added 11/12/25)

AUDIENCE ENGAGEMENT TECHNIQUES

Aside from the structure discussed above, here is a list of storytelling techniques that emotionally capture and engage the audience. The headings are written as actions that the writer of a successful thriller like TAKEN must inculcate into the story.

A. WRITE YOUR HERO AS AN ORPHAN. One of the all-time structural favorites that sucks an audience into any story divides the story into four parts. This concept is discussed by Carol S. Pearson in her book, The Hero Within: Six Archetypes We Live By, and is further explored by Jeffrey Alan Schechter in his book, My Story Can Beat Up Your Story, which narrows the structure down to four parts. It goes this way for the protagonist:

Act 1: Orphan

Act 2A: Wanderer

Act 2B: Warrior

Act 3: Martyr

This perfectly describes Bryan's path. At first, the filmmakers spend considerable time creating sympathy for the lonely Bryan and his adoration and longing for his daughter, Kim, even risking his career as a spy to be home for her earlier birthdays. As the movie opens, Kim celebrates her 17th. Thus, especially in the early scenes of the film, we see how he is obsessed with his princess daughter's happiness and safety. Bryan's character lives for his daughter; he has no other goal in life. Thus, the story is an exploration of what a father is willing to do to protect his daughter, even if it means risking his own life. This is also the major emotional thrust in the Bruce Willis movie Armageddon, where Harry Stamper (Willis) literally gives his life as a martyr for the future of his daughter, Grace (Liv Tyler), who stands in for humanity and all of Earth.

B. EARLY ON,  DELIVER UNMERITED HUMILIATION TO YOUR HERO. Humiliation also plays a part when Kim's affections are drawn to the birthday gift of a horse that her rich step-father presents to her, and Bryan's gift of a cheap Karaoke machine is left on the ground, all but forgotten. We yearn for Bryan to one-up Stuart's gift...which he does in the final shot of the movie. 

C. MAINTAIN YOUR HERO'S CONSTANT EMOTIONAL FOCUS.  As pointed out above, Bryan is a HERO, not a PROTAGONIST, and thus he does not have a physical arc. His goals never morph, which means they are not refined or refocused, as in many other stories where the protagonist unpacks the reality he finds himself in and adjusts his focus. His emotional motivation (if you'll allow the redundancy) remains the same from start to finish. Similarly, Bryan does not have an emotional arc. But his emotion is high and focused and can be described by one word: TENSE, and it doesn't grow deeper or relax until the very end, when Kim is safe in his arms. 

D. SURROUND YOUR HERO BY THE MORAL PREMISE VICE AT EVERY TURN. Two meaningful story adages that apply here are: (1) There is no drama without conflict, and (2) The antagonistic force (the villain) must be pervasive and all-powerful.  The conflict begins at the level of values—psychological values, from which evil actions are encouraged and launched. Since we have a hero (who has no arc) and who is willing to sacrifice his life to protect life, that means he (Bryan) must be surrounded by the opposite. Pervasively, surrounded by the values that oppose him.  Look back at the moral premise statements at the beginning of this post. The value dipoles are Narcissism vs Sacrifice, and Ignoring Evil vs Awareness of Evil. We can stick with the first dipole for this point: Bryan must be surrounded by a Narcissists...and he is, beginning with Lenore (his ex-wife), Kim (his daughter), Stuart (Kim's step-father), and Amanda (Kim's traveling companion). Once onto his quest, the gang of thugs he encounters are all pure-bred narcissists—St. Clair, Marko, Peter, etc., all the way to the Sheik. His only friends, and they are not close, but they are helpful, are his ex-CIA buddies—Sam, Casey, and Bernie. Another way to show the vice is that everyone other than Bryan's closest friends either lies to him,  misrepresents the truth, or hides the truth. 

E. IN ACT ONE, DEMONSTRATE THE HERO'S SUPERPOWER REQUIRED TO ACHIEVE THE QUEST. Some of Bryan's skill and courage is told to us by Bryan's ex-CIA buddies, but we see it when Bryan saves pop star Sheerah's life from an assassin. 

F. THERE SHALL BE NO SLOW PARTS EXCEPT TO TAKE A SHORT BREATH.  The adage here that applies is this: Thou shalt keep your hero on the run for the entire story. He must be either running toward or away from trouble. The movie is a constant chase and race against time, and the hero's life (and his quest) is always and everywhere at stake. When the respite occurs, tension remains as the audience waits for the outcome of the respite and the chase to resume. Example: Bryan nurses a trafficked girl back to health as we wait with bated breath—the clock is ticking. Kim, in an act of love, had given the girl her jacket. Bryan has to wait for the girl to regain consciousness to ask her where she got the jacket. The answer (the red door in Paradise) sends Bryan back on the chase, but the respite is so short that the audience is still on the treadmill. When Bryan sits down with Jean-Claude's family for dinner, we know it's only for a moment before the guns come out. 

G.  THERE MUST BE A DOOMSDAY TICKING CLOCK. Right after Bryan discovers that Kim is kidnapped, he's told that he has 96 hours (4 days) or she's gone forever. 

H. THE HERO SAVES THE DAY JUST BEFORE THE TICKING CLOCK GOES BOOM. Just as Kim is rapped and taken out of Paris on a riverboat by the villain sheik, Bryan breaks into the sheik's bedroom, and before Kim's neck is cut by the sheik's jambiya dagger, Bryan shoots the sheik between the eyes.

I. THE LAW ENFORCEMENT OFFICERS MUST BE INCOMPETENT, ABSENT, OR CORRUPT.  Jean-Claude is on the take. When Bryan chases Peter at the airport and starts a fight, a traffic jam and a traffic death, the police are nowhere in sight. The tail that Jean-Claude puts on Bryan is easily lost, just as Jean-Claude said it would happen. 

J. THE HERO MUST BE SMARTER AND STRONGER AND FASTER THAN EVERYONE ELSE, BUT NOT AT FIRST. Example: Bryan is captured, but he knows that to escape, he can pull apart a steam pipe, turn on a conveniently located valve, and douse the key thug with hot steam. It's almost deus ex machina. Bryan has friends in high and low places, having been in Paris many times in the past on spy missions. He knows the Director of International Intelligence and the owner of a cheap hotel. Bryan knows to remove the bullets from Jean-Claude's gun, which is hidden under his home's toilet. Why? Well, it feels more like a spy movie than putting the gun in a drawer next to J-C's bed.

K. THE HERO NEVER FOLLOWS UP ON HUNCHES, BUT ON CONCRETE CLUES.  Further, our hero is smart enough to take the most basic of clues and know exactly where to look. Examples: Bryan finds the SD card from Kim' phone that has a picture on it of Kim and Amanda at the airport, and in the reflection of the poster ad behind Kim and Amanda is a reflection of Peter, the thug that Bryan recognizes and chases. The girl with Kim's jacket tells him to look in the "red door" in Paradise. Bryan is given the name of a Port Clichy where sex workers and trafficking are active. Through a translator, he's told to go to a construction site. 

L. THE HERO NEVER WASTES TIME TRACKING DOWN BLIND ALLEYS OR RED HERRINGS. Blind Alleys and Red Herrings are for mysteries. This is the basic difference between mysteries and thrillers. In a thriller, every clue is productive and leads closer and closer to greater danger, an escalation of risks, and the culmination of the quest—Bryan's daughter.

M. THE HERO HAS ACCESS TO NECESSARY TECHNOLOGY AND TRANSPORTATION WHENEVER HE NEEDS IT. Bryan knows where the photo kiosk is that will take Kim's SD card and generate a picture. The kiosk will also enlarge and enhance Peter's reflected image. Bryan is able to plant a radio bug on a thug's jacket and pick up the signal through a car's infrastructure. 

Here are no doubt more, but I really must start writing.

Ensuring a Good Roller Coaster Ride for Your Audience

As a script consultant one of my concerns is whether the story is going to give the audience a rollercoaster ride, vs. some dull, slow spots. There are several kids of rollercoasters possible: (1) action, (2) goal progress, (3) dialogue, or (4) emotional tension. Here is how you can quickly CHART and SEE what your script is doing. For a Goal Progress chart (like the one below) open a blank sheet in a spreadsheet program like Excel and do the following:

1. Create a series of numbers in a column corresponding to each page of the script (e.g. 1-106)

2. Step through the script and for each PAGE (not scene) determine whether your hero/protagonist is making progress toward his/her goal or is being pushed away from his goal by the antagonist. Score the whole page on a scale from -5 (regression) to +5 (progression).

3. When you're satisfied that your numbers reflect the hero's progress, select the two columns (page number on left, and values of progress on right) and...

4. INSERT an x-y scatter line chart. When the chart appears, if you see any flat areas where there is no progress, or too much progress back-to-back, you know where to revise your script to get a good roller coaster for the variable evaluated.

The chart above is from a script I've been working on with a write for the past 4 years, and we seem to have a good roller coaster going. Charts like this can be easily correlated to a story's beats such as turning points, pinch points, and act breaks, to say nothing of the mid-point's Moment of Grace.

You'll find other posts about this topic at this link:
http://moralpremise.blogspot.com/search/label/Rollercoaster%20Charts

The Sequence Approach (Paul Gulino)

[UPDATE: Please see Christopher Pratt's (the Other Chris Pratt, not the actor) comment at the bottom of this post. It's instructive.]

I recently reviewed Paul Gulino's book "Screenwriting: The Sequence Approach." I found the book a bit obtuse and not clearly written, but Chris Soth (of ScreenwritingU) makes it easier to understand. Soth calls this structure the Mini-Movie Method (MMM).

This method of structuring a movie divides the story into 8 segments where Act 1, 2A, 2B, and 3 are all divided in half by events like the  Inciting Incident, Pinch Points and the Final Incident, giving you, theoretically 8 equal parts.

Now, think of those eight segments of a movie, each 12.5% of the whole, as INDIVIDUAL movies or long sequences, each with a beginning, middle and end. Or 8 short movies strung together, each with a climax (the moment or turning point).

The 2016 Best Picture, MOONLIGHT, is constructed with three long sequences. The three parts tell the the coming of age story of a gay-black man raised in a poor, drug invested part of Miami. First, as a boy (called Little); second, as a teenager (called Chiron, his give name); and third, as an adult (called Black). The three sections are each preceded by a title card, simply:

i

Little

ii

Chiron

iii

Black

This simple and direct structure, made explicit to the audience, was one (of many) reasons the screenplay won an Screenwriting Oscar for BEST ADAPTATION.

So, what Gulino (and Soth) propose is that you divide your feature into 8 parts, two for each of the major 4 segments: Act 1, Act 2A, Act 2B, and Act 3. These 8 parts are the same segments (less the Prologue and Denouement) you'll see on my StoryDiamond or on the linear representation of a Story's 13-20 Beats --- both represented below in miniature. (Click on the links above for posts that explain. And, click on any diagram for a larger version, that you can actually read.)

  

[BTW: I have updated the StoryDiamond again, and for the first time in six years edited and updated the Annotation or Notes Document that goes with it. If you use the Story Diamond I encourage you to download the latest at the links herein.]

Now, here's the new thing I came away with. If we think of each of these 8 segments, or sequences, or mini-movies as each having a goal that the protagonist needs to achieve, then it's like you have 8 subplots, which run sequentially, as opposed to most subplots that run in parallel.  Here's a diagram I crafted. Below the diagram is a further explanation. (You can click on any image to make it bigger.)

1. One good way to hook your audience is that each of the sequences has a goal. Let's call the first seven, "subgoals," as the end point of each of the subplots. (In the digram, the subgoals are symbolized by the red stars). The story must be constructed in such a way that each subgoal MUST be achieved before the next subplot can be engaged, and the next subgoal be achieved. That is, the first subgoal is logically nested (and its resolution more or less resolved) before the second subgoal can be pursued and achieved. This is very much like a video game (which I don't play) where to get to the end of the game you have to acquire all the earlier magic lanterns, or pots of gold along the way. If you miss one, you stop dead in your tracks. 

The trick is to construct a story where the eight subplots and subgoals are logically dependent, nested and chronologically sequential. The later goals all have to be subservient to the earlier goals. (Soth used INDIANA JONES AND THE LOST ARK as an example.) And in movies like THE LOST ARK you can even think of each of the 8 subplots with their attending subgoals as "set pieces" or locations. So, you have a 11 minute adventure in one wilderness location, there's a 1.5 minute climax where the protagonist finds some level of defeat and that propels him or her to the next set piece and the next sequence. Come to think of it the James Bond movies are pretty well structured like that. 

2. Of course, each of the subgoals MUST support the final main goal. This is what I teach about subplots (that run in parallel) and their subgoals—e.g. every subplot goal must be related to the single moral premise, and the virtues and vices associated with it. That is, every subplot has to struggle with the same conflict of values, but perhaps in a different way.  In Gulino's Sequences (and Soth's Mini-Movies) the subplots are sequential, and logically dependent. This is brilliant. 

3. The process suggests that just after each goal is achieved, there is an increasingly terrible and epic failure on the part of the protagonist, which causes his hopes to descend into fear. According to the Moral Premise theology (yeah, I should start a religion), these immediate descends are the consequence of two related forces: (1) the action of the antagonist, and (2) the weakness of the protagonist, which is a milder form of the powerful vice exerted by the antagonist.

Do I need to point out the emotional roller-coaster effect this creates? Alas, one of my bully pulpits. 

This perfectly follows an age-old concept of novel writing—in every scene-sequel sequence there is a DISASTER that spurs the action forward (or in a new direction...a mini-turning point). Here's a diagram from my on-line workshop (Storycraft Training). An explanation follows.

Novel Scene-Sequel Sequence (simplified)

Running from left to right in the above diagram. (1) The protagonist has a physical GOAL to achieve. (2) The protagonist takes action to achieve that goal, and in so doing creates CONFLICT with the antagonist. (3) Because of the conflict, the goal is not fully achieved, resulting in a DISASTER. (4) The protagonist experiences an EMOTIONAL REACTION, which acts as a motivation to keep going. (5) The protagonist spends some time evaluating in his mind (THOUGHT) the DILEMMA faced, until... (6) The protagonist makes a decision about the next goal and takes the fist steps to achieve it. [And the process REPEATS starting with the new goal.]

Now, I've added a couple of things from my other workshop sessions (c.f. Storycraft Training). Let me repeat the diagram for ease of reference.

4. Each sub goal has to be harder to achieved, and the conflict and tension associated with its accession has to be higher than the last subplot and goal. I have gradated the vertical scale into +8 and -8 levels. 

5. Likewise the disasters (represented by the black dos) are increasing terrible. Thus, the goals and the disasters, get farther and farther apart, creating an escalating emotional roller coaster. the dipole here is HOPE vs. FEAR—a good way to convey it on an emotional level, which for a story is critical. Of course there are other ways to define the roller coaster, e.g. rationally (Is the protagonist progress toward the goal progressing or retarding?), and/or morally (Is the essential truth of the moral being tested true or false?) 

6. Lastly, going back to my earlier description of the 13-20 beats, the Turning Points and the Pinch Points have a characteristic difference in how each of those seven disasters occur. The odd number disasters (above, i.e. 1, 3, 5, 7) are initiated or caused by the antagonist's power, whereas the even number disaster (above, i.e. 2, 4, and 6) are caused by the protagonist's weakness, blindness, and poor judgement. 

Comments?

Creating Emote Pacing Charts of a Story

Alex Melii asked how the emote charts were created in an earlier post on Rollercoaster Story Pacing Charts.

I recently created a chart for a different version of the same screenplay mentioned in the above post. It's now titled PARABELLUM. It's an teen-wartime-actionier story. 

In 1943, near Berlin, a rebellious 14-year old German girl dares to battle her mother's fiancé, a blood-thirsty S.S. Colonel, to rescue her Jewish friends from the ghetto before they’re liquidated. If you wish for peace, PARABELLUM. 

That genre and log line will explain the severe up and down slopes of the chart below, and the sustained high emotion of the final scenes.

As I explained in the earlier post about charts, the first time we created this chart for the script, there was this long slow (no action) part in the middle that obviously was out of place in a wartime-actionier script. So, those scenes were brushed, which also helped to shorten the story and get it below the 120 page limit, and closer to the 110 ideal.

At this point I explained (in a previous version of this post) how I took the Scene Length and Dialogue information from a Final Draft Report, and converted into data that generated the above chart. But in trying to do it again, the instructions were just too long and confusing, so I deleted it all.

What I would do to day is discussed here: https://moralpremise.blogspot.com/2019/07/ensuring-good-roller-coaster-ride-for_3.html

Rollercoaster Charts

Just finished a couple of revision passes on D.K.N. (Naughty Little Nazis) a screenplay by Nikita Mungarwadi that we're developing.

Log Line: A 14-year old German girl battles an Nazi S.S. officer and his platoon to rescue her Jewish friends from the ghetto before they are liquidated.

The most recent revisions dealt with pacing. Since this is a war-time action picture, we had to make sure there were no long slow spots. In fact, while producing this graph we eliminated six pages that slowed the story down.  The numbers on the bottom indicate "calculated" pages based on Final Draft's 1/8 page as the smallest scene length... the actual script is shorter than the chart indicates.

Click to Enlarge

The top chart (Progress vs. Regression toward Goal) measures the scene's portrayal of the protagonist's progress or lack of it toward her goal. The Moment of Grace is near the center of the chart at the GREEN ARROW. Until that scene the protagonist's efforts are up and down, without any great progress. But after the protagonist learns some tough lessons that takes her to apparent defeat (end of Act 2) -- she rises to apply the moral premise and finally make serious progress toward her goal. Yet, there are repeated set-backs of ever escalating danger all along the way.

The bottom chart shows how much reflection vs. action exists and where.  As we should hope, as the story progresses the action becomes more intense, with the clear majority of the story above the line, well into the action arena.

The RED arrow is the Inciting Incident. BLUE the beginning of Act 2. GREEN the Moment of Grace. PURPLE the Climax to Act 2. YELLOW the beginning of the Final Conflict, with the Act 3 Climax occuring there the action and the coaster action gets the most fierce. These turning points are not positioned perfectly, but they respect the dynamics of the story. As we move forward we may find the need to adjust them.

If you want to know how these charts were created, HERE ARE THE INSTRUCTIONS. I began with Final Draft's Scene Report and used Excel 2011 chart generator.