I'm not saying that anyone is running out of things to write. Though I like your style.
Ah. Your problem is rhythm. Not plots or scenes. Reading is work. It takes mental energy. As an author you have to regulate how the reader reads. If you have not, go find a PDF of House of Leaves and force yourself to read it. Don't worry about the story, pay attention to the formatting and layout. I hate the story, but admire the skill.
When I write, I use line breaks and extra spaces to give the reader time to pause. I often start with a single line in a new chapter when I'm starting with action, but full paragraphs when the story is at a more omniscience 3rd party perspective that is explaining things. I bunch up certain parts into walls of text on purpose because I want to 'squeeze down' on the reader, then release the tension with a few sparse paragraphs of only 3-4 sentences.
When you get to a climax to a plotline or a 'high point', you have to be careful. It's like a roller coaster. The Chain Dogs have brought you to the top of the lift hill. The reader is the chain dog. Now the reader needs to 'coast'. You made him push the story to the top, now he needs to coast. Sure, you can put in loops or turn him upside down, but until that section of the story is 'over', it needs to be 'downhill' reading wise.
Now, what you are worried about is, 'This was the best ride I had.' but that is the wrong idea. Readers don't need 'best rides'. They want 'good rides'. They want rides they can come back to and 'ride again'. You should write every story like the reader will have a new experience if they choose to re-read it. I just had one of my best examples come up in HKN.
Chapter 26 - The good die young, is a tense scene, but you KNOW as a reader the MC won't die. It's only chapter 26. It isn't about him dying, but what he does in his last moments.
Chapter 27 - So I will never die, is the aftermath of that survival. However, you the reader know something is wrong. The king isn't acting right. Something is up.
Chapter 28 - Once more with feeling, is the entire previous scene from the King's point of view and suddenly, everything you read in chapter 27 is turned on its head. I don't repeat it word for word, I just highlight a few parts and as a reader, if you reread the previous chapter, I have no doubt, you'll go, "OOF! Holy FUCK!" Now that you read 28.
I try to do the entire book that way.
Don't confuse 'Big' or 'Best' with 'Good'. People like hamburger. You don't have to make everything a steak. You need to space it out so the reader can breathe, so there are parts they will want to go back to later and reread and go, "Damn. That was actually terrifying". Or, "Damn, He got lucky." or "Damn, I love that maid character! Best Waifu of the year!"
You say you have a point in the story you have a problem 'topping'. Question, it is a part the reader will come back months later and re-read and go, "Good times."? No? Then you failed. It's Exciting, and Gripping, and Emotional! But what is its re-readability?
I wrote a story where I got the reader to cry over a bottle of lamp oil committing suicide. No, it wasn't alive, the MC was insane and just talked to the bottle. It hung itself. The MC had scenes where he was amazing, then it was followed by finding out just how broken he was. A FL was introduced, but you never find out if she was real, but it is suggested she is. You never find out if they lived happily, but in the few scraps of info I give you, I create the illusion of an entire universe you can only guess at. In that empty space, the reader fills in the gaps.
There are few high points. It's mostly rambling madness, but I still get people now, years later stumbling across it and going, "Damn... That... that was something. Oof. Thats a gut punch."
My point is, It isn't just what you write, but what you DON'T write. It's not about the words, but how they are formatted, how you group them up and the empty space where you let the reader exist to fill in the story as THEY want it.
I wrote an audio drama once that was about a lawyer taking a kitten to an emergency vet clinic and Death starts talking to him over his radio. Three separate stories that all tie together to explain how the lawyer got there, the lies and deceit that resulted in the chain of events as to how he got there, and how the lawyer had to make a choice. In the end, the last thing the listener hears is the sound of tern signal. Is he just changing lanes, or is he taking the off ramp?
Yes, it's DEATH talking to you, but he's just the framing device. It might just be the lawyer's guilty conscious. It was a VERY low key story that I kept small and personal, but I would say it was very intense. There was no 'best part'. Just a meal, and meal, and a meal and a meal.
You don't know what your reader will love. Each 'meal' is different, so some readers would like the part about the revenge plot, others about the redemption, another about the learning to overcome loss. You don't know if you 'best' is going to be what your reader thinks is best, so ultimately, you should try to make sure there are other parts that are 'good' as well. It's okay if you follow up the saving of the world with trying to figure out how to cook pudding, if the Cooking Pudding Plotline ties in with everything else and gives the reader something to enjoy.
Now, that's not easy to do, but that's what being an author is about, learning how to get inside the mind of your reader.
Don't tell your reader 4. NOBODY WANTS TO BE TOLD FOUR. Tell your reader 2+2. Let him say to himself, '4'. Because maybe you framed 2+2 as 4, but to some readers, 2+2 will mean, 'I should go talk to my father before he dies. We've been drifting apart. Thank you for helping me to come to terms with my own anger towards him and how he treated mom as she was dying of cancer.'
Did you mean that? No. You intended 4, but to that one reader, it was life changing. You can't do that on purpose, but you can try. You can set things up that way. And that's why I think you need to re-evaluate what you think is "the point in your story that you have been looking forward to the most"
Every point should be something you look forward to.
Every word should do double duty. It should have multiple meanings. Each scene should have a purpose, and then another purpose. Each character should be a story in and of themselves. Each success to be celebrated, every failure to be regrettable, every loss to be morned.
Should be.
But if you do that, your reader will burn out. Too much and they burn out. Some readers will love an intense flame, some want a slow burn. So while it's great to have everything be amazing, mundane scenes, normal things, slow things are just as important. I guess that's why I have a problem considering 'running out of things to write' to be an issue. My story exists, but the rhythm is how I write. The building tension, the release, the small bites, the bitter pill and the sweet snack. What the story is isn't nearly as important and HOW it is written. If you focus on the 'How' of the crescendos and lows, the hills and valleys, you'll notice that what you write almost writes itself.
Then do yourself a favor, and go back and throw half of it out.
Writing is a numbers game. I always write twice what I need and throw out the half that is crap. If I am re-reading something and I for any reason feel, 'I don't like this' or just, 'meh.', I remove it. Half of what you write is below average. Throw out half of it and the remaining half will be above average. So write that silly side story. Write the story from the point of view of a can of soup. Any idea that strikes your fancy and then throw out half of your ideas because, trust me, nobody strikes gold 100% of the time.
Then do yourself a favor and get a Text to speech program and LISTEN to your story out loud. Don't read it. LISTEN TO IT. Trust me, when the computer talks to you, you will cringe so much. You will pause constantly and rewrite your story over and over. The computer has no mercy and will speak to you EXACTLY how you wrote it. You will hate yourself as the computer points out every 'The The' every confusing pronoun choice, and every misspelling. And you will go back and rewrite it over and over, and each time you will slowly trim away that useless crap and leave only pure product.
That's what I do when I get to the point I most look forward to.