The structure of The Grand Budapest Hotel is an example of how traditional models of screenplay structure including my beloved Three Act Structure are found wanting. Why? Because TGBH has its own structure that works fine and dandy, thank you, even to the point of receiving an Oscar nomination for Best Original Screenplay. Here is my take on the Major Plot Points: 1-8: Prologue. 15-16: Gustave bids farewell to Madame D. 19: Young Moustafa hired. 23-24: Agatha introduced. 26: Madame D has died. 34-39: Reading of will wherein painting Boy with Apple left to Gustave. 42: Gustave and Moustafa 'steal' the painting. 45: Gustave arrested for the murder of Madame D. 49: Gustave in prison. 56: Prisoners have discovered a way to escape, but need digging tools. 60: Tools delivered via Agatha's bakery goods. 66: Jopling kills Kovacs. 75: Gustave escapes, met by Moustafa, call to Society of Crossed Keys. 83: Escape discovered, Jopling in pursuit. 87: Serge's sister's death revealed. 95: Gustave and Moustafa meet with Serge, learning of second will, only Serge is strangled by Jopling. 99: Moustafa sends Jopling off the mountain to his death. 109: Shootout at the Hotel, copy of the second will - everything left to Gustave. 114: Train stopped by Nazi soldiers. 117: Denouement. You could make an argument that there is the broad movements of Beginning, Middle and End: Beginning: 1-45 up to the point where Gustave is arrested. Middle: 45-75 imprisonment and escape. End: 75-117 chase and resolution. I suppose that has some value, but if there is a script that speaks to the role of sequences as the key constituent element to its structure, it may be The Grand Budapest Hotel. Likewise it speaks to the value of subplots and the expertise with which Anderson crafted all the moving parts into a unique viable whole.