I like to start off this part of analysis by identifying four major plot points: The Opening, end of Act One, end of Act Two, the Final Struggle. So here's my take on the script: The Opening: PP. 1-11 which establishes the taking of the hostages and the Six going into hiding at Canadian embassy. Act One end: PP. 27-32 in which Mendez gets the idea for the movie, intro Chambers, pitch the idea at CIA HQ, then off to Iran. Act Two end: PP. 89-93 in which the plan is called off Final Struggle: PP. 104-114 in which the group passes through the final checkpoint, board the plane, and go airborne, intercut with multiple shots of Iranian authorities getting closer and closer. Those four plot points, two of them full-on sequences, represent the key backbones of the story's structure. You can 'see' the contour of the story just from those four sets of scenes. This underscores the critical importance of each of us determining these four major plot points in our OWN stories. Okay, so what other major plot points are there in Argo?

I broke it into nine points: Embassy overtaken, six hostages flee to Canadian ambassador Mendez assigned to case, comes up with movie idea CIA backs the plan, Mendez meets with Hollywood producers to set it up Mendez arrives in Iran, meets the six & tells them the plan Mendez & the six meet Iranian Minister / Iranians suspicious, interrogate ambassador's maid CIA wants to close the operation, Mendez decides to go through with it Iranians learn the six's true identity / Mendez & the six arrive at airport The six are interrogated, barely pull off the ruse Mendez & the six escape just in time as Iranians rush to stop them

Here's my take on the key points. Page 12-13: Inciting incident - Government learn of the hostage situation. Page 27-32: Break into Act 2 - Mendez has movie idea. Page 57-58 :Midpoint - Mendez realises the stakes. A point of no return. Page 89-90: Black moment - Mendez learns the rescue is being pulled. Page 100-114: Final push - The 6 clear passport control and make it out of Iranian airspace.

Perhaps too detailed for what you're after S, but bridging plot points--specifically relationship development plot points-- rose to the surface for me: UNREST, VIOLENCE, CAUGHT IN CROSSFIRE 1-13 THREE PARTIES PLOTTING HOW TO MOVE TOWARDS ACTION: AMERICAN/CIA, HOSTAGES, IRANIAN SECURITY 14-26 AN NEW IDEA PROPOSED –UNDER PRESSURE 27-33 THE NEW PLAN IS STAFFED—MEET MINOR CHARACTERS 34-40 FUN AND GAMES MINOR CHARACTERS – PUTTING WHEELS IN MOTION FOR UNIQUE PLAN 40-54 INTO THE LION’S DEN 55-67 TICKING CLOCK AND CONFLICTING IDEAS/IDEALS 68-79 DRY RUN -- FEELING EACH OTHER OUT 80-88 RUG PULLED OUT FROM UNDER 89-92 IT’S A GO 93-99 BAD GUYS CLOSING IN 100-104 TRUST -- THE FINAL COHESION OF THE GROUP 105-108 THE CHASE 109-114 A RETURN AND CELEBRATION 115-117 DISPERSAL 118-120 EPILOGUE 121-122 -Shelley

P1-11: Point of attack: The embassy is occupied. Six employees escape. P11-16 Ticking Clock forces Action: The Iranians are re-assembling shredded documents, will soon know who escaped. P17: The Call to Adventure: Mendez is invited to the meeting to discuss rescue options. P29-31: Establishing the Objective Goal: Mendez proposes the cover story of making a "Canadian" movie in Tehran. P31-40: Crossing a Minor Threshold: Mendez goes to Hollywood to recruit allies and find a script. P41-49: Minor Test of Objective Goal: Mendez and his Hollywood allies stage a PR event to make the project look credible. P50-56: The Lock In: Mendez gets the green light to proceed. P57-66: Crossing the Major Threshold to the Innermost Cave: Mendez arrives in Tehran. P67-78: Rally and Rehearse: Mendez meets the group, gives them their "movie" roles. P78-89: Major Test of Objective Goal: The group convincingly "scout" for the "movie". P90-94: Major Reversal of Fortune: Washington calls off the rescue. P95: Defying the Gods and the Odds: Mendez decides to go ahead anyway. P96-114: Escaping the Innermost Cave: Mendez takes them to the airport... and eventually all take off on the jet. P115-116: Objective Goal achieved: Out of Iranian airspace, Mendez drinks to success. P116-122: Catharsis and Denouement: Celebration and final payoffs.

Interesting all these takes on plot points and the various language systems. Actually quite a bit of 'bleed-over' into tomorrow's discussion: Sequences. Shelly and Paul, if you don't mind, I'd like to use your takes as part of the blog post tomorrow.

I think these are the major points on which the story turns. There are several sub plot lines which also spin story along, including: 1. How long Canadians will keep the 6 2. Whether Joe will go along with ex-fil 3. The attitude of State and the White House o the plan, as the country moves closer to the election 4. When the Iranians will learn there are 6 missing Each of these sub or mini plots keep the pacing very tight and keep the story moving forward.

I think these are the major plot points. I also see several sub or mini plot points: 1. How long the Canadians will continue to house the six 2. Whether Joe will join in 3. Will the maid betray them 4. What is the attitude of State and the White House towards the plan as the election nears 5. When will the Iranians learn there are six missing Each of these plots pull throughout the script and drive the story forward.

This is a great point, Nora. Subplots are critical in crafting a story for a variety of reasons including, as you say, "spinning the story along," creating a sense of pace through cross cuts from one subplot to another. We can add another couple to the list: * The selling of the 'movie' * Mendez relationship with his wife and child (admittedly a tiny one, but it's where he gets the inspiration for the movie charade and does provide a little bit of emotional resolve when he returns home at the very end).