Turn a loose feature idea into a working three-act beat sheet with turning points named and justified

Build a three-act beat sheet for a feature-length screenplay from the premise below. I don't want prose or scene-by-scene detail yet — I want the structural skeleton: the beats that have to exist for the story to function as a feature, with a reason attached to each one.

LOGLINE
A disgraced weather forecaster gets one more shot at credibility when he's the only person who believes an approaching storm is far worse than official models predict.

PROTAGONIST AND WANT
Mara, 42, wants her old network job back and, more specifically, wants to be right in public one more time after being wrong in public cost her everything.

ENDING STATE
She's right, the storm hits as she predicted, but she doesn't get the job back — she gets something she didn't know she wanted more: her estranged daughter's trust.

GENRE AND RUNTIME TARGET
Disaster drama, roughly 105 minutes.

RULES
Produce the following beats at minimum, each tied to an approximate page number based on a standard one-page-per-minute runtime: Opening Image, Inciting Incident, Break into Act Two (the protagonist commits to pursuing the want, past the point of easy retreat), Midpoint (a false victory or false defeat that raises the stakes rather than just marking the halfway point), All Is Lost / Low Point, Break into Act Three, Climax, and Final Image. For every beat, write one sentence describing what happens and a second sentence justifying why it has to occur at that point in the structure rather than earlier or later — a beat sheet that just lists events without structural reasoning is a plot summary, not a beat sheet. The Midpoint must genuinely raise the stakes or change the nature of the protagonist's problem, not simply be the scene that happens to fall at the halfway page count — if the premise as given doesn't naturally produce a stakes-raising midpoint, say so explicitly and propose one rather than forcing a weak beat into that slot. The Final Image should meaningfully invert, mirror, or answer the Opening Image so the two beats read as a pair when placed side by side.

WHAT NOT TO DO
Do not write dialogue or scene description — every beat stays at the level of "what happens and why," not "how it's shot or said." Do not pad the sheet with minor character beats that aren't load-bearing for the three-act structure; if a beat doesn't change the protagonist's situation or the audience's understanding of the stakes, it doesn't belong in a structural outline.

OUTPUT FORMAT
A table with columns: Beat Name | Approx. Page | What Happens | Why It Belongs Here. Follow the table with one paragraph flagging any beat where the given premise created genuine structural tension (for example, an ending state that doesn't obviously follow from the stated want) and how you resolved it.