Save the Cat! Beat Sheet

A visual snapshot of the protagonist's world before the story begins. Sets tone, mood, and the 'before' state that the Final Image will contrast. This single image should communicate the emotional starting point without dialogue or exposition.

Someone — usually not the protagonist — states the movie's thematic premise in dialogue. The protagonist does not understand it yet. This plants the seed the audience will watch grow. The theme is the lesson the protagonist needs to learn by the end.

Establishes the protagonist's world, flaws, relationships, and the things that need fixing. Every character and situation introduced here should pay off later. The Set-Up also shows the protagonist's stasis — the life they will be forced to leave.

The inciting incident. A phone call, a death, a meeting, a discovery — something external happens that disrupts the status quo and demands a response. Without the Catalyst, the protagonist stays in the Set-Up forever. This is the moment the story cannot exist without.

The protagonist hesitates. Should they accept the call? What are the risks? This section dramatizes the fear and uncertainty before commitment. It is the last moment of safety before the journey. The audience needs to feel the weight of the decision.

The protagonist makes a choice and enters Act 2 — the 'upside-down world' that is the opposite of Act 1. This must be a decision, not something that happens to them. Agency here is critical. The character chooses the new world, even if reluctantly.

A new character or relationship enters — often the love interest. The B Story carries the theme and provides a counterpoint to the A Story's external conflict. When the A Story stalls, the B Story advances, and vice versa. It is the heart of the movie.

The promise of the premise delivered. This is why the audience bought the ticket. A fish out of water is hilariously out of water. A detective investigates. A superhero discovers powers. It is the trailer section — the most entertaining, genre-specific part of the script.

A false victory or false defeat that raises stakes and shifts the story. A false victory means things seem great but danger lurks. A false defeat means things collapse but hidden opportunities emerge. The midpoint connects to the All Is Lost in an inverted mirror.

Internal doubts and external enemies tighten the noose. The team fractures. The villain adapts. The protagonist's flaws create new problems. If the Midpoint was a false victory, the Bad Guys Close In brings the consequences. Pressure escalates from every direction.

The lowest point. The protagonist loses everything — the mentor dies, the plan fails, the relationship shatters. Snyder calls this the 'whiff of death,' literal or metaphorical. Something old must die for something new to be born in Act 3.

The protagonist sits with defeat. This is the emotional aftermath of All Is Lost — wallowing, processing, grieving. It is the moment before the breakthrough. The character must fully feel the loss before they can find the strength (or the insight) to continue.

An idea, a clue, or an inspiration (often from the B Story) gives the protagonist what they need to try again. They synthesize lessons from Act 2 with something new and choose to fight one more time. The A and B stories merge here to create the final approach.

The protagonist executes the new plan, confronts the antagonist, and proves their transformation. Old methods fail, new methods succeed. The team reunites. The theme is proven through action. Snyder breaks the Finale into five sub-beats: gathering the team, executing the plan, the high tower surprise, digging deep, and the new world.

The opposite of the Opening Image. Shows the transformed protagonist in their new world. If the Opening Image was lonely, the Final Image shows connection. If the opening was chaos, the closing is order. This visual proof of change is the last thing the audience takes home.