Three Billboards Outside Ebbing, Missouri

Solid story structure supports & strengthens this meaningful narrative.

Written and directed by Martin McDonagh, Three Billboards features captivating performances from its trio of lead actors. Under-celebrated, and perhaps more responsible for the film's success, the narrative stands out as a reliable and competent example of a Personal Triumph. The interrelated nature of the narrative's Storypoints cast a strong and compelling argument: Vindication awaits those who continue to defend against the indefensible, even if it means inventing a scapegoat.

Three Billboards in the Story Atomizer

Mildred Hayes (Frances McDormand) starts the narrative with her introduction of the three billboards calling out Sheriff Willoughby (Woody Harrelson) for his failure to find her daughter's rapist and murderer (Story Driver of Action](https://subtxt.app/storypoint/story-driver/action "Story Driver of Action - Storypoint - Subtxt") and [_Objective Story Focus of_ Inaction). As Protagonist, Mildred wants Willoughby to identify the killer--if for no other reason than to make sure this kind of thing never happens again (Story Goal of Learning](https://subtxt.app/storypoint/objective-story-goal/Learning "Story Goal of Learning - Storypoint - Subtxt") and Objective Story Direction of Protection). Willoughby initially balks, stating rules and regulations and procedures that prevent infringing on other's rights ([_Objective Story Catalyst of_ Prerequisites). While conflict in the narrative finds its basis in the pursuit and prevention of reopening the investigation (Overall Story Concern of Learning](https://subtxt.app/storypoint/verall-story-concern/Learning "verall Story Concern of Learning - Storypoint - Subtxt")), the Author measures the character's level of concern with a greater understanding of each other ([_Objective Story Benchmark of_ Understanding).

A striking example of this connection between Concern and Benchmark lies in the brief moment of heart encountered within Willoughby's office (Relationship Story Domain of Psychology](https://subtxt.app/storypoint/relationship-story-domain/Psychology "Relationship Story Domain of Psychology - Storypoint - Subtxt")). Agitated by Mildred's firm position and refusal to back down ([_Main Character Throughline of_ Mind and Main Character Concern of Preconscious](https://subtxt.app/storypoint/main-character-concern/Preconscious "Main Character Concern of Preconscious - Storypoint - Subtxt")), Willoughby hacks violently. By spitting up blood on Hayes, the Sheriff reveals a possible source of his lack of action: pancreatic cancer ([_Obstacle Character Throughline of_ Universe and Obstacle Character Transit 2 of Progress](https://subtxt.app/storypoint/influence-character-signpost-2/Progress "Obstacle Character Transit 2 of Progress - Storypoint - Subtxt")). For a brief second, Mildred reveals compassion for her adversary—releasing tension and signifying the potential for development in their relationship ([_Relationship Story Inhibitor of_ Appraisal and Relationship Story Problem of `Reaction).

Mildred suppresses compassion throughout the narrative, causing her to miss the forest for the trees (Main Character Concern of Conscious](https://subtxt.app/storypoint/main-character-concern/conscious "Main Character Concern of Conscious - Storypoint - Subtxt")). Driven by the chance that she had something to do with her daughter's murder, Mildred projects her need for punishment and retribution onto this mystery assailant ([_Main Character Problem of_ Possibility and Main Character Critical Flaw of `Need).

The first half of the narrative finds Mildred moving out of inciting responses and into painful memories of her daughter (Main Character Transit 1 of Preconscious](https://subtxt.app/storypoint/main-character-signpost-1/Preconscious "Main Character Transit 1 of Preconscious - Storypoint - Subtxt") and [_Main Character Transit 2 of_ Memory). Willoughby's suicide and subsequent letter extolling the possibility of a brighter future down the road (Story Driver of Action](https://subtxt.app/storypoint/story-driver/action "Story Driver of Action - Storypoint - Subtxt") and [_Obstacle Character Transit 3 of_ Future) pushes Mildred into violent rage (Main Character Transit 3 of `Subconscious).

But it's ex-husband Charlie (John Hawkes) who gives her a moment of pause and quiet reflection as to her blindness (Main Character Transit 4 of `Conscious). He lit the fires that burned down her billboards, not Officer Dixon (Sam Rockwell).

Her anger and subsequent fire-bombing of the Ebbing Police Station was unwarranted—another case of over-reacting (Story Driver of Action](https://subtxt.app/storypoint/story-driver/action "Story Driver of Action - Storypoint - Subtxt") and [_Objective Story Problem of_ Reaction).

Dixon takes over for Willoughby after the Sheriff's passing in a classic Obstacle Character hand-off. Dixon's over-reaction and defense of all things Willoughby situate him in a perfect position to take over this critical point-of-view (Obstacle Character Problem of Reaction](https://subtxt.app/storypoint/influence-character-problem/reaction "Obstacle Character Problem of Reaction - Storypoint - Subtxt") and [_Objective Story Direction of_ Protection). His time spent in recovery and reflection on his current predicament—and the letter from Willoughby—help push him in the right direction (Obstacle Character Solution of `Proaction).

While Dixon's investigation fails to identify who raped Mildred's daughter, it does create the opportunity to find retribution elsewhere (Objective Story Outcome of Failure](https://subtxt.app/storypoint/objective-story-outcome/failure "Objective Story Outcome of Failure - Storypoint - Subtxt")). By inventing a scapegoat, someone to saddle the blame, both Dixon and Mildred resolve their friendship with a drive to Iowa ([_Objective Story Consequence of_ Conceiving and Relationship Story Solution of `Proaction). Unsure of their decision and quite possibly questioning the rightness of their shared motivation, Mildred confesses her crime and asks if Dixon is sure about their mission.

"I guess we can decide along the way."

Mildred smiles—confirming her steadfast perspective and reinforcing Dixon's changed point-of-view (Main Character Resolve of Steadfast](https://subtxt.app/storypoint/main-character-resolve/steadfast "Main Character Resolve of Steadfast - Storypoint - Subtxt"), [_Obstacle Character Resolve of_ Changed, and Story Judgment of `Good).

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