The Bad Guys Are Closing In
Let’s continue our journey through movie structure. In case you’ve missed our previous columns on this subject, you can find them right here.
We’re past the midpoint. We’ve just witnessed our protagonist finally gain a foothold in their new world and celebrate that fact; but now the bad guys are closing in, more viciously and stronger than before.
For example, the jealous co-worker screws up our protagonist’s promotion or the antagonist blows up his house or the long-lost father turns out to be a fraud or the friend turns out to be a spy.
Essentially, the antagonist steps up their game, and the protagonist realizes that his goal — which shortly before seemed within their grasp — has been snatched away and seems further from their reach than before.
For example, in THE SHAWSHANK REDEMPTION, protagonist Andy has a grand moment after obtaining funds for the prison library of playing opera over the public address system. Shortly thereafter, he lands in solitary confinement and he’s pressured by the prison warden to launder money. In other words, the bad guys step up their game.
The bigger the obstacles we throw in the protagonist’s way, the more pronounced the growth.
This inevitably leads to the crucial end-of-Act II beat known by many names: the black moment, whiff of death, all is lost, etc. – where the hero is at the further possible point from their goal. Since the low point deserves its own post, we’ll go into details on the end of Act II in our next column.
FAQs
1. What does “the bad guys are closing in” mean in screenplay structure?
This describes the second half of Act Two where antagonists intensify their efforts against protagonists. Obstacles multiply, allies may betray, and goals that seemed achievable suddenly appear further away than ever before.
2. When in a screenplay does this section usually occur?
This section occurs after the midpoint, typically between pages fifty-five and seventy-five. It bridges the midpoint victory and the all is lost moment, creating escalating tension throughout.
3. How does this beat change the stakes for the protagonist?
Stakes escalate dramatically as antagonists step up their game. Protagonists realize their recent victories were temporary, goals seem further away, and the price of failure becomes increasingly severe and personal.
4. What kinds of obstacles might the protagonist face when the bad guys close in?
Protagonists encounter betrayals from allies, exposure of secrets, physical attacks, professional sabotage, personal losses, mounting pressure from multiple sources, and confrontations with their character flaws under extreme stress.
5. How does this moment differ from the midpoint?
The midpoint often brings temporary victory or revelation. Bad guys closing in reverses that progress, showing antagonists regrouping stronger while protagonists lose ground, creating downward momentum toward Act Two’s lowest point.
6. Can the “bad guys” be internal as well as external forces?
Absolutely. Internal bad guys include character flaws, self-doubt, guilt, past trauma, or self-destructive patterns resurfacing under pressure. Often external antagonists and internal struggles converge simultaneously, creating maximum conflict and character testing.