based on the May 2007 "Wired" magazine article
entitled "The Great Escape" by Joshuah Bearman;
and chapter nine of the book entitled
"The Master of Disguise" by Antonio Mendez
FADE IN:
BEGINNING LOGO
The familiar logo WARNER BROS. PRESENTS COMES UP.
After a beat, it is consumed by FIRE.
It becomes AN AMERICAN FLAG, BURNING in the street.
1 EXT. U.S. EMBASSY (TEHRAN) - MORNING 1
Effigies of Jimmy Carter and the deposed Shah -- crowds
chanting “Magbar Carter! Magbar Ahmrika!” Fists in the
air.
SUPERIMPOSE: TEHRAN - NOVEMBER 4, 1979
YOUNG MEN AND WOMEN -- about 2/3 men and 1/3 women, some
with flak jackets; about half the young women wear full
chador. Many wear plastic bibs with photographs of
Ayatollah Khomeini.
PASTED TO ROOSEVELT GATE: photographs of STUDENTS who
were killed under the deposed Shah of Iran’s regime.
Signs in English: “U.S.A. RETURN THE SHAH” -- “JUSTICE
FOR MURDER.” A few IRANIAN POLICE attend -- more as
bystanders than peacekeepers.
A MAN frantically stabs an EFFIGY of the SHAH.
An IRANIAN STUDENT films the scene with a Super 8 camera.
2 EXT. EMBASSY GROUNDS - MORNING 2
From INSIDE THE EMBASSY GATES we can hear the noise of
the protest. There are three primary buildings on
campus: the CHANCERY, the embassy’s main building, THE
AMBASSADOR’S RESIDENCE, and the CONSULATE.
We can see that the compound is securitized: sand-filled
traps and steel bars on the windows of the consulate.
3 INT. U.S. EMBASSY - CONSULATE OFFICE - MORNING 3
Now, we see the POV THROUGH those steel bars.
Standing on a chair looking at the protest outside the
gate, is BOB ANDERS, late 40s-50s, a consular officer.
(CONTINUED)
ARGO - Final 2.
3 CONTINUED: 3
BOB ANDERS
Carnival’s bigger today.
MARK LIJEK, 29, a consular officer, joins Anders at the
window.
4 EXT. ROOSEVELT GATE - MORNING 4
Then, in a famous piece of archive footage, something
simple happens. A YOUNG MAN IN A SWEATER climbs the gate
and makes it to the other side.
And now, we see the REVERSE of that famous shot. This
isn’t archive footage anymore.
We’re looking at the POV of TOM AHERN, 48, the CIA
station chief here.
5 INT. MARINE GUARD POST - MORNING 5
From a pillbox on the embassy campus, SGT. ROCKY
SICKMANN, a young MARINE, can also see the protestors
break across the lawn.
MARINE SGT. SICKMANN
(into his radio)
... Fort Apache is breached -- *
please advise --
6 EXT. ROOSEVELT GATE - MORNING 6
The PROTEST in front of the gate is getting rowdier --
its energy and numbers swelling.
A group of STUDENTS -- these more brisk, organized, all
bearded and dressed in flak jackets -- push their way to
the front of the protest --
WOMEN raise a banner. It’s a signal.
As if on cue, the IRANIAN POLICE move from the gates. A
WOMAN removes a large pair of bolt cutters from
underneath her chador -- hands them to a BEARDED STUDENT
-- who gets to work on the CHAINS holding the gate
closed --
When one YOUNG MAN wearing a green military field jacket
raises his fist, we can see that he has a concealed
PISTOL in his clothes.
More STUDENTS climbing the wall -- dropping the 12 feet
to the other side, one after another.
ARGO - Final 3.
7 INT. MARINE GUARD POST - MORNING 7
MARINE SGT. SICKMANN
THEY’RE COMING OVER THE WALLS --
8 EXT. ROOSEVELT GATE - MORNING 8
But a moment later no more climbing is required, because
the GATE CHAIN IS CUT and protestors FLOOD through the
embassy gates, a human dam breaking --
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
The scene ends with a dramatic and chaotic breach of the embassy gates, leaving the reader with immediate questions about the safety of the embassy staff and the unfolding events. The visual imagery of the protestors flooding the compound, coupled with the Marine's urgent radio call, creates a strong sense of urgency and suspense, compelling the reader to move on to the next scene to see how the situation unfolds. The use of archival footage interwoven with the unfolding events adds an extra layer of intrigue and historical context, piquing the reader's curiosity about what's to come.
Script Continuation Score: 9/10
The opening scene immediately establishes a high-stakes situation with a clear sense of impending danger. The historical context, visual descriptions, and the cliffhanger ending create a strong hook that keeps the reader engaged. The unresolved questions regarding the safety of the embassy personnel and the potential consequences of the protest effectively build anticipation for the following scenes. The script successfully sets a tense and dramatic tone from the beginning, promising a story filled with suspense and action.
Mounting chaos in here, the nerve center of the embassy.
Everyone on a different phone. It’s like an emergency
room where the patient is the whole building.
ANN SWIFT, 31, Deputy Political Officer, has the phone by
her ear -- trying to hear reports from D.C.
ANN SWIFT
There are hundreds of people out
there --
(looks out)
No, thousands... There are *
thousands -- *
10 IN THE CONSULATE OFFICE - MORNING 10
Mark Lijek and Bob Anders look out windows, nervous, but
not like the Iranian VISA APPLICANTS who are close to
panic.
BOB ANDERS
Are these supposed to be *
bulletproof?
MARK LIJEK
Well, they’ve never been tested.
11 INT. CHANCERY (MARINE POST ONE) - MORNING 11
Six MARINES watch images from closed-circuit television
cameras on chunky 1970’s monitors. Crowds of protestors
from every part of the embassy campus.
AL GOLACINSKI, 30, chief of security for the embassy,
shouts into a radio.
(CONTINUED)
ARGO - Final 4.
11 CONTINUED: 11
AL GOLACINSKI
Marines to Number One -- FALL
BACK --
12 EXT. CHANCERY - MORNING 12
PROTESTORS come running, turning the corner to reach the
building. They use bats and crowbars to smash the
windows of the building.
13 INT. CONSULATE OFFICE - MORNING 13
BOB ANDERS
(on the phone)
Can we get some fucking police
please?
14 INT. MARINE POST ONE - MORNING 14
One by one, the security monitors are going black -- or
smashed. The Marines stare.
15 EXT. TALEGHANI AVE. - MORNING 15
An IRANIAN POLICE CAPTAIN smokes a cigarette, watching
the mayhem, impassive.
16 INT. MARINE POST ONE - MORNING 16
MARINES are putting on armor, gas masks, riot gear. AL
GOLACINSKI goes down the line reminding them of protocol.
AL GOLACINSKI
Don’t shoot. You don’t want to be *
the sonofabitch who started a war -
-
CUT TO: *
AL GOLACINSKI *
They need an hour to burn the
classified -- Hold.
(beat, stern)
You shoot one person, they’ll kill
every one of us in here.
17 EXT. CONSULATE - MORNING 17
PROTESTORS, now on the embassy grounds, carry banners.
(CONTINUED)
ARGO - Final 5.
17 CONTINUED: 17
PROTESTORS
La ilaha ilallah --
A WOMAN IN A CHADOR uses her own radio.
Some of them ring around the building, holding hands and
chanting. Some carry AUTOMATIC WEAPONS openly.
18 INT. MARINE POST ONE - MORNING 18
AL GOLACINSKI
(into walkie)
Tear gas as last resort ONLY -- I
repeat, only if your life is under
threat!
19 INT. HALLWAY - MORNING 19
Gallegos and Sickmann hear Golacinski’s admonition, but
PUMP TEAR GAS out a window onto protestors below despite
it. One cannister after another.
20 INT. CONSULATE OFFICE - MORNING 20 *
Now the five in the consulate are joined by LEE SCHATZ, *
32, an agricultural attache. *
JOE STAFFORD
-- We’re not going out in this --
MARK LIJEK
(interrupting)
We are in the only building with
an exit direct to the street. We
need to GO --
The SOUNDS OF MARINES barking at one another over the
radio.
21 OMITTED 21
22 INT. HALLWAY - MORNING 22
They look out a small WINDOW to see a MOB outside.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a powerful cliffhanger. The embassy is under siege, chaos reigns, and the situation is rapidly deteriorating. The scene shifts between the frantic activity inside the embassy – staffers shredding documents, Marines preparing for violence, and consular officers expressing their fears – and the escalating violence outside, where protestors are smashing windows. The decision by Golacinski to confront the mob outside leaves the reader wondering about his fate and the immediate future of those inside. The combination of intense action, escalating threats, and the unresolved fate of Golacinski creates a strong pull to see what happens next.
Script Continuation Score: 10/10
The script, so far, is incredibly compelling. The initial scene established the setting and the immediate threat, and this scene expertly escalates the tension and danger. The reader is now invested in the fate of multiple characters, witnessing their individual reactions to the crisis. The unresolved question of the embassy's security and the safety of its occupants creates significant suspense. Every scene has introduced new stakes and left the reader wanting to know more, creating a highly effective narrative hook.
FRED KUPKE, 34, communications officer, is shouting at
staffers who pile up documents for the shredders --
KUPKE
Just everything. Don’t sort it --
ANN SWIFT
(on the phone)
-- NONE, there are no police --
ZERO --
24 EXT. CHANCERY - MORNING 24
Al Golacinski steps out onto the steps and immediately
there is shouting, and a protestor puts a GUN to his head
-- blindfolds him -- PUSHING AL’S head to the ground...
25 INT. CONSULATE OFFICE - MORNING 25 *
CORA LIJEK
-- Second floor -- anyone who can
hear this -- we need help --
As we MOVE DOWN the line of desks, JOE STAFFORD is also
on a radio repeating the same in FARSI --
Others PACK things.
26 INT. THE HALLWAY - INTO THE VAULT - MORNING 26
MARINES and STAFFERS -- including TOM AHERN -- RUN down
the hall, pushing a cart of items to secure. They reach
the security locker -- code the door -- and enter the
locker, heading to the INCINERATOR to begin destroying
classified material --
27 EXT. CHANCERY - MORNING 27 *
Golacinski HELD UP TO THE DOOR -- GUN TO HIS HEAD. He
starts to panic.
(CONTINUED)
ARGO - Final 7.
27 CONTINUED: 27
AL GOLACINSKI
Let me in! Jesus Christ! Open
the fucking door!
The Marines OPEN THE CHANCERY DOOR -- PROTESTERS POUR IN.
27A INT. CHANCERY OFFICE - MORNING 27A
ANN SWIFT
-- Washington on flash -- Get Ops
-- get a line --
We hear --
The POUNDING of footsteps on the roof. They look up.
28 EXT. CONSULATE ROOF - MORNING 28
Protestors RUNNING on the roof of the consulate building.
Several stop to try and RIP off a vent cover using CLUBS
and PIPES.
29 EXT. EMBASSY GROUNDS - MORNING 29
THOUSANDS are now on the grounds of the embassy and they
continue to swarm through the gates.
The student with the SUPER 8 continues to film it all.
Also filming, a NEWS PHOTOGRAPHER with a 16 mm camera.
Smoking cannisters of TEAR GAS, people hurling them.
A protestor lights a paper on fire to ward off the sting
of the gas --
30 INT. CHANCERY OFFICE - MORNING 30
STAFFERS using pieces of machines to destroy other
machines -- any embassy equipment that might function --
Then... screams. The lights have gone out. The power
has been cut.
31 IN THE VAULT - MORNING 31
AHERN destroys the cryptography keys -- box-sized hard
drives -- while BILL DAUGHERTY, 33, tosses stacks of
papers into an electrical furnace.
(CONTINUED)
ARGO - Final 8.
31 CONTINUED: 31
BILL DAUGHERTY
Well, Tom. You wanted to see the
world...
The furnace makes a LOUD CHUNK and stops. They both hold
their looks for a beat.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on multiple cliffhangers, dramatically escalating the tension. The power cut in the Chancery office leaves the staff in darkness and further chaos. The simultaneous failure of the incinerator in the vault adds to the suspense, leaving the fate of crucial documents uncertain. The protestors' entry into the building and their actions on the roof create immediate questions about the safety and survival of the embassy personnel. The reader is left wanting to know what happens next, pushing them to continue reading.
Script Continuation Score: 9/10
The screenplay maintains a high level of suspense and intrigue. The initial breach of the embassy has set the stage for a rapidly escalating crisis, and this scene amplifies the urgency and danger. The unresolved fate of Golacinski and the embassy staff creates significant tension. The destruction of documents and the power cut add to the sense of impending doom, and the reader is invested in learning how these characters will manage the situation. The overall pacing and the multiple cliffhangers ensure that the reader is eager to see what happens next.
32 INT. CHANCERY STAIRWELL LEADING TO 2ND FLOOR - MORNING 32
BROTHER ALI, 20s, one of the student leaders, shouts as
he holds a cloth near his face to protect from tear gas.
33 INT. CHANCERY OFFICE - MORNING 33 *
The mood is now frantic -- people destroying things or
shouting everywhere --
ANN SWIFT
No... Hal -- yes -- INSIDE the
building, IN --
34 INT. CONSULATE OFFICE - MORNING 34
Bob Anders SMASHES AMERICAN VISA PLATES.
The visa-applicant Iranians are now huddled in a group.
A couple of the women are wailing.
Improv resuming the debate over leaving.
Lijek on his walkie, but every channel is now speaking
FARSI.
MARK LIJEK
Nobody is coming. We need to go. *
35 OMITTED 35
36 INT. CONSULATE OFFICE - MORNING 36
Mark gestures for the other six staffers -- and the
twenty IRANIAN VISA SEEKERS in the office -- to head to
the stairwell.
(CONTINUED)
ARGO - Final 9.
36 CONTINUED: 36
BOB ANDERS
Iranians first.
(as no one moves)
Go! Now!
37 INT. CHANCERY - HALLWAY - MORNING 37
One STUDENT emerges with a large portrait of KHOMEINI
that had been used for dart practice.
STUDENT
(screaming)
Who has made this!!!
Two EMBASSY EMPLOYEES look at the floor.
38 INT. CONSULATE STAIRWELL - MORNING 38
The twenty VISA-SEEKING IRANIANS pass our guys and run
down the stairs out onto the street and disperse outside.
Behind them, the FIVE CONSULATE EMPLOYEES we saw head
down the stairs.
So the group of SIX is: MARK AND CORA LIJEK, JOE AND *
KATHY STAFFORD, and BOB ANDERS. They get to the bottom
of the stairs.
39 INT. CHANCERY OFFICE - MORNING 39
The students, guns drawn, burst into the Chancery Office,
shouting at Ann Swift and the others. The mood among the
staffers is now almost peaceful.
ANN SWIFT
(into the phone)
It’s done. They’re in.
She puts down the phone. *
40 EXT. BIST METRI STREET - MORNING 40
The It’s quiet -- the sound of the protest on the other *
side of the roof and the embassy campus is distant. Just
the empty street.
On the ground: discarded banners from the protest,
fliers and newspapers.
We see something that looks like BLOOD on the street.
(CONTINUED)
ARGO - Final 10.
40 CONTINUED: 40
They walk west. They’re hurrying but taking care not to
run. The five can hear the gunfire and shouting in
Farsi. They walk up the street, away from the sounds of
the protest, instinctively grouping together. Cora looks
back.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a powerful cliffhanger. The chaotic embassy takeover culminates in a narrow escape for the consulate employees and Iranian visa applicants, creating immediate suspense. The image of blood on the street, coupled with the group's hurried but cautious retreat, leaves the reader with a sense of lingering danger and unanswered questions about their fate. The clear visual of their escape and the unanswered question of what will happen next provides a strong push to read further. The contrast between the frantic chaos and the relatively peaceful mood of the escaping group leaves the reader wanting to know more.
Script Continuation Score: 10/10
The screenplay so far has expertly built tension and suspense. Each scene has escalated the crisis, from the initial protest to the violent takeover and the desperate escape. The unresolved fate of the escapees, coupled with the ongoing hostage situation at the embassy, creates significant forward momentum. The reader is invested in the characters' survival and deeply curious about how the crisis will unfold and how the government will respond. The events of the previous scenes have planted many hooks, including the unanswered questions about the political response and the safety of those who were left behind.
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5 -
Crisis at the State Department - Overall Grade:
8.5
46 INT. STATE DEPARTMENT HALL - SEVENTH FLOOR - NIGHT 46
Halfway around the world, hell has broken loose here,
too. BATES and MALICK, 30s, State Department mid-level
aides. A cascade of voices and energy -- a reverberation
from the embassy siege -- the building exploding into a
crisis center.
BATES MALICK
These fucks can hit us, we Mossadeq. We did it to
can’t hit back? them first.
BATES
You think the Russians would put
up with this? They’d fucking
invade --
ROBERT PENDER, 40s, joins them heading down the hall.
They’ve all gotten the same call to get to the
Secretary’s office. PETER GENCO, late 20s, behind.
MALICK PENDER
What did you expect? We (turning behind him)
helped a guy torture and de- Schafer! Schafer!
ball an entire population --
BRICE
At least 60. Could be a hundred.
GENCO
(catching up to them)
You still haven’t found Schafer?
PENDER
(to Genco)
No, I was screaming his name
‘cause I was fucking him.
HAL SAUNDERS, late 40s, Assistant Secretary of State for
Near Eastern Affairs, perpetually stressed, coming out of
his office, out of breath --
(CONTINUED)
ARGO - Final 11.
46 CONTINUED: 46
SAUNDERS
Six got out!
47 OMITTED 47
47A INT. SECRETARY OF STATE’S OFFICE - NIGHT 47A
STAPLED PAGES with PHOTOGRAPHS. In the hands of
SECRETARY OF STATE CYRUS VANCE, 62, a former Navy man who
is used to telling important people what to do.
EVERYONE FROM THE PREVIOUS HALLWAY SCENE is here in
attendance as well.
VANCE
I was told five.
BATES
Apparently it’s six now.
VANCE
What happened?
PENDER
Not clear. We know they escaped
the embassy.
VANCE
Where are they?
SAUNDERS
The Canadian Ambassador’s house.
BATES
Are we attempting rescue?
BRICE
Hold for the Secretary --
VANCE
(handed another
phone)
-- there’s no one -- this is he...
(to an aide)
Can we get Ottawa patched? Five
phones and none of them work.
Coming back -- on phone --
VANCE
Is White House joining?
ARGO - Final 12.
48 INT. WHITE HOUSE - WEST WING - NIGHT 48
HAMILTON JORDAN, 40s, Carter’s White House Chief of
Staff, comes up stairs, trailed by AIDES. Jordan is
forty, Southern.
BUTLER (O.S.)
They’re claiming the embassy was a
‘den of -- ‘
JORDAN
We wish it was the fucking Den of
Espionage. C.I. had three people
there, didn’t see a revolution
coming? I’d call that something
other than intelligence --
Genres:
Political Thriller, Drama Tone:
Tense, Frantic, Anxious
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger. The revelation that six, not five, Americans escaped the embassy immediately creates intrigue and raises questions. Where are they? What happened? Are they safe? The frantic search for Schafer and the inability to connect with Ottawa further heighten the tension and leave the reader eager to know what happens next. The final line, Vance's frustrated attempt to reach Ottawa, directly pushes the reader to the following scene to see how the situation unfolds.
Script Continuation Score: 9/10
The screenplay maintains a strong hook throughout these scenes. The initial embassy siege is vividly portrayed, and the escalating chaos keeps the reader engaged. The mystery surrounding Schafer's disappearance adds another layer of suspense, and the unresolved situation with the six escaped Americans provides a clear, immediate narrative drive. The shift to the State Department and the White House introduces new perspectives and power dynamics, further increasing the reader's desire to see how these different players will react and interact. The overall pacing is excellent, and the stakes are high, leaving the reader invested in both the immediate events and the larger context of the Iran hostage crisis.
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6 -
Political Dilemmas in the Chief's Office - Overall Grade:
8.5
There are already maps of Iran on easels in here. The
big three plus foreign networks on silent televisions.
LANDON BUTLER, 30s, Jordan’s Deputy Chief of Staff, is on
the phone.
SECRETARY
(into a phone)
Hold for the Chief of Staff --
(holds out the phone
to Jordan)
Hodding --
JORDAN BUTLER
(to Secretary) They’re sticking to it. No
I’ll call him back. release till we expel the
shah.
Jordan sinks into his chair, putting his feet up on the
desk.
JON TITTERTON, 30s, an aide to Jordan --
TITTERTON
Put him on a plane. Fuck him.
JORDAN
He’s half dead and he’s in chemo.
BUTLER
We took him in. He’s ours now.
TITTERTON
So we’ll take in any prick as long
as he’s got cancer?
(CONTINUED)
ARGO - Final 13.
49 CONTINUED: 49
JORDAN
No. Just the pricks on our side.
So all our other pricks on their
prick thrones know, when they get
run out on a rail, they won’t be
getting their spleens out by a
camel vet in the Sinai.
TITTERTON
The six with the Canadians.
Now Jordan is looking at a monitor showing footage of a
BLINDFOLDED HOSTAGE in front of the Embassy. AL
GOLACINSKI being prodded and led down the front stairs of
the embassy.
JORDAN
We’ve got 60 in the embassy with
guns to their heads right now --
TITTERTON
The eyes of the world are on the *
embassy. That makes them safer *
than the six on the street. *
ANALYST
(coming to the door)
Bani-Sadr’s saying it’ll be over
in 24 hours.
JORDAN
Leave the six where they are. *
I’ll go brief the president. *
CUT TO BLACK.
FADE IN:
Genres:
Political Thriller, Drama Tone:
Tense, Frantic, Serious
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger, leaving the reader with several unresolved plot points. The discussion about the Shah's fate and the contrasting fates of the hostages inside and outside the embassy creates immediate tension. The analyst's report of Bani-Sadr's prediction adds another layer of uncertainty, and Jordan's decision to brief the president leaves the reader wondering what actions will be taken and the fate of the six hostages left outside. The visual of the blindfolded Golacinski being led away adds a visceral element of suspense, further compelling the reader to see what happens next.
Script Continuation Score: 9/10
The screenplay maintains a strong overall hook due to the escalating crisis and the multiple unresolved plot lines. The initial embassy siege has been impactful, and the subsequent scenes have effectively built on the initial tension. The focus shifts to the political maneuvering around the Shah, which adds another layer of complexity and intrigue. The fate of the six escapees remains a major unresolved question, creating a powerful hook for the reader. The introduction of the blindfolded hostage adds to the urgency and emotional intensity, leaving the reader wanting to know what happens next. The overall narrative arc is well-defined, and the pacing is excellent.
49A EXT. OLD DOMINION DRIVE (VIRGINIA) - AFTERNOON 49A
A LONE ribbon sags in the f.g. -- the CAPITOL BUILDING
behind.
Yellow ribbons tied to lampposts. A Catholic church with
a sign on the lawn that says PRAY FOR OUR HOSTAGES. A
dry cleaner with a large American flag in the window and
yellow ribbons drawn by kids around it.
The exterior of a neighborhood bar, O’Tooles. More
ribbons.
SUPERIMPOSE: McLEAN, VIRGINIA - 69 DAYS LATER
ARGO - Final 14.
49B INT. MENDEZ APARTMENT - BEFORE DAWN 49B *
A television connected to a faraway wall with an *
extension cord sits on a coffee table. The t.v. shows *
color test patterns. *
We move over the coffee table, a mess of Chinese food *
containers and beer bottles, to find TONY MENDEZ, 40, *
asleep in his clothes from the day before. *
The phone rings. He answers it, half awake. *
MENDEZ *
Yeah. *
He listens for a moment, then sits up, suddenly wide- *
awake. *
49E 49E *
50 EXT. CANAL ROAD - MORNING 50
Mendez’s car speeds by yellow ribbons along trees on
Canal Road.
51 EXT. CIA - PARKING LOT - EARLY MORNING 51
Mendez gets out of his car and hurries toward a white
building that looks like a college campus.
NEWSCASTER (V.O.)
Prime Minister Bani-Sadr today re-
stated demands for the hostages’
release...
52 INT. CIA DIRECTORATE OF OPERATIONS - MORNING 52
As we watch him hurry out of his car and into the CIA, we
start to pick up TVs as we go by them -- all tuned to
some version of the same story.
He enters the front doors and crosses the famous EMBLEM
on the ground.
He moves past the STARS ON THE WALL, signifying fallen
CIA officers (and there were fewer stars then than now).
He passes the SECURITY GUARD at the desk, holds up his
badge. The guard nods.
(CONTINUED)
ARGO - Final 15.
52 CONTINUED: 52
A young Tom Brokaw in a yellow, sleeveless sweater and
teal tie plays on the television, intoning on the “Today
Show.” ANGELA BELK, young wife of hostage WILLIAM BELK,
has a soft Southern voice and fights back tears. (*ABC,
11/23/79)
BROKAW (V.O.) ANGELA BELK (V.O.)
Week ten of a hostage I’m so afraid that I won’t
crisis that seems without see him again. That he
end. A glimmer of hope won’t get out from over
after the release of some there, because everything --
women and Afro-Americans it seems like everything
but little activity in the they’re trying to do is
weeks since, and the images just backfiring, it’s not
of bound Americans under working --
armed guard have many
losing hope --
Under these images we hear an undulating drone -- the
constant accompaniment of life then -- coverage of the
hostage crisis.
PRESIDENT CARTER (V.O.)
The United States shall not
purchase oil from Iran. Iranian
assets shall be frozen and the
U.S. shall engage in a forceful
campaign of international
diplomacy against the Iranians...
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene effectively uses a montage to establish the passage of time and the ongoing, unresolved hostage crisis. The visual and auditory elements—yellow ribbons, news reports, Angela Belk's emotional plea—create a palpable sense of tension and urgency, leaving the reader wanting to know how Mendez will navigate this complex situation. The scene ends with Mendez's voiceover expressing frustration at the lack of progress, leaving a clear question hanging: what will Mendez do now that State has been 'sitting' on this situation for ten weeks?
Script Continuation Score: 9/10
The screenplay maintains a high level of engagement by weaving together multiple plotlines: the immediate crisis in Tehran, the political maneuvering in Washington, and the personal struggles of those affected. The unresolved tension surrounding the hostages, the lack of progress in the State Department, and the introduction of Mendez as a potential solution all contribute to the reader's continued interest. The unresolved crisis and the potential for Mendez to be a pivotal figure in resolving the situation create significant anticipation.
O’Donnell, frantically grabbing documents and tossing
them into an accordion folder.
O’DONNELL
The six of them went out a back
exit. Brits turned them away,
Kiwis turned them away. The
Canadians took them in. They’ve
been there since.
O’Donnell hands Mendez pages with STAFF PHOTOGRAPHS of
SIX PEOPLE -- the escaped embassy employees -- as he
continues to toss stuff into his folder.
(CONTINUED)
ARGO - Final 16.
56 CONTINUED: 56
O’DONNELL
Traffic calls them The
Houseguests. Haven’t left the
Canadian ambassador’s house since
it happened.
MENDEZ
Compromised? *
O’DONNELL
(shakes his head)
Just a matter of time. We’ve got
Revolutionary Guards going door-to-
door like Jehovah’s Witnesses,
looking for escapees. They’re out
for blood, Tony. Half of them
think Khomeini’s been too lenient
with the ones in the embassy.
Walking out of his office, Mendez following.
MENDEZ
White House?
56A INT. CIA - THE PIT - CONTINUOUS ACTION 56A
They walk through an open floor of cubicles lined with
offices, we get a look at the 1979 CIA headquarters:
nothing sleek or sexy about the interior. An open area
of desks where Woodward and Bernstein might be spilling
coffee on their thick ‘70s ties. Papers and files
everywhere. Trash emptying happens only once a week.
Cigarette and cigar butts in ashtrays. Everything is
perpetually a mess. And typewriters. The constant
percussive sound of telexes and typing is the metronome
that beats out the day here.
O’DONNELL
Carter’s shitting enough bricks to
build the pyramids. He wants the *
six of them out.
MENDEZ
Who else knows?
O’DONNELL
Just the families. Meanwhile,
some genius in the embassy was
keeping a mug book of everybody
who worked there.
MENDEZ
Jesus Christ.
(CONTINUED)
ARGO - Final 17.
56A CONTINUED: 56A
O’DONNELL
We think it got shredded before
they got in, but the fuckers have
sweat-shop kids in there re-
assembling the shreds.
O’DONNELL
They’re gonna make an example of
the ones who escaped. Standing-
room-only for beheadings in the
square.
MENDEZ
Who’s handling?
They walk through a door and out of the Pit.
57 INT. D.O. FLOOR - HALLWAY - AFTERNOON 57
-- into a HALLWAY WITH POP ART on the walls. People with
laminated badges and folders with red stripes walk with
purpose. *
O’DONNELL
State’s coordinating in-house.
MENDEZ
They don’t do exfils. *
O’DONNELL
They do now. They want to run it
by us, strictly as consultants.
Off his look.
O’DONNELL
Engell’s saying it’s lose-lose.
These people die, they die badly.
Publicly. ‘State wants the blame,
he’ll give it to them.
MENDEZ
Then why’s he want me?
O’DONNELL
So he can tell State he ran it by
his best exfil guy.
They stop in front of a conference room. Jack looks at
him.
O’DONNELL
Tony. This isn’t the kind of
meeting where you talk.
ARGO - Final 18.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene effectively builds tension and urgency as O'Donnell and Mendez discuss the precarious situation of the six escaped embassy employees. The stakes are high, with the threat of Revolutionary Guards actively searching for the escapees, creating a palpable sense of danger. The dialogue is sharp and reveals critical information about the unfolding crisis, making the reader eager to see how Mendez will respond to the escalating situation. The scene ends with a clear sense of impending action, as Mendez is called into a meeting, leaving the reader wanting to know what will happen next.
Script Continuation Score: 8/10
Overall, the script maintains a strong momentum with escalating stakes surrounding the hostage crisis. The introduction of Mendez's character and his involvement in the rescue operation adds a personal layer to the unfolding events. The ongoing tension from previous scenes, combined with the urgency of the current situation, keeps the reader engaged. However, some earlier plot threads could be revisited to maintain interest, but the current focus on Mendez's mission provides a compelling hook.
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9 -
Tensions in the Conference Room - Overall Grade:
8.7
They enter to find: ADAM ENGELL, 40s or 50s, Deputy
Chief of Operations, hosting visitors from the State
Department: PENDER and BATES from State. The State guys
are both dressed better than the CIA guys, except for
Engell.
Other CIA Operations OFFICERS and ANALYSTS sit in
audience.
ENGELL
Okay. This is Bob Pender from
State O.S. He’s been talking to
Morgan at ExtAff.
GENCO, a State Department Assistant, removes a drape from
the photographs of SIX FACES, State Department I.D.
photos. Pender indicates the first two photos -- and
during this, we may flash to scenes of the Houseguests in
the Canadian ambassador’s residence --
PENDER
Mark and Cora Lijek, 29 and 25.
He’s a consular officer and she’s
an assistant. Newlyweds. They
just got there a couple of months
ago. No language skills or in-
country knowledge.
(re: the next photo)
Henry Lee Schatz. Agricultural
attache from Idaho. He was there
to sell U.S. tractors to Iranian
agro. Hid out with the Swedes
during the takeover then made his
way to join the others with the
Canadians.
(re: next photo)
Joe Stafford. Late twenties.
He’s smart and a climber. Speaks
Farsi. Arranged the hire of his
wife Kathy --
BATES
Understaffed so the faculty wives
were the typing pool.
That goes without comment in this room of men.
PENDER
(then, finally)
Bob Anders. Senior consular
officer, oldest of the group.
Most likely to be group leader.
So.
(MORE)
(CONTINUED)
ARGO - Final 19.
58 CONTINUED: 58
PENDER (CONT'D)
(now, shifting gears)
What we like for this are
bicycles. We’ve identified
backroads from the Shemiran
district -- a couple of rat lines
through the mountains to the
crossing at Tabriz. Cars are off
the table because of the
roadblocks.
Pender nods to Bates, who goes to a map, indicating the
north of Iran.
BATES
We wait till the weather clears up
then we deliver six bikes and
provide maps to the Turkish
border.
PENDER
We have intelligence they can ride
bicycles. Or we’re prepared to
send in somebody to teach them.
The professional spies shifting at the stupidity of it.
But nobody speaks up. And then --
MENDEZ
You can send in training wheels
and wait at the border with
Gatorade.
Attention turns to Mendez. O’Donnell shifts. Engell,
not happy.
MENDEZ
It’s 300 miles to the Turkish
crossings. They’d need a support
crew behind them with a tire pump.
ENGELL PENDER
(directed at Mendez) Who is --
We’ve only been asked to
sharpshoot this, State’s
handling the op.
O’DONNELL
Tony’s an exfil spesh. He got a
lot of the shah’s people out after
the fall.
(CONTINUED)
ARGO - Final 20.
58 CONTINUED: (2) 58
MENDEZ
(to Pender)
If these people can read OR add,
any minute they’re gonna figure
out they’re six short of a full
deck. It’s winter. You wanna
wait around for a nice spring day
for bike rides?
(a beat)
The only way out’s through the
airport. You build them new
identities, a Moses goes in, takes
them out on a commercial flight.
BATES ENGELL
We’re exploring that They wouldn’t clear airport
option. control. Komiteh own the
place.
BATES
They would pose as reporters. The
government issued 70-something --
Jumping in--MARIO MALINOV, 30s, an ambitious Bulgarian
CIA analyst, Bronx Science and MIT, raised in Queens,
BATES MALINOV
-- visas for American 74.
journalists.
MALINOV
And the Revolutionary Guards keep
them on 74 leashes.
MENDEZ
They get caught with journalist
creds, you’ve got Peter Jennings
with a noose around his neck in an
hour.
PAUL LAMONT, late 20s, a Master’s from the Woodrow Wilson
School before he joined CIA --
LAMONT
World Noose Tonight.
Pender looks at Bates, who is trying to impress his boss.
BATES
North American accents give us
limited options. So we get the
Canadians to issue them
passports...
(CONTINUED)
ARGO - Final 21.
58 CONTINUED: (3) 58
GENCO
English teachers from the
international school. Tested
model. It’s worked before.
MENDEZ
The school was shut eight months
ago.
Bates, meanwhile, removing a binder from his accordion
folder: in the binder, a photograph of an emaciated kid
in Namibia.
BATES
So do-gooders. They’re six
Canadians who’ve been over there
inspecting crops. Making sure the
kids get enough to eat. Get them
creds for an AG NGO --
But he’s already lost Mendez, who is going through a
newspaper on the table.
BATES MALINOV
A Feed the Children thing -- These kids are black.
O.S. can make binders with These are African kids.
starving kids --
LAMONT GENCO
Are there starving kids in We can get ethnically
Iran? appropriate kids.
PENDER ROSSI
I’m sure there’s skinny A logo with... seeds.
kids... ‘Seeds of Hope’...
Mendez holds a page from the newspaper up to Pender.
MENDEZ
What do you see in the picture,
sir?
A beat. Pender doesn’t like this, but he’ll play.
PENDER
Tehran.
MENDEZ
What’s on the ground?
PENDER
Snow.
(CONTINUED)
ARGO - Final 22.
58 CONTINUED: (4) 58
MENDEZ
So what crops are the do-gooders
inspecting under Frosty?
Pender shifts.
MENDEZ
Exfils are like abortions. You
don’t wanna need one, but when you
do, you don’t do it yourself.
The meeting is breaking up. Pender, followed by Bates,
leaves the room. Engell, who has just been made to look
bad and inherited a problem, stops by Tony.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger. The meeting establishes the stakes – six American diplomats need to be extracted from Iran, and the State Department's initial plan is laughably impractical. Mendez's blunt dismissal of their bicycle proposal and his suggestion of a more elaborate, clandestine operation using forged identities and an airport exit creates immediate suspense. The final line, 'You have a better plan?,' directly addresses the reader, leaving them wanting to know Mendez's solution and how he'll pull it off. The tension between the CIA and State Department, combined with the perilous situation of the diplomats, leaves the reader highly invested in the next scene.
Script Continuation Score: 10/10
The overall script maintains a high level of suspense. The urgency of the situation has been established from the beginning, with the initial embassy takeover and the subsequent escape of the six diplomats creating a central plot point driving the narrative. This scene further intensifies the tension by showcasing the clash of strategies between the State Department and the CIA, highlighting the expertise and unconventional approach of Mendez, and ending with the direct question posing the challenge of the mission. All previous plotlines, including the hostage situation and political tensions, are relevant to the urgency of extracting the six diplomats, making the overarching narrative compelling.
60 INT. CANADIAN AMBASSADOR’S RESIDENCE - DINING ROOM - 60
NIGHT
At dinner around a dining room table: the SIX
HOUSEGUESTS; KEN TAYLOR, 40s, Canadian ambassador. He
does much to support the myth that Canadians are always
in a good mood. Next to him is PAT TAYLOR, Filipino,
40s. We’re joining various conversations, including one
with LEE SCHATZ, 29, an American agricultural attache,
the sixth escapee we heard about.
TAYLOR
-- Martin was the worst one.
Martin the Maximo King --
PAT TAYLOR
(to Lee Schatz)
-- he looked like a cartoon witch
doctor, bone through his nose, so
she asked to take her picture with
him --
Joe Stafford, keeping to himself.
KATHY STAFFORD
(to Joe Stafford)
You okay?
(CONTINUED)
ARGO - Final 23.
60 CONTINUED: 60
CORA LIJEK
-- if your family’s hungry, you
don’t want to hear about
international law --
MARK LIJEK CORA LIJEK
And she’s off! Defending Not defending. Explaining.
them again -- Stockholm
Syndrome --
MARK LIJEK
Same thing.
The sound of a fork on a glass. Ken Taylor is standing *
up.
TAYLOR
I read today that Tehran was voted
the second most desirable city in
the world to live in. Everywhere
else tied for first.
(toast)
To getting through ten weeks. To
our guests.
LEE SCHATZ
(raising his glass)
Our hosts. Mr. Ambassador...
BOB ANDERS CORA LIJEK
Hear, hear... And Mrs.
But the liquid in their wine glasses is beginning to
shake. The noise of a HELICOPTER. Taylor tries to be
pleasant.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
The scene ends on a cliffhanger. The seemingly peaceful dinner party is abruptly disrupted by the sound of a helicopter, creating immediate suspense. The reader is left wondering what the helicopter signifies and how it will impact the precarious situation of the six houseguests. The interruption of the toast and the instruction to move to the crawl space suggest immediate danger and an urgent need to seek shelter. This unresolved tension strongly compels the reader to proceed to the next scene to discover the source of the helicopter and the immediate consequences for the characters.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement. The previous scenes have effectively established the perilous situation of the six American diplomats and the ongoing political tensions. This scene, despite its relatively calm start, provides a thrilling cliffhanger that reinforces the existing suspense. The reader is invested in the fate of these characters and eager to see how they navigate this new threat. The unresolved tension from previous scenes, such as the White House's efforts to extract the escapees and the ongoing risk of discovery, are also contributing to the overall compelling narrative.
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11 -
Tensions Rising: A Night of Uncertainty - Overall Grade:
8.5
Mendez listens to the radio as he drives home along the
bridge, the Jefferson Memorial beyond.
NEWSCASTER (V.O.)
The White House Christmas tree was
taken down today after never
having been lit, as the cruel
stalemate in Iran continues.
(CONTINUED)
ARGO - Final 24.
68 CONTINUED: 68
This is a --
69 MONTAGE 69
that jumps around the world -- scenes of our principals
and overlapping news accounts play.
FRANK REYNOLDS (V.O.)
Today, a clear threat to place the
remaining 50 Americans on trial as
spies.*
69A INT. CANADIAN AMBASSADOR’S RESIDENCE (TEHRAN) - NIGHT 69A
The Houseguests getting up from dinner. Kathy Stafford
hesitates.
JOE STAFFORD
(to Pat Taylor)
Kathy doesn’t want to go down
again.
BOB ANDERS JOE STAFFORD
Jesus Christ -- She’s claustrophobic.
CUT TO:
69B FOOTAGE OF NILOFUR EKTEBAR - AKA TEHRAN MARY 69B
The Penn-educated Tokyo Rose of the hostage crisis.
She’s reading a statement to the camera.
TEHRAN MARY (V.O.)
(perfect American
English)
Those who remain here are spies.
They will be treated as spies who
have interfered with the
sovereignty of the people of Iran.
69C INT. MENDEZ’ CAR - NIGHT 69C
Mendez driving -- thinking --
69D INT. CANADIAN AMBASSADOR’S RESIDENCE (TEHRAN) - NIGHT 69D
MARK LIJEK JOE STAFFORD
You’re putting us all at They’re not going to come
risk -- into the house.
(CONTINUED)
ARGO - Final 25.
69D CONTINUED: 69D
LEE SCHATZ BOB ANDERS
It’s her choice. Leave her (angry)
be. G’head. Put flowers in
their gun barrels --
SAHAR, housekeeper, is visible here cleaning up after
their meal.
70 INT. MUSHROOM INN - DAY 70
A dark room where hostages are kept in groups of two.
A 21-year-old with an automatic weapon -- *
CROSS-CUTTING WITH --
71 INTERVIEW FOOTAGE OF AYATOLLAH KHOMEINI 71
KHOMEINI (V.O.)
(subtitled)
If Carter does not send back the
Shah, it is possible that they
will be tried and if they are
tried, who knows what will happen.
72 INT. SMALL-TOWN BAR - DAY 72
News footage of men inside a small-town bar. It’s a
broadcast of RON MILLER reporting from “barometer
community” Pecatonica, Illinois, on ABC News’, “America
Held Hostage.” (*11/21/79)
RON MILLER (V.O.)
So, like the government in
Washington, the people in
Pecatonica are grappling for
solutions.
JACK STROUP, Vietnam vet, red beard, a cap with the
Kenworth trucks logo, a denim jacket.
STROUP (V.O.)
Even in our little community here,
people are drawn up, they’re
tense.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene masterfully uses a montage to heighten tension and suspense. It cuts between the anxieties of the six escapees at the Canadian ambassador's residence, the chilling pronouncements of Tehran Mary labeling the remaining Americans as spies, and Mendez driving home, lost in thought. The juxtaposition of these elements creates a palpable sense of urgency and danger, leaving the reader desperate to know what happens next. The ominous ending with the hostages being awakened in the Mushroom Inn and the Ayatollah's threatening voiceover about the fate of the remaining hostages creates a powerful cliffhanger that propels the reader forward.
Script Continuation Score: 9/10
The overall script maintains a strong hook due to several unresolved plot lines. The escapees' precarious situation, the escalating threats from the Iranian government, and the CIA's secretive operation all contribute to a high level of suspense. The introduction of the montage in this scene successfully connects the macro level of international tension with the micro level of the escapees’ personal situations, strengthening the narrative hook. The threat to the remaining hostages also keeps the reader invested. There is a solid sense of progress and forward momentum with the rescue mission now taking shape. The unresolved tension keeps the reader engaged.
pieces shreds together to form the words: U.S.
DEPARTMENT OF STATE -- TEHRAN -- CLASSIFIED.
He is working on reassembling the seized EMBASSY PAPERS --
a giant pile of shredded documents -- with the skill of a
blindfolded child Mozart at the harpsichord.
We see the unmistakable image of a FACE being formed from
the shredded material.
75 ANGLE - CLOSEUP OF AYATOLLAH KHOMEINI 75
(Footage from a Mike Wallace interview. *”60 Minutes”
11/18/79.)
KHOMEINI (V.O.)
(Farsi)
Our young people have taken over
this nest of corruption. America
can’t do a damn thing about it --
76 OMITTED 76
77 ARCHIVE FOOTAGE 77
Rage at an anti-Iran protest in front of the White House.
Signs: “DEPORT ALL IRANIANS”/”CAMEL JOCKEYS GO HOME.”
An IRANIAN-AMERICAN MAN is kicked as he crouches on the
ground. A MIDDLE-AGED WOMAN looks murderous as she waves
an American flag at the camera.
CUT TO:
78 INT. SMALL-TOWN BAR - DAY 78
Back to the ABC News report, the bar in Pecatonica.
STROUP (V.O.)
I’m like that guy screamin’ in
that movie-program Network,
y’know? I’ve had it. And if need
be, I’ll bear arms again.
ARGO - Final 27.
79 INT. CANADIAN AMBASSADOR’S RESIDENCE (TEHRAN) - NIGHT 79
The Houseguests descend into the crawlspace, a darkened,
cramped area -- first the Lijeks, then Anders and
Schatz... then Joe and Kathy Stafford.
The trapdoor closes and the crawlspace goes COMPLETELY
BLACK.
CUT TO:
80 INT. MENDEZ APARTMENT - KITCHEN - NIGHT 80
WALTER CRONKITE (V.O.)
(on TV)
And that’s the way it is, on this,
the 70th day of captivity for the
American hostages in Iran.
Mendez is watching Cronkite on a small television in his
kitchen. In front of him, a folder with Xeroxed
photographs of the HOUSEGUESTS.
He changes the channel and finds a GOOFY SEVENTIES
COMMERCIAL -- He picks up the phone.
Genres:
Drama, Thriller Tone:
Tense, Anxious, Chaotic, Dark
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene ends on a cliffhanger, leaving the reader with a strong desire to know what happens next. The image of the meticulously reassembled classified documents, coupled with Khomeini's defiant voiceover, creates a sense of urgency and intrigue. The juxtaposition of this with the angry anti-Iranian protests in the US and the bar patron's willingness to bear arms again highlights the escalating tensions and the widening conflict. The final image of the houseguests disappearing into the darkness of the crawlspace and Mendez watching Cronkite, amplifies the sense of suspense, setting the stage for further developments.
Script Continuation Score: 9/10
The screenplay maintains a high level of engagement through a combination of suspense, unresolved plotlines, and escalating tensions. The earlier scenes have established the urgency of the situation, the precarious position of the escapees, and the political complexities of the crisis. This scene intensifies the suspense by highlighting the threats to the escapees and the growing polarization in both Iran and the United States. The reader is left wondering about the fate of the escapees and how Mendez will proceed with the exfiltration plan. The unresolved tension surrounding the hostage crisis and the escapees creates a compelling narrative hook.
81 INT. CHRISTINE’S HOUSE - CROSS-CUTTING - NIGHT 81
IAN MENDEZ, 7 and about to turn 8, is watching a movie on *
his bed. He picks up on the second ring. *
IAN *
Hello. *
MENDEZ (V.O.) *
Buddy-man. *
IAN *
Mom’s asleep. *
MENDEZ *
You do homework tonight? *
IAN *
Yeah. *
MENDEZ *
What was it? *
But Tony can hear a television soundtrack with ominous *
electronic music. *
(CONTINUED)
ARGO - Final 28.
81 CONTINUED: 81
MENDEZ *
What do I hear? *
IAN *
(coming clean) *
‘Battle for Planet of the Apes.’ *
Am I in trouble? *
A beat. *
MENDEZ *
What channel? *
IAN *
Nine. *
81 Mendez turns on his living room television to the three- 81 *
hour “BATTLE FOR PLANET OF THE APES.” *
MENDEZ *
Catch me up. *
Tony listens, staring ahead at the TV . A desert *
landscape dotted with technological garbage. An ape
played by Roddy MacDowell walks across the landscape. *
He’s staring at the television, but now really paying
attention.
The apes walk into the ruins of what was once a great
city.
RODDY MacDOWELL (V.O.)
(on TV, as Caesar)
This is the hell my forefathers
used to speak about. (Etc.)
ON TONY
staring at the movie. Wheels turning in his head.
CUT TO:
82-85 OMITTED 82-85 *
Genres:
Drama, Family Tone:
Innocent, Nostalgic, Playful
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 7/10
This scene, while brief and seemingly a simple phone call, effectively creates a compelling transition. The ominous electronic music from the son's movie immediately introduces a sense of foreboding, contrasting with the seemingly mundane conversation. The fact that Mendez tunes into the same channel as his son and becomes engrossed in the movie's themes of destruction and loss suggests a deeper connection to the overall themes of the screenplay. The final shot of Mendez staring at the screen, with 'wheels turning in his head,' leaves the reader with a clear sense of anticipation for what Mendez might be planning, driving them to the next scene.
Script Continuation Score: 8/10
The overall script remains highly compelling. The earlier scenes have established a high-stakes situation with the hostages, and the ongoing tension is maintained. This scene provides a needed moment of reflection for Mendez, connecting his personal life to the larger mission. The unresolved issue of exfiltrating the diplomats from Iran, coupled with the intrigue surrounding the fake movie production, keeps the reader hooked. The introduction of the 'Battle for Planet of the Apes' movie subtly foreshadows the challenges and potential destruction that lie ahead in the mission.
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14 -
Behind the Scenes: The Minotaur Mishap - Overall Grade:
8.5
A bull/human experiment in a SCI-FI lab, coming to bovine
life. A SEXY SPACE NURSE is administering some kind of
shot to him. A SECOND NURSE stands by.
SPACE NURSE
My creation... My creation...
(CONTINUED)
ARGO - Final 29.
86 CONTINUED: 86
The Minotaur lifts his head, KNOCKS into the Nurse.
SPACE NURSE
(breaking character)
What the fuck, Brian?
DIRECTOR (O.S.)
Cut!
A.D. (O.S.)
WE’RE CUTTING!
A bell. WIDER REVEALS that we’re on a...
87 INT. WARNER BROS. SOUNDSTAGE - DAY 87
A DIRECTOR, 40s, whispers something to an A.D., mid-
thirties.
A.D.
(inquiring into a
walkie)
John Chambers. John Chambers make-
up...
CUT TO:
88 INT. WARNER BROS. SOUNDSTAGE - DAY 88
JOHN CHAMBERS, Hollywood’s first Oscar winner for makeup,
walks onto set carrying a fishing tackle box of supplies.
SUPERIMPOSE: BURBANK, CALIFORNIA - JANUARY 19, 1980
The A.D. joins Chambers, walking him onto the set.
A.D.
He says the Minotaur’s prosthetic
is too tight so he can’t act.
CHAMBERS
If he could act he wouldn’t be
playing the Minotaur.
He smiles and waves at the Minotaur and begins to work on
his prosthetic with a brush and solvent.
CUT TO:
ARGO - Final 30.
89 INT. NEAR CRAFT SERVICES TABLE - DAY 89
Chambers is foraging through ‘70s SNACKS. At the craft
service table. A guy in his SPACE ARMOR PANTS without
the top is eating as well.
A P.A. approaches, carrying a PHONE on a long cord.
P.A.
Mr. Chambers.
CHAMBERS
(still foraging)
Who is it?
P.A.
Kevin Harkins?
Chambers gives the kid a look, takes the phone from him
and puts it to his ear.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 7/10
This scene, while humorous and offering a glimpse into the behind-the-scenes chaos of moviemaking, ends on a hook. The phone call to John Chambers from 'Kevin Harkins' (a name that will likely be significant later) leaves the reader wanting to know the context of this conversation and how it connects to the main plot. The interruption of the Minotaur's prosthetic issue with a phone call suggests an urgent matter related to the overall Argo operation. The comedic relief provided by Chambers' witty remark also keeps the tone light, preventing the scene from feeling too detached from the main storyline.
Script Continuation Score: 8/10
The overall script maintains a strong level of engagement. The interwoven narratives—the tense situation in Tehran and the increasingly frantic efforts to create a believable cover story in Hollywood—keep the reader invested. The previous scenes effectively established the stakes and introduced the central conflict, making the reader eager to see how the various threads connect. This scene, despite its seemingly tangential nature, serves as a bridge, hinting at a pivotal communication that will likely push the plot forward. The introduction of John Chambers, a real-life figure connected to makeup effects, adds an element of intrigue and plausibility to the increasingly complex scheme.
Pender and Engell sit at the table; O’Donnell hovers. A
few State Department and CIA ANALYSTS here, including
Malinov and Lamont; and DAVID MARMOR, early 30s, Engell’s
guy.
O’DONNELL
(quiet, to Malinov)
Is he coming?
Engell nods for the door to be shut.
ENGELL
(to Pender)
Okay. Our N.E. put together a
work-up. David.
MARMOR
They would pose as teachers from
the international school.
PENDER
We went through all that -- it’s
boarded up --
O’Donnell looking at the clock.
(CONTINUED)
ARGO - Final 31.
90 CONTINUED: 90
MARMOR
Suppose the airport guards don’t
know that --
PENDER
Suppose. Suppose Heckle and
Jeckle go over and save them --
The door swings open.
MENDEZ
Hi. Sorry. Hi.
O’DONNELL
Have a seat, Tony.
He doesn’t. There’s an energy in him we haven’t seen
before.
MENDEZ
They’re a Canadian film crew on a
location scout for a science
fiction movie --
A shift in the room.
MENDEZ
Star Wars, Star Trek. They need
an exotic place to shoot. We put
it out -- the Canadian producers
put it out -- that they’re looking
at Turkey, Egypt, whatever. Then
we go to the consulate and say we
wanna look at Iran. I fly in
there and we fly out together as a
film crew. Done.
MARMOR
(dry)
‘In an exfiltration, flamboyant
cover identities should be
avoided, as it increases
operational’ --
MENDEZ
This is more plausible than
foreigners who want to go to
school in Iran -- *
ENGELL
So you’re going to wake up
tomorrow in the movie business?
We have credentials for --
(CONTINUED)
ARGO - Final 32.
90 CONTINUED: (2) 90
MENDEZ
I’ve got a contact in L.A.
ENGELL
(catching on)
Chambers.
MENDEZ
(to Pender)
John Chambers. He’s a Hollywood
prosthetics guy, does contracting
work for us on the side. If I go *
see him, he’ll set us up. A
couple days to make it look real.
Mendez and O’Donnell turn their eyes on Pender, who is
the decision-maker here.
PENDER
(after a beat, to
Mendez)
Remind me who you are again?
Genres:
Thriller, Drama Tone:
Tense, Serious, Strategic, Innovative
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a powerful cliffhanger. Mendez bursts in with a bold, unexpected, and seemingly outlandish plan that immediately grabs the reader's attention. The plan's inherent implausibility, coupled with the palpable tension and skepticism in the room, leaves the reader desperate to know what happens next. The final line, "Remind me who you are again?", introduces a new layer of mystery and intrigue, further fueling the reader's desire to discover Mendez's identity and the outcome of his proposal. The scene successfully shifts the narrative's momentum and sets the stage for a thrilling and unpredictable sequence of events.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement. The earlier scenes effectively established the urgency of the situation and the characters' desperation, creating a strong foundation for the current scene's impact. The introduction of Mendez's plan provides a significant turning point, injecting fresh energy and a sense of hope (however unlikely it may seem) into the narrative. The unresolved questions surrounding Mendez's identity and the feasibility of his plan, combined with the ongoing threat to the hostages, create a compelling narrative arc that keeps the reader invested in the story's progression. The script skillfully blends suspense, intrigue, and the potential for both success and failure, making it highly compelling.
O’DONNELL
We want you to go to L.A. If you
can make the movie thing credible,
we’ll take it to the Director.
(a beat; a cigarette
drag)
Don’t fuck up. The whole
country’s watching you. They just
don’t know it.
92 INT. T.W.A. FLIGHT - MORNING 92
Mendez sits in an aisle seat. The PASSENGER next to him
is looking at the headline of The New York Times: “NEW
THREATS FOR HOSTAGE TRIBUNALS.”
Mendez is reading THE FIVE C’S OF CINEMATOGRAPHY.
ARGO - Final 33.
93 INT. MIDDLE-CLASS TEHRAN HOUSE - NIGHT 93
Six KOMITEH force their way into a house.
KOMITEH SOLDIER
SAVAK! SAVAK!
A Komiteh drags away a MAN in his forties while the man’s
wife cries. Automatic weapons are aimed at him, point-
blank.
From ACROSS THE STREET, an IRANIAN WOMAN, 20s, watches.
94 OMITTED 94
95 INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - 95
NIGHT
Lee Schatz and Bob Anders play poker in a room decorated
with Persian carpets and mosaics. The gunfire audible
here too. Staring at their cards.
LEE SCHATZ
50 caliber?
BOB ANDERS
Mmm. 50, 35.
95A INT. CANADIAN AMBASSADOR’S RESIDENCE - DINING ROOM - 95A
NIGHT
Pat Taylor helps THE SAME WOMAN we just saw, SAHAR, 20s,
clear the table. She is their housekeeper.
SAHAR
Your friends from Canada, ma’am.
All this time. They never go out.
A significant moment of eye contact. Then Sahar goes
back to clearing the table.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene effectively uses multiple short scenes to create a sense of urgency and suspense. The abrupt shift from the CIA kitchen to a TWA flight, then to a violent home invasion in Tehran, and finally back to the relative calm (but still dangerous) poker game at the Canadian ambassador's residence keeps the reader engaged and wanting more. The contrasting settings and the implied danger in Tehran create a strong pull towards the next scene, leaving the reader wondering what will happen next to the escapees. The newspaper headline about new threats for hostage tribunals adds another layer of external pressure and impending doom.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement due to the ongoing tension surrounding the hostages and the escapees. The scenes are building towards a climax, with the escalating threat to the six Americans in Tehran adding significant suspense. The introduction of the 'Argo' plan and the logistical challenges involved in making it credible provide ample forward momentum. Even the seemingly unrelated scenes, like the ones in Hollywood, serve to build anticipation for the eventual escape attempt and maintain the pacing. The interwoven narrative threads – the unfolding hostage crisis, the frantic efforts to exfiltrate the Americans, and the behind-the-scenes maneuvering in Hollywood – all contribute to a gripping and compelling narrative.
96 INT. CANADIAN AMBASSADOR’S RESIDENCE - KITCHEN - LATER 96
Kathy Stafford is roughly washing wine glasses at the
sink.
JOE STAFFORD
You’ve washed them three times.
He puts his arm on her shoulder. She keeps scrubbing.
ARGO - Final 34.
97 INT. CANADIAN AMBASSADOR’S RESIDENCE - BATHROOM - NIGHT 97
Ken Taylor is brushing his teeth in the mirror. Pat
comes in.
PAT TAYLOR
Sahar knows.
98 EXT. BURBANK - AFTERNOON 98 *
The water tower on Warner Bros. studio -- which in 1980
read, “Burbank Studios.”
99 INT. CHAMBERS’ STUDIO - AFTERNOON 99
Chambers leads Mendez into his makeup studio and starts
to open windows. Around the studio: stunt double-masks,
deformed monster foreheads, dental implants on shelves.
Planet of the Apes prosthetics. Mr. Spock ears on
Styrofoam stands. (Chambers created all these --
really.)
MENDEZ
What are you shooting?
CHAMBERS
A monster movie.
MENDEZ
Any good?
CHAMBERS
The target audience will hate it.
MENDEZ
Who’s the target audience?
CHAMBERS
People with eyes. Talk to me.
MENDEZ
It’s an exfil.
CHAMBERS
From where?
MENDEZ
Worst place you can think of.
CHAMBERS
Universal City. *
(CONTINUED)
ARGO - Final 35.
99 CONTINUED: 99
Mendez picks up a Newsweek magazine under a can of Tab on
a makeup table: blindfolded Iran hostages on the cover.
Chambers takes it in for a moment -- the gravity of it.
CHAMBERS
How you getting in the embassy?
MENDEZ
Six got away. They’re hiding in
the city. I’m going over to get
them.
CHAMBERS
What am I making?
MENDEZ
I need you to help me make a fake
movie.
CHAMBERS
You’ve come to the right place. *
MENDEZ
I need to set up a production
company and build a cover around
making a movie.
CHAMBERS
That we’re not going to make.
MENDEZ
No.
CHAMBERS
You want to go around Hollywood
acting like you’re an important
person in the movie business.
MENDEZ
That’s right.
CHAMBERS
But you don’t want to actually do
anything.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene effectively builds tension and intrigue as Mendez discusses the creation of a fake movie as a cover for the extraction of hostages. The dialogue between Mendez and Chambers is sharp and humorous, which lightens the gravity of the situation while still maintaining a sense of urgency. The mention of the blindfolded hostages on the magazine cover serves as a stark reminder of the stakes involved, compelling the reader to want to see how Mendez's plan unfolds. The scene ends with Chambers agreeing to help, leaving the audience eager to see the next steps in this unconventional operation.
Script Continuation Score: 8/10
Overall, the screenplay maintains a compelling narrative momentum, with the stakes continually rising as Mendez navigates the complexities of his mission. The introduction of Chambers adds a layer of creativity and resourcefulness to the plot, while the ongoing tension surrounding the hostages keeps the reader engaged. Previous scenes have established a sense of urgency and danger, and this scene reinforces that while also introducing a clever plan that piques interest. The balance of humor and seriousness in the dialogue helps to sustain reader engagement, ensuring that the story remains dynamic and intriguing.
A couple of empty highball glasses on the table.
Chambers is looking at PHOTOGRAPHS of the SIX. Mendez is
taking notes. On a photo of Cora Lijek.
CHAMBERS
This one’s got an M.A. in English.
She should be your screenwriter.
Sometimes they go on scouts ‘cause
they want the free meals.
(re: Bob Anders)
This guy’s the director.
MENDEZ
Can you teach a guy how to be a
director in a day?
CHAMBERS
You can teach a rhesus monkey to
be a director in a day. Look, if
you’re gonna do it, you’ve got to
do it. The Khomaniacs are fruit
loops, but they have cousins
selling eight tracks and prayer
rugs on La Brea. You can’t build *
cover stories around a movie that
doesn’t exist. You need a script. *
You need a producer.
MENDEZ
I’m the producer.
CHAMBERS
No, you’re not. ‘Associate’ at
best. If it’s a twenty-million
dollar Star Wars rip-off, you need
somebody who’s a somebody to put
his name on it.
Here we see some AUTOGRAPHED ‘70s CELEBRITY 8X10s hanging
on the wall.
The waiter brings a bill.
CHAMBERS
Somebody respectable. With
credits. Who we can trust with
classified information. Who’ll
produce a fake movie. For free.
101 EXT. BEVERLY HILLS - EVENING 101
They walk up the driveway of a ‘70s Bel Air home.
(CONTINUED)
ARGO - Final 37.
101 CONTINUED: 101
SIEGEL (V.O.)
Yeah, come in.
102 INT. SIEGEL HOUSE - HALLWAY - EVENING 102
And there’s LESTER SIEGEL, a semi-legendary producer in
his semi-legendary seventies. He’s equal parts bookie
and rabbi. His father sold perfume on the Lower East
Side. Lester is halfway to dressed in a tuxedo.
SIEGEL
(shakes hands)
I only got a couple minutes. I’m
getting a lifetime achievement *
award tonight.
CHAMBERS
Mazel tov, Lester.
SIEGEL
Aaah, I’d rather stay home and
count the wrinkles on my dog’s
balls. These fuckin’ things are
like getting measured for your
coffin. ‘He don’t look so good.
Let’s give him an honorary award.’
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends with a strong hook. The introduction of Lester Siegel, a powerful and somewhat eccentric producer, creates immediate intrigue. The casual conversation about creating a fake movie to cover the exfiltration plan abruptly shifts to Siegel's imminent lifetime achievement award, leaving the reader wondering how this will tie into the operation and what challenges await Mendez and Chambers in securing Siegel's cooperation. The cliffhanger of Siegel's impending award and the implication that he'll only have a 'couple of minutes' leaves the reader eager to see how this high-stakes encounter will play out.
Script Continuation Score: 9/10
The overall script maintains a high level of suspense and intrigue. The previous scenes effectively established the urgency of the hostage situation and the complexities of the exfiltration plan. This scene builds upon that foundation by introducing a new, crucial character (Siegel) and raising the stakes even higher by highlighting the time constraints. The reader is invested in seeing how Mendez and Chambers will navigate the challenges of securing Siegel's involvement, and the ongoing tension surrounding the hostages in Tehran further compels the reader to continue.
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19 -
Navigating the Hostage Crisis - Overall Grade:
8.5
103 INT. SIEGEL’S DEN - ANGLE ON TV - TED KOPPEL - EVENING 103
Reporting on Iran.
SIEGEL (O.S.)
A little experiment. You be me
hearing you.
The TV we’re watching sits in a room with a couple of
Golden Globes and pictures of a younger Lester.
ANOTHER ANGLE
SIEGEL
Six people in the middle of a city
of, what, four million --
ON TV, a wild-eyed woman in the crowd (in one of the most
widely-played clips of the hostage crisis) makes an ax-
falling gesture with her arm repeatedly.
(CONTINUED)
ARGO - Final 38.
103 CONTINUED: 103
SIEGEL
-- who chant ‘Death to America’
all the livelong day. You wanna
set up a picture in a week. Lie
to a whole town of people who lie
for a living. Have Double-O-Seven
here sneak into a country that
wants CIA blood with their
breakfast cereal. Duck Iranian
intelligence. Then walk the Brady *
Bunch out of the most watched city *
in the world...
MENDEZ
... and past a hundred Komiteh at
the airport.
SIEGEL
Look, I wanna help you but... In
the Army, we did suicide missions
that had better odds. So lemme
hit it again for the cheap seats:
NO.
Chambers gives Mendez a look.
CHAMBERS
(to Lester, as he
gets up)
Enjoy your fish dinner tonight.
Chambers stops at the muted television. More images of
angry crowds.
CHAMBERS
You ever think, Lester, how it’s
all for the cameras?
SIEGEL
They’re getting the ratings, I’ll
give ‘em that -- *
Siegel looks at the TV: at that moment, a HOSTAGE TAKER *
holding up photos of hostages for CAMERAS in front of
him. He takes a beat.
SIEGEL
We’re gonna need a script.
A beat of silence. A LOOK from Siegel to Chambers.
CHAMBERS (V.O.)
(pre-lap)
How ‘bout The Horses of Achilles?
ARGO - Final 39.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a powerful hook. Siegel, initially dismissive of Mendez's plan, is finally persuaded by the sheer audacity and danger of the operation, summed up in his own blunt words. His agreement to help, though reluctantly given, is a major turning point. The suggestion of "The Horses of Achilles" as a working title, delivered as a voiceover, adds a layer of intrigue and mystery, leaving the reader wanting to know more about this seemingly absurd plan and how it will unfold. The visual of the hostage-taker holding up photos of hostages for the cameras underscores the urgency and high stakes of the situation.
Script Continuation Score: 10/10
The screenplay maintains a strong forward momentum. The initial scenes effectively established the urgency and danger of the hostage crisis, hooking the reader with the immediate threat to the hostages' lives. The introduction of Mendez and his unconventional plan added a new layer of intrigue, and the current scene brings the key players together, creating a compelling tension between their personalities and the sheer impossibility of the task. The unresolved questions surrounding the success of the plan keep the reader invested in the outcome. Previous scenes have adequately established the stakes, and the momentum from the initial crisis is still driving the narrative.
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20 -
Script Disputes at the Pool - Overall Grade:
8.5
Chambers, on hold on the phone, walks to Siegel holding
up The Horses of Achilles script in a William Morris
binder. Stacks of scripts on a table outside. Siegel’s
new A.F.I. award is being used as a coaster.
SIEGEL
Nobody makes Westerns anymore.
CHAMBERS
(looking through it)
It’s ancient Troy.
SIEGEL
If it’s got horses in the title, *
it’s a Western.
CHAMBERS
(into the phone)
Yeah, Kenny, please. It’s John
Chambers, about the office space.
(then)
It doesn’t matter. It’s a fake
movie.
SIEGEL
If I’m doing a fake movie, it’s *
gonna be a fake hit.
CHAMBERS
(to phone)
Is A006 still open on the lot?
105 INT. SIEGEL’S LIVING ROOM - DAY 105
Mendez, on the PHONE near a fully stocked bar.
O’DONNELL (V.O.)
The Canadians are done. Say
they’re bearing too much risk.
106 INT. O’DONNELL’S OFFICE - CROSS-CUTTING - DAY 106
O’DONNELL
Foreign Secretary cornered Vance
in Brussels and told him she’s
serving eviction papers. The
Cardinal wants all cover options
on his desk Friday morning.
MENDEZ
That’s too soon.
(CONTINUED)
ARGO - Final 40.
106 CONTINUED: 106
O’DONNELL
Engell’s prepping the Bikes Option
and the Teachers Option. You’ve
got 72 hours to make yours
better...
107 INT. SIEGEL’S LIVING ROOM - DAY 107
Mendez is looking down at the SCRIPT in front of him. He
opens to the first page.
ANGLE ON HIM
reading, thinking.
108 EXT. LESTER’S POOL - DAY 108
Mendez walks up to the table where Siegel and Chambers
are already eating.
MENDEZ
(entering, reading)
‘Fade in on starship landing. An
exotic, Middle Eastern vibe.
Women gather, offering ecstatic
libations to the sky gods.’
(looks up)
‘ARGO. A science-fantasy
adventure.’
Mendez throws down the script.
SIEGEL
It’s in turnaround. It’s dog *
shit.
MENDEZ
It’s a space movie in the Middle *
East. Does it matter? *
Chambers looks at the BULLSEYE logo on the cover page. *
Reacts. *
CHAMBERS
(to Lester) *
Can we get the option?
MENDEZ
Why do we need the option?
(CONTINUED)
ARGO - Final 41.
108 CONTINUED: 108
SIEGEL
You’re worried about the
Ayatollah? Try the WGA. *
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene effectively raises the stakes and introduces a new element of urgency. The tight deadline imposed by O'Donnell (72 hours) creates immediate pressure, making the reader eager to see how Mendez will handle the challenge. The absurd nature of the script Mendez is presented with – a science-fantasy adventure in the Middle East – juxtaposed against the life-or-death situation of the hostages, creates a darkly humorous tension that compels the reader forward. The scene ends with Chambers expressing interest in obtaining the option for the ludicrous script, leaving the reader wondering how this seemingly ridiculous idea will be incorporated into the larger plan, driving the narrative forward.
Script Continuation Score: 9/10
The overall script remains highly compelling. The interwoven plot lines—the hostage crisis, the covert operation, and the chaotic film production—create a complex and engaging narrative. The introduction of the absurd script adds a layer of dark humor and unexpected twists, enhancing the suspense. While some might find the shifting between multiple locations and plot points distracting, this scene successfully re-establishes a strong sense of urgency, thus creating a desire to know how Mendez will manage to pull off such a complex operation under immense time pressure. The unresolved tensions surrounding the hostages' safety and the potential for the operation to fail provide substantial hooks to keep the reader engaged.
109 EXT. CROSSROADS OF THE WORLD (HOLLYWOOD) - DAY 109 *
Tony and Lester turn off Sunset Blvd. and into the office
complex.
SIEGEL
He’s only a prick if you catch him
on the wrong day.
MENDEZ
Is it the wrong day?
SIEGEL
It’s always the wrong day.
They’ve arrived at a door with a sign: “MAX KLEIN
PRODUCTIONS/BULLSEYE FILMS.”
110 OMITTED 110 *
111 INT. MAX KLEIN’S OFFICE - A FEW MINUTES LATER 111
We see all kinds of MOVIE POSTERS AND MEMORABILIA ALL
OVER THE OFFICE.
KLEIN
You’re gonna get this into
production in one month?
MENDEZ *
One month.
KLEIN
Who are you again?
MENDEZ
Kevin Harkins. Studio Six Films.
SIEGEL
He’s the money.
KLEIN
I thought you were retired,
Lester.
(CONTINUED)
ARGO - Final 42.
111 CONTINUED: 111
SIEGEL
-- Till I read the Argo. Look,
how ‘bout we say fifteen thou and
close on this?
KLEIN
You want me to be honest with you,
Les?
SIEGEL
Naah, bullshit me, Max.
KLEIN
Okay. Because I enjoyed your
films, the early ones. I took
this meeting out of respect
because I wanted to tell you ‘no’
to your face.
SIEGEL
Thank you. Very respectful.
KLEIN
You’re done, Lester. You’ve gotta
get your cataracts fixed and read
the trades. MGM just capitalized
for six new films and they’re
desperate for Sci-Fi. They’ve
already offered me four times what
you are.
SIEGEL
(a beat)
What can I say? Congratulations.
(shrugs to Mendez)
He’s got me.
A beat. Mendez ready to go --
SIEGEL
But see -- it worries me, what you
said, and I’ll tell you why. A
couple weeks back I was sitting in
Trader Vic’s enjoying a Mai Tai
when my pal Warren Beatty came to
wish me well and we had a little
chat. Seems he was attached to
star in Zulu Empire -- which was
gonna anchor that MGM slate -- but
Warren confided in me that the
picture’s gone over-budget ‘cause
the Zulu extras wanna unionize.
(MORE)
(CONTINUED)
ARGO - Final 43.
111 CONTINUED: (2) 111
SIEGEL (CONT'D)
They may be cannibals swallowing
each other up but they want health
and dental, so the movie’s kaput --
which means that MGM deal ain’t
gonna happen and your script ain’t
worth the buffalo-shit on a
nickel. So.
Lester takes some documents out of a folder.
SIEGEL
The way this looks to me --
through the cataracts, I grant you
-- is that you can either sign
here and take ten thousand for
your toilet-paper script -- or you
can go fuck yourself.
Siegel smiles kindly and holds a pen and the contracts
out to Klein. Klein takes them.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger, leaving the reader wanting to know Klein's decision. The blunt ultimatum from Siegel, the surprising information about MGM's projects, and the potential fall-out from the deal create a strong sense of anticipation for the next scene. The humorous tone and the unexpected turn of events make the scene highly engaging and propel the reader forward. The implication of a potential deal falling through adds tension and raises questions about the future of the Argo plan.
Script Continuation Score: 9/10
The overall screenplay maintains a high level of engagement. The central conflict—the need to extract the hostages—remains compelling, and this scene provides a significant hurdle in the plan's execution. The humorous, yet tense, negotiation adds a unique dynamic while maintaining the urgency of the covert operation. The introduction of new complications, such as the MGM deal and the unionizing Zulu extras, add layers of complexity and suspense, increasing the reader's desire to see how Mendez and Siegel will navigate these obstacles. The earlier threads regarding the hostages are still present, but the focus has shifted to the logistical challenge of creating the fake movie.
SIEGEL
I took a leak next to him at the
Golden Globes.
(beat)
Taco?
113 OMITTED 113
114 EXT. WARNER BROS. LOT - LATE DAY 114
Lester and Tony eat tacos at a picnic table on the lot.
MENDEZ
You got kids, Lester?
SIEGEL
Two daughters.
MENDEZ
You see them much?
SIEGEL
I talk to them once a year, maybe.
MENDEZ
Why’s that?
(CONTINUED)
ARGO - Final 44.
114 CONTINUED: 114
SIEGEL
I was a terrible father.
(beat)
The bullshit business is like coal
mining. You can’t wash it off
before you kiss your wife and
kids... You?
MENDEZ
A son. Lives with his mother in
Virginia.
SIEGEL
You’re divorced?
MENDEZ
Taking time off.
(then, quiet)
He’s gotta... stay where he is.
SIEGEL
(beat)
Kids need the mother.
114A EXT. ARGO PRODUCTION OFFICE (LOT - NY STREET) - MORNING 114A
Chambers and a GRAPHIC ARTIST walk through the set. We
REVEAL a couple of CYLON RAIDERS, helmets off, taking a
break from shooting and leaning against the wall.
115 INT. O’DONNELL’S OFFICE - DAY 115
O’DONNELL reads from the EYES ONLY document.
O’DONNELL
They caught the shah’s chief of
security trying to get on a plane
to Paris.
INTERCUT WITH:
116 INT. PRODUCTION OFFICE - MORNING 116
WIDER REVEALS that the production office is being set up.
A couple of FURNITURE GUYS move chairs in.
Mendez is looking at a POSTER. It reads: “Studio Six
Productions presents: ARGO. A COSMIC WAR.”
(CONTINUED)
ARGO - Final 45.
116 CONTINUED: 116
MENDEZ
(to a graphic artist)
‘War’ sounds like Star Wars.
Let’s use a different word.
Mendez closes the door to his private office.
O’DONNELL
‘Since the incident, the number of
guards at the airport has doubled.
Thorough background examinations
should be expected.’
MENDEZ
I need another week.
O’DONNELL
You don’t have it.
117 INT. ARGO PRODUCTION OFFICE - NIGHT 117 *
Mendez goes out into the main part of the office -- it’s
Tony, Siegel, and Chambers now.
They have hung up all their ARGO MATERIALS on the wall
and are reviewing them.
MENDEZ
We’ve got a script. We’ve got *
business cards.We’ve got a poster. *
If I’m them? It’s nothing we
couldn’t make at home.
CHAMBERS
I did a movie with Rock Hudson *
once. *
(a beat)
‘You need to sell a lie, you get
the press to sell it for you.’
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 7/10
The scene ends on a somewhat melancholic note with Mendez's quiet admission about his son needing to stay where he is. This personal vulnerability creates a sense of empathy and makes the reader curious about Mendez's personal life and how it might intersect with his mission. While not a cliffhanger, the juxtaposition of the casual taco lunch with the underlying gravity of Mendez's personal situation and the operation's risks creates intrigue. The shift to the production office and O'Donnell reading a document about increased airport security immediately following also creates momentum.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement. The previous scenes have established the urgency of the mission, the complexities of the plan, and the personal stakes for Mendez and the others involved. The interwoven personal and professional lives of the characters, particularly Mendez, continue to be compelling, and the escalating tension surrounding the operation keeps the reader hooked. This scene adds a layer of human depth to Mendez, making him more relatable and further engaging the reader in his journey.
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23 -
Creative Chaos in the Argo Production Office - Overall Grade:
8.5
Now it’s noisy in here now -- a PUBLICIST, ASSISTANTS and
controlled chaos --
SIEGEL
(on the phone)
-- press event and reading... No, *
I promised Variety exclusive on
that one...
Mendez is making a list with a PUBLICIST.
(CONTINUED)
ARGO - Final 46.
118 CONTINUED: 118
MENDEZ
‘Biggest Canadian production in
history.’ Canadian Gone With The
Wind --
PUBLICIST ASSISTANT #2
Canadian Sci-Fi Gone With Studio Six Films.
The Wind.
As Chambers pulls Mendez --
SIEGEL
(on the phone)
I gotta get back to you, Phil. I
can’t get my own mother a ticket.
I had to tell her it was
cancelled.
MENDEZ
Are you turning people away?
SIEGEL
(covering the phone)
You know what gets more suckers
than a sign that says ‘Brooklyn
Bridge For Sale’? ‘Brooklyn
Bridge: Approved Buyers Only.’
(as they go)
Philip? You there?
Chambers leads us into the main room, leading Tony to a
table where JACK KIRBY, 62, comics artist, fusses with
large COMIC PANELS of ARGO CONCEPT DRAWINGS spread over a
table.
Kirby starts to distribute storyboards. Some hold on to *
them and an ASSISTANT begins putting them up on the
board.
Mendez looks at them. Impressed. He picks up a drawing *
of some futuristic-looking vehicles. *
MENDEZ *
Any way to make the chariots look
more -- Middle-Eastern -- ?
KIRBY
Mesopotamia... Egypt...
MENDEZ
Iran.
Kirby takes out a marker and starts to sketch a *
futuristic-looking desert glider.
ARGO - Final 47.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene is highly compelling because it introduces the visual element of the movie's production, bringing the elaborate ruse to life. The controlled chaos of the production office, juxtaposed with the serious nature of the mission, creates a palpable tension. The visual depiction of Kirby's storyboards adds a layer of excitement and intrigue, while Mendez's request to make the vehicles more Middle Eastern directly ties the fake movie production to the real-life mission, leaving the reader eager to see how the visuals are integrated into the plan. The scene ends on a dynamic note with Kirby sketching a futuristic desert glider, leaving the reader wanting to see the next step in the plan's execution.
Script Continuation Score: 9/10
The overall script maintains a strong hook due to the interwoven narratives. The tension between the urgency of the real-world hostage crisis and the chaotic yet focused production of the fake movie keeps the reader engaged. The previous scenes' skepticism about the plan's viability is now being addressed through tangible action, creating momentum. The introduction of Kirby and the storyboards add a new layer of intrigue and suspense. The unresolved questions surrounding the success of the fake movie, and whether it will genuinely function as a cover for the exfiltration mission, are powerfully motivating the reader to continue.
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24 -
Press Event Shenanigans at the Beverly Hilton - Overall Grade:
8.5
A black sedan pulls up to the hotel. A driver opens the
back door. Mendez, Siegel, and Chambers get out of the
car. They’re wearing suits.
They walk past a sign that reads: PRESS EVENT and
READING FOR ARGO. A couple of posters with the explosion-
in-space ARGO: A COSMIC CONFLAGRATION logo.
Tony is on a balcony outside the ballroom. He passes the
bar on his way in.
Inside he sees Chambers, Lester and a PUBLICIST who
promptly moves Tony into a conversation with a REPORTER.
PUBLICIST
Janet from the Times -- You know
Johnny Chambers and Lester Siegel.
This is Kevin Harkins. He’ll tell
you a bit about the film --
We leave Mendez with the L.A. Times --
FOLLOWING Siegel --
Jack Kirby’s storyboard drawings throughout the room.
Four or five ACTORS IN SCI-FI COSTUMES.
WOMAN (O.S.)
Lester.
He turns around. NINA, a woman in her early sixties,
made up to look younger.
SIEGEL
You’re gorgeous. You’re in the
reading?
(CONTINUED)
ARGO - Final 48.
124 CONTINUED: 124
NINA
I’m playing Serksi, the Galactic
Witch.
BACK TO: Mendez. A Publicist is guiding Mendez toward
an anemic-looking man --
PUBLICIST
(to Mendez,
introducing)
Rodd from Variety. Kevin Harkins.
BACK TO Siegel and Chambers, walking away from NINA.
SIEGEL
Keep that fucking space witch away
from me.
CHAMBERS
You know her?
SIEGEL
I was married to her.
Mendez, now talking to RODD, from VARIETY.
RODD
(to Mendez)
You said shooting in Iran with an
N?
MENDEZ
Tehran.
RODD
You ever watch the news?
Publicist hands Mendez a LASER GUN and a photographer
snaps his picture. Siegel walks by, downing one from the
bar. *
BACK TO SIEGEL AND CHAMBERS
A Hollywood Reporter writer talking to Siegel. The *
publicist stands by --
REPORTER
So the title refers to...
SIEGEL
The Argo, it’s the, y’know, the
thing --
(CONTINUED)
ARGO - Final 49.
124 CONTINUED: (2) 124
Siegel takes a couple of canapés from a passing Waiter, *
starts eating. *
REPORTER
... Jason and the Golden Fleece,
or...?
SIEGEL
(chewing) *
-- the spaceship, it flies around
space, alllll over space --
REPORTER
Is it the Argonaut?
Siegel doesn’t know what he’s talking about. *
SIEGEL
No.
REPORTER
Then what does ‘Argo’ mean?
And finally Lester’s had it -- with his mouth full -- *
SIEGEL
It means Argo fuck yourself.
PUBLICIST
Let’s all take our places for the
reading.
And we SETTLE ON MENDEZ. He takes a glass of wine from a *
passing waiter’s tray, downs it, and puts it on another
WAITER’S tray. We FOLLOW that waiter THROUGH a swinging
door, INTO the kitchen and prep area, where a small black
and white TV plays...
125 ARCHIVE FOOTAGE 125
Tehran Mary speaks into a microphone.
TEHRAN MARY (V.O.)
(on TV)
As the Imam Khomeini said, we have
found no evidence that proves that
these people are diplomats.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene ends on a strong visual hook – a small black and white TV playing footage of Tehran Mary, whose words directly contradict the elaborate charade being constructed for the Argo operation. The reader is left wanting to know how this seemingly innocuous press event will directly impact the perilous situation in Tehran, creating immediate suspense and a strong desire to move forward to see how the operation unfolds. The humorous exchanges between Siegel and the reporter also add levity that doesn't detract from the tension, but actually reinforces the contrast between the artificiality of Hollywood and the gravity of the real-world stakes.
Script Continuation Score: 9/10
The overall screenplay remains highly compelling. The interwoven plotlines – the escalating crisis in Tehran, the frantic preparations in Hollywood, and the growing personal tensions amongst the characters – all contribute to a strong narrative drive. The scene's cliffhanger, with Tehran Mary's words, directly connects the manufactured Hollywood setting to the real danger faced by the hostages in Iran. This cleverly created link enhances the overall tension and makes the reader eager to see how the meticulously crafted plan will play out against the backdrop of the volatile political climate.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene effectively uses a montage structure to create a sense of escalating tension and suspense. The juxtaposition of the 'Argo' script reading, the hostages' workout routine, and the looming threat of the Komiteh creates a powerful contrast. The ominous voiceovers of Tehran Mary and Princess Aleppa, coupled with the sudden intrusion of the Komiteh into the Mushroom Inn, leave the reader with a strong sense of unease and a powerful desire to see what happens next. The cliffhanger ending, with the hostages being hooded, leaves the reader wanting immediate resolution.
Script Continuation Score: 9/10
The overall screenplay maintains a strong hook through a combination of factors. The initial embassy siege provided a compelling entry point, and the subsequent scenes have successfully developed the characters and the central plot around the extraction mission. The unresolved tension surrounding the six escapees, the overarching threat of the Iranian regime, and the complex interplay between the CIA, State Department, and Canadian Ambassador have kept the story engaging. Even the seemingly unrelated scenes, such as those involving the film production, serve to heighten the stakes and create anticipation for how they’ll connect to the central plot. The recent cliffhanger, with the hostages being seized, adds even more urgency to the story.
133 INT. AMERICAN EMBASSY (TEHRAN) - BASEMENT - NIGHT 133
The four hostages, hoods on their heads, placed against
the wall. HOSTAGE TAKERS raise their guns at the men.
GREEN JACKET PRINCESS ALEPPA (V.O.)
(Farsi) If we find his ship, we
Fire! will find our chance.
Aboard the Argo lies my
hope. My hero. My *
husband.
They pull their triggers. But nothing happens. It’s a
mock execution (actually occurred -- February 5, 1980).
The five hostages, after a beat, either scream or
collapse.
134 INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 134
Joe Stafford, watching Khomeini on TV, to Bob Anders --
JOE STAFFORD
(realizing the
gravity of it)
He’s marginalized the moderates *
now.
MARK LIJEK
A hundred and twelve --
134A INT. BEVERLY HILTON - DUSK 134A
NESTOR THE DROID
We’re hit. We’ll never clear the *
Perseus Range!
We see the ROW OF PRESS PEOPLE. Not unlike the ones *
watching Tehran Mary.
ARGO - Final 52.
134B INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 134B
Lee Schatz collapses from his push-ups. Breathing
heavily.
MARK LIJEK
And we have a new champion.
Bob Anders looks up from Khomeini, who keeps talking in
the b.g., and applauds.
134C OMITTED 134C *
134D INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 134D
SAHAR quietly cleans a table. She’s watching the
Houseguests.
CHAMBERS (V.O.)
‘Crane down over the battlefield
and hold there...’
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene effectively builds tension and suspense as it depicts a mock execution of the hostages, which is a critical moment in the narrative. The juxtaposition of the hostages' fear with the voiceover of Princess Aleppa adds emotional weight and urgency, compelling the reader to continue to see how the situation unfolds. The scene ends with the hostages either screaming or collapsing, leaving the audience anxious about their fate and eager to find out what happens next. The stakes are high, and the emotional impact is palpable, making it a strong hook for the following scenes.
Script Continuation Score: 9/10
Overall, the screenplay maintains a strong momentum, with escalating tension surrounding the hostages' situation and the ongoing political crisis. The introduction of personal stakes for characters like Mendez and the houseguests adds depth to the narrative, while the intercutting between various locations keeps the reader engaged. The unresolved conflicts and the looming threat of violence ensure that the reader remains invested in the outcome. As the story progresses, the stakes continue to rise, making it difficult for the reader to put the script down.
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27 -
Navigating Tensions in Hollywood - Overall Grade:
8.5
Chambers, at the table, sitting next to Siegel. Mendez
sits off to the side.
CHAMBERS
(reading stage
directions)
‘... on a single red flower
growing from the ruins of the
starship in the desert. Fade to
black. The End.’
APPLAUSE.
136 OMITTED 136 *
136A OMITTED 136A *
137 INT. TONY’S HOTEL ROOM - EVENING 137
Mendez, lying on his bed with the phone. Near him, a copy *
of VARIETY turned to a full-page ad. (*This is real --
Variety): STUDIO SIX PRODUCTIONS PRESENTS: ARGO: A
COSMIC CONFLAGRATION. *
ARGO - Final 53.
138 INT. NEAR O’DONNELL’S OFFICE - MORNING 138
O’Donnell comes from the kitchen to find ENGELL waiting.
He hands O’Donnell a copy of Variety. “ARGO TO BEGIN
SHOOTING IN MARCH. Oscar-winner Chambers, Siegel Among
Producers.”
And there is a photo of Mendez from the press event.
Smiling and holding a laser gun.
139 INT. TONY’S HOTEL ROOM - MORNING 139
Mendez, seeing red, pacing --
MENDEZ
Why’d he do it?
O’DONNELL (V.O.)
He did it ‘cause he did it.
INTERCUT WITH:
140 INT. O’DONNELL’S OFFICE - MORNING 140
O’DONNELL
He saw a covert intelligence
officer saying ‘cheese’ with R2-
D2. They’re going with the
teachers.
MENDEZ
It’s a death sentence, Jack.
O’DONNELL
Well then it’s on Engell.
(a beat)
It’s done, Tony. Wash your hands.
He hangs up. Mendez, looking out the hotel window at
L.A.
141 INT. ARGO PRODUCTION OFFICE - MORNING 141
While Tony packs a bag of papers from his desk.
SIEGEL
I made thirty pictures. Half of
them the pricks upstairs tried to
shut me down.
Mendez finishes packing, zips up the bag.
(CONTINUED)
ARGO - Final 54.
141 CONTINUED: 141
SIEGEL
My ass is staying right here and
running a movie company.
Mendez stops zipping as Siegel takes a bottle of Jack and
three shot glasses from a drawer.
SIEGEL
(pours)
Ey. The first shot of the
picture.
Lester gives glasses to each of them. Chambers holds up
his glass.
CHAMBERS
Argo fuck yourself.
They raise to that.
MENDEZ AND SIEGEL
Argo fuck yourself.
They each do a shot. Then Tony picks up his bag and
heads out. Before he goes --
MENDEZ
How’d you always get around the
pricks upstairs?
SIEGEL
There’s always another prick one
floor higher up.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 7/10
The scene ends on a relatively conclusive note, with the successful completion of the 'Argo' screenplay reading and a toast. However, the immediate transition to Mendez's reaction to the 'Argo: A Cosmic Conflagration' poster and O'Donnell's nonchalant response creates a sense of unease and unresolved conflict. This unresolved tension, coupled with the introduction of a significant problem (the absurd movie title and its potential consequences), leaves the reader wanting to know how Mendez will handle this unexpected development and what the repercussions will be for the real mission. The final exchange between Mendez and Siegel about navigating the Hollywood system also introduces a new element of intrigue, hinting at future challenges and clever schemes.
Script Continuation Score: 9/10
The overall script maintains strong momentum due to the high stakes of the central mission. The 'Argo' plan is taking shape, but significant obstacles remain, including the unexpected movie title problem and the inherent dangers of operating in a hostile environment. The reader is invested in Mendez's success and wants to see how he will overcome these challenges and whether the risky plan will ultimately succeed. The cliffhanger ending of the previous scene has left the audience wondering what happens to the hostages and what actions will be taken next. All this unresolved tension keeps the reader actively engaged in the overarching narrative, particularly the tension around the possible failure of the plan due to Siegel's actions.
Mendez catches up with Jack on the second level of the
lobby, opposite the row of flags.
O’DONNELL
What did you do to get the *
meeting?
MENDEZ *
I used your name. *
Jack looks to Tony.
(CONTINUED)
ARGO - Final 55.
143 CONTINUED: 143
MENDEZ
You can forget about that time-
share in Ocean City, Jack.
144 INT. STATE DEPARTMENT - SEVENTH FLOOR - RECEPTION ROOM - 144
DAY
Tony and O’Donnell sit in the waiting area, across from a
SECRETARY. They look down the hall to see:
CIA DIRECTOR ADMIRAL STANSFIELD TURNER, 50s, and
SECRETARY OF STATE CYRUS VANCE walk down the hall
together, discussing something in hushed tones.
O’DONNELL
(under his breath)
Brace yourself. It’s like talking
to those two old fucks on ‘The
Muppets.’
Vance and Turner enter the room without recognizing them.
Mendez and O’Donnell stand up.
145 INT. STATE DEPARTMENT - SEVENTH FLOOR OFFICE - ANGLE - 145
DAY
A concept drawing from Argo.
TURNER (O.S.)
Aliens and robots.
MENDEZ (O.S.)
Yes, sir.
ANOTHER ANGLE
The four men are gathered in the back of Vance’s office,
around a table. Over them we see the STATE DEPARTMENT
EMBLEM.
TURNER is looking at the storyboard.
TURNER
You’re telling me there’s a movie
office in Hollywood right now
that’s funded by the Central
Intelligence Agency.
MENDEZ
Yes, sir.
(CONTINUED)
ARGO - Final 56.
145 CONTINUED: 145
VANCE
What’s wrong with the bikes again?
Vance, with a copy of Comics Week. THE NEXT STAR WARS?
Next to it, a photograph from the press event: Mendez
holding a laser gun. CANADIAN EPIC WILL BE FILMED IN THE
MIDDLE EAST.
TURNER O’DONNELL
... you think this -- We tried to get the message
upstairs --
TURNER
-- this is more plausible than
teachers?
O’DONNELL
One, there are no foreign teachers
in Iran anymore --
MENDEZ
-- two, we think everybody knows
Hollywood people. And everybody
thinks they would shoot during
Stalingrad with Pol Pot directing
if it’d sell tickets.
(beat)
There are only bad options. It’s
about finding the best one.
TURNER
You don’t have a better bad idea
than this?
O’DONNELL
This is the best bad idea we have,
sir. By far.
Vance and Turner exchange looks.
TURNER *
(to Mendez)
The United States government just
sanctioned your science fiction
movie.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene is highly compelling because it culminates in a pivotal moment: the US government's sanctioning of the seemingly absurd 'Argo' movie plan. The scene ends on a cliffhanger, leaving the reader eager to see how this improbable plan will unfold and whether it will actually succeed in extracting the hostages. The dialogue is sharp and witty, maintaining the film's tone while building suspense. The high-ranking officials' involvement and their reluctant approval add significant weight to the stakes, creating a strong urge to continue reading to see the plan's execution.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement due to the ongoing tension surrounding the hostage situation and the increasingly intricate and risky plan to rescue them. The reader is invested in the characters' fates and wants to see how the 'Argo' operation will play out. The previous scenes have effectively built suspense and raised the stakes, making the reader invested in the success (or failure) of this unconventional strategy. The absurdity of the plan only adds to the intrigue, making it more compelling to see how it will be executed.
Mendez is packing to go. He packs a passport with his
photo and the name KEVIN COSTA HARKINS. He takes off his
wedding band and places it with care -- almost with
ceremony -- in a spot on his dresser.
ARGO - Final 57.
147 OMITTED 147
148 INT. O’DONNELL’S CAR - NIGHT 148
O’Donnell is driving, Mendez in the passenger seat. They
just sit there for a moment. In the car.
O’DONNELL
I’m required to remind you that if
you’re detained, the agency will
not claim you.
MENDEZ
Barely claim me as it is.
O’DONNELL
Your ‘In Case Of’s’ good?
MENDEZ
Just Christine.
They don’t need to look at one another. A shared
understanding.
MENDEZ *
Guess I should have brought some
books to read in prison.
O’DONNELL
Nah. They’ll kill you long before
prison.
Tony gets out of the car, pulls his bags from the back
seat, and slams the door. Headed into the airport.
149 INT. ARGO PRODUCTION OFFICE - DUSK 149
Siegel is standing in the office watching Jimmy Carter
speak mournfully on TV, Chambers watching from a desk
behind him.
SIEGEL
Bad news, bad news, even when it’s
good news it’s bad news. Christ.
(a phone starts
ringing)
John Wayne’s in the ground six
months and this is what’s left of *
America. *
(CONTINUED)
ARGO - Final 58.
149 CONTINUED: 149
CHAMBERS
(picking up the
phone)
Studio Six.
INTERCUT WITH:
150 INT. DULLES AIRPORT - NIGHT 150
MENDEZ
We’ve got a green light.
Chambers gives Siegel a thumbs-up.
MENDEZ
Keep the office running till you
hear otherwise.
(this means thank *
you)
Argo fuck yourself.
151 INT. ARGO PRODUCTION OFFICE - DUSK 151
CHAMBERS
Argo fuck yourself.
152 OMITTED 152 *
153 INT. CHRISTINE’S HOUSE - NIGHT 153
The phone in the living room rings. No one is home.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene effectively uses brevity and dialogue to heighten tension. The conversation between Mendez and O'Donnell is laced with dark humor, but underscores the immense risk Mendez is undertaking. O'Donnell's blunt warning about the agency's lack of support creates suspense. Mendez's final line about bringing books to prison is darkly comedic, leaving the reader anticipating his imminent departure and the dangers he'll face. The intercutting with Siegel and Chambers watching Carter on TV adds to the overall feeling that something significant is about to happen, linking the personal stakes of Mendez's mission to the larger political context. The scene ends with Mendez heading to the airport, leaving the reader eager to see what happens next.
Script Continuation Score: 9/10
The overall script maintains a high level of tension and suspense. The previous scenes have effectively built up the stakes, highlighting the danger facing the hostages in Iran and the complexities of the extraction plan. The current scene further intensifies this tension by showcasing the personal risks Mendez is willing to take. The unresolved issue of the hostages' fate, coupled with the increasingly desperate efforts of the CIA and State Department, keeps the reader thoroughly engaged. The final phone call and goodbye from Mendez to Chambers sets up a sense of impending action and resolution, hinting at the climax of the operation.
He sits near a mailbox inside the terminal writing on a
postcard with the Washington Monument on it.
HAPPY BIRTHDAY TO THE BUDDY-MAN. NO PHONE FOR A WHILE.
JACK WILL CALL. LOVE YOU BOTH. Then he adds: SO MUCH.
He drops the card in the box and heads toward a gate
marked “LUFTHANSA.”
ARGO - Final 59.
156 OMITTED 156 *
157 INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - DAY 157
The Houseguests are gathered around Bob Anders.
BOB ANDERS
-- it was thirty seconds for
Christ’s sake. To get some air in
the yard. I couldn’t breathe --
MARK LIJEK JOE STAFFORD
You know what the rules All it takes is one second
are. to spot you.
BOB ANDERS
Who saw me go out?
MARK LIJEK CORA LIJEK
It doesn’t matter. You did I did, actually. I saw
go out. you.
BOB ANDERS
(to Cora Lijek)
Miss Hall Monitor. Creeping
around with her notebook --
MARK LIJEK
(something roused)
Don’t talk to her that way.
CORA LIJEK BOB ANDERS
(to Mark) Little Laura Ingalls.
I’ll defend myself. Okay? Watching every move --
A sound at the door, and they go silent.
LEE SCHATZ
Dad’s home.
Ken carrying his briefcase, cheerfully oblivious to what
he’s walked into.
TAYLOR
You’re getting a visitor.
158 OMITTED 158 *
159 INT. WEST WING - MORNING 159
An NSC LIAISON, holding a file with a red stripe, walks *
to Jordan’s office.
ARGO - Final 60.
160 INT. CHIEF OF STAFF OFFICE - MORNING 160
He finds Jordan sitting on a long table, looking
exhausted, silently watching one of the monitors: “The
Today Show” on NBC.
JORDAN
A man in Scranton’s putting a flag
on his lawn for every day of
captivity.
(beat)
When he runs out of lawn, Kennedy
wins the primary.
Vance hands him the folder.
LIAISON *
The six with the Canadians are *
coming out.
Jordan, brought back from Scranton and politics by this,
opens the file and looks at it.
JORDAN
(after a moment)
Who signed off on this?
161 OMITTED 161
161A EXT. ISTANBUL - DAY 161A
ESTABLISHING SHOT. WIDE. OVER the city, featuring the
famous domed mosques.
SUPERIMPOSE: ISTANBUL - JANUARY 25
162 EXT. ISTANBUL - PLAZA ON THE WATER - DAY 162
Mendez walks, the BOSPHORUS in the b.g. He reaches the
doors of an OFFICIAL-LOOKING BUILDING and goes inside.
163 INT. IRANIAN CONSULATE (ISTANBUL) - DAY 163
Mendez sits in a reception room with a few VISA
APPLICANTS. Photographs of the Ayatollah Khomeini hang
on the wall. Two REVOLUTIONARY GUARD OFFICIALS in ill-
fitting suits sit at a desk.
ARGO - Final 61.
164 INT. IRANIAN CONSULATE - VISA OFFICE - DAY 164
The IRANIAN CONSUL OFFICIAL, late 30s, is smoking.
CONSUL OFFICIAL
What will be the purpose of your
visit to Iran?
MENDEZ
Business. Film production.
The Consul Official looks at his Canadian passport.
CONSUL OFFICIAL
Why didn’t you get your visa in
Canada?
MENDEZ
My boss waited until I was here to
send the telex.
(lighting cigarette)
If he had a thought in his head,
it would die of loneliness. *
Pointed look from Mendez. The universal condition of
boss hatred almost always works for him, and it does now.
Consul nods. Stamps the passport. KINGDOM OF IRAN -- He
crosses out KINGDOM and writes by hand: ISLAMIC REPUBLIC
OF.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
Scene 30 ends with a sense of unresolved tension. The postcard scene provides a brief moment of calm before the return to the Canadian ambassador's residence, where the houseguests' anxieties are palpable. Bob Anders's outburst about needing air, and the subsequent silent anticipation of a visitor, leaves the reader wondering what will happen next and whether the precarious situation will escalate. The scene ends on a cliffhanger with the arrival of Ken Taylor, who is oblivious to the tension, leaving the reader eager to see how the situation unfolds. The contrast between the mundane act of writing a postcard and the high-stakes situation adds to the suspense.
Script Continuation Score: 9/10
The overall script maintains a high level of suspense and intrigue. The previous scene's mock execution, while resolving that immediate threat, highlighted the ever-present danger. The current scene builds on this by showing the internal tensions within the group, hinting at the strain of their confinement and the ever-present risk of discovery. The arrival of Ken Taylor, unaware of the heightened anxiety, further increases the suspense. The unresolved tension, coupled with the ongoing external threat, keeps the reader invested in the fate of the houseguests and the larger operation.
Tony walks through the doorway revealing the historic
mosque, we hear the call to prayer echo through the
courtyard. Tony walks through the courtyard. We see
some TOURISTS with ‘70s Instamatics. Locals are HEADING
IN TO PRAY.
165 INT. HAGIA SOPHIA - UPPER LEVEL - LATER 165
We see the beautiful ceiling of the former cathedral.
PULL BACK to reveal Tony stands looking out over the
second level balcony. A MAN walks up behind him.
MAN (O.S.)
‘Iran is a hundred percent not in
a pre-revolutionary state.’ End
quote.
Mendez looks up: a MAN, late 40s-50s with a British
accent, is talking to him. PETER NICHOLLS, an Oxbridge
type and a very good spy.
(CONTINUED)
ARGO - Final 62.
165 CONTINUED: 165
MENDEZ
Can’t be right all the time.
NICHOLLS
Mr. Harkins.
MENDEZ
When’d you get back?
CUT TO: *
165A INT. HAGIA SOPHIA - LOWER LEVEL - DAY 165A
FIND Mendez and Nicholls.
MENDEZ
Were you metal detecting? *
NICHOLLS
None left to find. Shah escaped
with a 747 so laden with gold bars
it nearly didn’t make it off the
runway.
MENDEZ
But you kept busy.
NICHOLLS
Ferrying out the torture apparatus
of our friend’s fallen
dictatorship.
Both these men do this work and share an unspoken
understanding. They stop and look up at a MOSAIC on the
wall. An ancient rendition of Christ, fashioned before
the Muslims took the city and converted this church to a
mosque. *
Nicholls has WHITE AND YELLOW SLIPS OF PAPER with Farsi
writing on them in hand. He gives them to Tony.
NICHOLLS
It’s getting worse. Everybody who *
lands at Mehrabad now fills out
one of these.
(a WHITE one)
That slip makes a copy to this one
underneath.
(a YELLOW one)
Passenger keeps Yellow, Airport
keeps White.
(MORE)
(CONTINUED)
ARGO - Final 63.
165A CONTINUED: 165A
NICHOLLS (CONT'D)
When you leave the country, they
match them up to verify you came
into the country when you said you
did.
MENDEZ
So if they look, they’ll know six
people didn’t come in with me.
NICHOLLS
If they look.
Nicholls and Tony turn away from the mosaic,
surreptitious work now done, and meander toward the
middle of the great room.
Genres:
Thriller, Drama Tone:
Tense, Suspenseful, Informative
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a strong cliffhanger. The exchange between Mendez and Nicholls, two experienced spies who understand each other without explicit explanation, is both intriguing and suspenseful. The revelation of new airport procedures in Iran, coupled with the implication that six individuals' entries will not match their exits, creates immediate tension and a compelling need to know what happens next. The visual descriptions of the Hagia Sophia also add to the scene's richness and draw the reader forward to see how this information will be used in the unfolding plan.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement. The prior scenes built suspense around the escape plan, and this scene delivers vital information that directly impacts the success of the operation. The introduction of Nicholls, a well-established character, adds depth and intrigue to the narrative, further pulling the reader into the world. The unresolved question of how Mendez will use the information regarding the new airport security measures to successfully exfiltrate the six individuals fuels the story's momentum.
Nicholls and Tony walk towards the inner courtyard.
NICHOLLS
When you land, you should go
straight to the Ministry of
Culture and Islamic Guidance to
kiss the ring. Get on record as
having applied for a film permit.
If they catch you later, at least
they’ll be confused while they’re
torturing you... Your biggest
problem may be convincing the six
of them to go with you. They’re
foreign service. They’re willful.
Nicholls takes a picture.
MENDEZ
How’s June?
NICHOLLS
Left.
MENDEZ
I’m sorry.
NICHOLLS
She picked out a ring and gave me
a choice. She’s a Chinese
national. If I married her, I’d
have to resign, so. You and *
Christine?
MENDEZ
Good. Yeah.
(CONTINUED)
ARGO - Final 64.
166 CONTINUED: 166
He said that without hesitation. Maybe here we realize
that Mendez is a very good liar.
166A EXT./INT. PRODUCERS’ BUILDING - NIGHT 166A *
Lester is BOUNCING A RUBBER BALL. The PRODUCER from later *
in the movie walks by. *
PRODUCER *
You’re working late. *
SIEGEL *
‘Til the dawn’s early light. *
PRODUCER *
You got stamina, Lester. I wanna *
be you. *
SIEGEL *
You wouldn’t be me for long. I’m *
80. *
Producer walks away and Lester looks into the ‘Argo’ *
office as he squeezes the ball. *
FROM INSIDE THE OFFICE -- In the foreground, we see what *
Lester is looking at: a phone. Stubbornly silent. *
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
The scene ends with a cliffhanger: Lester Siegel gazes at a silent phone in the Argo office, leaving the reader wondering what communication is awaited or why the phone isn't ringing. The conversation between Nicholls and Mendez provides crucial information about the changing political situation and the difficulties of the mission ahead, creating anticipation for how Mendez will navigate these challenges. The brief, poignant exchange about Nicholls's personal life adds emotional depth and humanizes the characters, making the reader more invested in their success. The juxtaposition of the serious conversation with the lighter tone of Siegel bouncing a rubber ball and his banter with the producer creates a compelling contrast and adds to the overall intrigue.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement due to the escalating tension and the impending danger. The mission's complexities are continuously revealed, creating suspense. The personal details shared by Nicholls and Mendez add emotional depth, making the reader care about their success. The introduction of the silent phone adds a new element of suspense and a potential obstacle to the mission, keeping the reader wondering what will happen. The storyline continues to weave together personal struggles with the larger political drama, effectively engaging the reader on multiple levels.
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33 -
Entering the Storm: Mendez in Tehran - Overall Grade:
8.5
Mendez sits in a window seat. A FLIGHT ATTENDANT speaks
with a pleasant British accent.
FLIGHT ATTENDANT (V.O.)
The Captain has informed us that
we have entered Iranian airspace.
Members of our cabin crew will be
coming through to collect any
remaining alcoholic beverages at
this time.
ARGO - Final 65.
171 INT. MEHRABAD AIRPORT TERMINAL - DAY 171
Mendez walks through the terminal of a crowded 1960s-era
airport. Newly-hung portraits of the Ayatollah Khomeini
watch over the duty-free shops.
SUPERIMPOSE: TEHRAN - JANUARY 26
The MOBS OF PEOPLE WITH BOXES OF THEIR WORLDLY BELONGINGS
puts in high relief that Tony is going into a place that
everyone else is desperately fleeing.
172 INT. MEHRABAD AIRPORT IMMIGRATION - DAY 172
Tony fills out a white form. It makes an impression on a
YELLOW form.
Tony presents his passport to a REVOLUTIONARY GUARD
IMMIGRATION OFFICIAL. Official looks at it, Tony hears
the sound of a woman screaming in Farsi.
Three lanes away, at the outgoing immigration station, a
Revolutionary Guard is dragging away the woman’s HUSBAND.
The Immigration Official stamps Tony’s passport -- takes
the white form, gives Tony the yellow one -- and waves
him through.
173 EXT. TEHRAN - DAY 173
Archive footage may be mixed with new footage. Normal
city life mixed with men with automatic weapons. The
contradictions of Tehran at this moment.
173A EXT. TEHRAN - DAY 173A
A Massive HELICOPTER SHOT OF TEHRAN. We TILT DOWN to see
a traffic jam SPRAWLS AROUND THE AZADI MONUMENT. Bikes,
mopeds, pedestrians, peddlers and old, patched together
cars compete for space. No one gets anywhere.
174 INT. TAXI - DAY 174
Mendez sits in the back of a taxi in the Tehran traffic,
some of the worst traffic in the world. We see the AZADI
MONUMENT out his window.
ANGLES OUT HIS WINDOWS
The Ayatollah looks down from everywhere.
(CONTINUED)
ARGO - Final 66.
174 CONTINUED: 174
A MAN IS HANGING FROM A CRANE. People mill underneath.
Women in chadors at Kentucky Fried Chicken.
An ARMED GANG in the back of pickup truck pulls up near
his taxi.
We see PROPAGANDA painted on a wall/window.
175 INT. TAXI/EXT. MINISTRY - DAY 175
The taxi pulls up to a FORMAL, PINK BUILDING.
The Driver stops. They’ve arrived. *
176 INT. MINISTRY OF CULTURE AND ISLAMIC GUIDANCE - DAY 176
MEHDI BEHROUZ, 33, is the newly appointed Deputy Minister
of Culture and Islamic Guidance. Like many of the stars
of the Revolution, he was educated in the U.S. Right now
he’s looking at the ARGO script.
BEHROUZ
This film crew is just yourself?
MENDEZ
Six more are joining me today.
They’re coming from Canada.
BEHROUZ
You’d like to film at the bazaar?
MENDEZ
The bazaar, maybe the palace.
BEHROUZ
(not particularly
friendly)
I see. The exotic Orient. Snake
charmers and flying carpets.
(a beat)
You come to us at a complicated
time. Before the Revolution, 40
percent of the movie theaters in
Tehran were showing pornography.
Our function is purification as
well as promotion of the arts.
(takes script)
I’ll review for the Minister.
ARGO - Final 67.
Genres:
Thriller, Drama Tone:
Tense, Dark, Suspenseful, Informative
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a clear cliffhanger. Mendez has arrived in Tehran, a city actively rejecting Western influence and desperately fleeing its own citizens, heightening the tension and danger of his mission. The visual contrast between the bustling airport filled with departing citizens and Mendez's arrival creates a strong sense of unease and anticipation for what's to come. The scene ends with Mendez successfully navigating immigration despite witnessing a violent arrest, leaving the audience wondering if his luck will hold. The bureaucratic hurdle of securing a film permit immediately introduces a new challenge, compelling the reader to proceed.
Script Continuation Score: 10/10
The overall script maintains a high level of suspense. The earlier scenes have established the urgency of the mission and the high stakes involved. Mendez's arrival in Tehran directly confronts the central conflict—the extraction of the hostages from a hostile environment. The scene successfully transitions from the preparatory stages of the plan to its direct execution, significantly raising the stakes and making the reader eager to see how Mendez will navigate the challenges ahead. The unresolved questions regarding the hostages' safety and Mendez's ability to succeed keep the reader firmly hooked.
Mendez, carrying his luggage, stands at a wrought iron
gate with MAPLE LEAVES worked into the iron. Ken Taylor
comes out of the building, opens the gate himself.
MENDEZ
Mr. Ambassador.
TAYLOR
Ken Taylor.
He shakes Tony’s hand and they start to walk to Taylor’s
car.
MENDEZ
A day to prep them with their
cover stories. Two if they need
it.
TAYLOR
And you’ll fly out with them?
Tony nods. A distant sound of a crowd outside.
(CONTINUED)
ARGO - Final 68.
178 CONTINUED: 178
TAYLOR
There’s something you should know.
We think one of our housekeepers
figured out who they are. We
don’t know if we can trust her.
Now the noise outside is louder. Taylor turns to the
window. Tony joins him.
TAYLOR
So sooner is better.
They stand listening to the demonstration sounds, echoing
over the rooftops of the city.
179 OMITTED 179 *
Genres:
Thriller, Drama Tone:
Tense, Suspenseful, Serious
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene effectively builds suspense and raises the stakes. The casual handover of blank passports and the revelation that a housekeeper suspects the identities of the escapees create immediate tension. The escalating sounds of a nearby demonstration amplify the urgency, leaving the reader eager to see how Mendez will handle the situation and if the escape will succeed. The scene ends on a cliffhanger, leaving the reader wondering what will happen next. The dialogue is sharp and efficient, focusing on the immediate practicalities and looming threat, creating a forward momentum.
Script Continuation Score: 9/10
The overall script maintains a strong narrative drive. The previous scenes have established the urgency of the situation, the inherent risks, and the complex web of characters involved. This scene adds another layer of tension by introducing a potential internal threat, further escalating the risks of the escape plan. The unresolved issue of the suspicious housekeeper and the growing demonstration significantly raise the stakes and keep the reader invested in the outcome. The pacing of the story, weaving between the logistical planning and the mounting external and internal threats, keeps the story consistently engaging.
O’Donnell closes the door. Pender, wearing an undone
tuxedo, as if he’s just been pulled from a formal event.
They stay standing.
O’DONNELL
I can’t tell you more than that
‘cause I don’t know any more.
PENDER
(cutting to it)
The Times and A.P. found out
they’re with the Canadians.
Somebody in one of the families
talked.
O’DONNELL
Mother of God.
PENDER
I just put Vance on a plane to
take the editors to Le Cirque. He
thinks he can get them to sit on
it. For now.
(a beat)
Your guy better get them and get
the hell out.
ARGO - Final 69.
180 EXT. SHEMIRANAT (TEHRAN) - DAY 180
Ken Taylor drives up to a nice, but not huge, home in the
expat/diplomatic neighborhood of Tehran. Automatic gates
open.
181 EXT./INT. CANADIAN AMBASSADOR’S RESIDENCE - DAY 181
Taylor leads Mendez inside. Pat Taylor waits for them in
the hall. Takes Tony’s hand.
182 INT. CANADIAN AMBASSADOR’S RESIDENCE (TEHRAN) - DAY 182 *
They enter the LIVING ROOM... and here are the SIX
HOUSEGUESTS. They’re looking at Mendez like kids waiting
to be told the lesson plan.
183 INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - 183
NIGHT
Each Houseguest has a copy of the ARGO script.
BOB ANDERS
It’s theater of the absurd.
MARK LIJEK
What are the chances?
MENDEZ
The chances are good.
MARK LIJEK
What’s the number value of ‘good’?
30 percent chance of success? 80
percent?
CORA LIJEK
We just --
BOB ANDERS *
What was the objection to picking
normal cover identities?
MENDEZ
There are no Canadians in the
country for normal reasons.
KATHY STAFFORD MARK LIJEK
They’ll sniff us out The Swedish consul said
regardless. they accused him of being
an American at the airport
and held him for an hour.
(CONTINUED)
ARGO - Final 70.
183 CONTINUED: 183
BOB ANDERS
We can’t stand up to that. We
don’t know what the hell movie
people do.
MENDEZ
That’s why I’m here. I’ll be with
you. This is what I do.
CORA LIJEK *
Have you gotten people out this
way before?
MENDEZ
This would be a first.
CUT TO:
184 INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - 184
NIGHT
THE HOUSEGUESTS --
minus Joe and Kathy Stafford, go into the living room.
Mendez stays in his seat; Joe approaches him.
JOE STAFFORD KATHY STAFFORD
Do you know that every ... Joe, don’t.
day...
JOE STAFFORD
... every day they catch another
friend of the shah at the airport.
Kangaroo trials then firing
squads. Just for having American
names in their phone books.
He puts the Iranian newspaper in front of Mendez.
JOE STAFFORD
You’ve been here an hour and
you’re asking us to trust you with
our lives, Mr. --
MENDEZ
Harkins.
JOE STAFFORD
Is that your real name?
A beat.
MENDEZ
No.
(CONTINUED)
ARGO - Final 71.
184 CONTINUED: 184
Joe Stafford nods, as if this has proven a point. He
goes back into the living room, followed by Kathy.
ANGLE ON THE PHOTOGRAPH
in the Tehran Times. A MAN IN A SUIT at Mehrabad
Airport. Terrified, being led out at gunpoint.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a powerful cliffhanger. The revelation that Joe Stafford doesn't trust Mendez, coupled with the image of a terrified man being led away at gunpoint, creates immediate suspense and leaves the reader desperate to know what happens next. The scene successfully raises the stakes and introduces a new element of doubt, making the reader highly invested in the characters' fate. The uncertainty surrounding Mendez's true identity and the imminent danger facing the hostages significantly increases the compulsion to read on. The contrast between the relatively calm discussion and the stark image of the arrest fuels the tension.
Script Continuation Score: 9/10
The overall script maintains a strong hook. The central mission—extracting the hostages—is compelling, and this scene adds a layer of personal risk and doubt. While previous scenes focused on the planning stages, this scene directly confronts the potential consequences of failure. The unresolved tension surrounding Mendez’s true identity, the escalating threat in Tehran, and the lack of trust among the group create a compelling narrative drive. The pacing is excellent, moving from planning to immediate danger effectively.
185 EXT. CANADIAN AMBASSADOR’S RESIDENCE - VERANDA - NIGHT 185
Mendez comes out and lights a cigarette. Ken Taylor is
already there.
TAYLOR
We’ve got orders to close the
embassy and go back. There’s
nowhere for them to stay.
186 INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - 186
NIGHT
JOE STAFFORD
I’m serious, too. This is what?
BOB ANDERS JOE STAFFORD
Don’t do this, Joe... ... the part where we say,
‘That’s so crazy it just
might work’? C’mon...
BOB ANDERS
I saw it in Burma. They get
people out. They know how.
JOE STAFFORD
Snitches in banana republics.
They get them over the border
after the coup...
BOB ANDERS JOE STAFFORD
That’s your opinion. ... pay the guards at the
crossing a hundred bucks to
look the other way...
MARK LIJEK
His opinion got us out of the
embassy in the first place.
ARGO - Final 72.
187 EXT. CANADIAN AMBASSADOR’S RESIDENCE - VERANDA - NIGHT 187
MENDEZ
If we go, you need to leave *
immediately. There’s a *
danger --
TAYLOR
Pat and I discussed it. If they
catch you at the airport, they
come here and we go on trial for
harboring the enemy. It’s a risk
we took.
(after a moment)
Can you pull this off?
MENDEZ
I don’t know.
188 INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - 188
NIGHT
JOE STAFFORD
-- even if they do. They find us
here, we’re not lying, we’re just
hiding. We go out there with fake
passports, we’re spies, period,
execution.
CORA LIJEK
So how long do we stay? A month?
A year?
JOE STAFFORD
That man out there, he’s got bad
cards, he’s gonna lose. If he
loses, it’s our lives.
KATHY STAFFORD
(after a beat)
And his life too. *
Another beat. ANGLES ON the Houseguests. *
CUT TO: *
189 OMITTED 189 *
ARGO - Final 73.
189A INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - 189A *
NIGHT
MENDEZ *
Your cover identities were created *
specifically for each one of you. *
Mendez, now dressed to leave, is handing each Houseguest
an envelope.
MENDEZ
What I need you to do is memorize
everything inside. Who you are,
what you are, where you’ve been.
Cora Lijek looks at a document from inside her envelope.
A union card for the Canadian Writers Guild with her
picture on it.
MENDEZ
When we’re done, you’ll know these
so well that you’ll dream as these
people.
Mendez nods at them, and goes. The Houseguests look at
what’s inside their envelopes -- all except Joe Stafford,
whose envelope remains sealed.
190 INT. SHERATON HOTEL - NIGHT 190
A TELEFAX MACHINE spells out a message, letter by letter:
“MR KEVIN HARKINS - CARE OF HOTEL SHERATON.”
191 OMITTED 191
192 INT. SHERATON ROOM - NIGHT 192
Tony is PREPPING the CANADIAN PASSPORTS -- expertly
copying Farsi stamps with a small sharpened stick. A
KNOCK on the door. Tony hides the passports. Answers
the door.
BELLHOP
Sir, a telex arrived for you.
The BELLHOP hands Tony a piece of paper. He reads it.
CUT TO:
ARGO - Final 74.
193 INT. SHERATON ROOM - NIGHT 193
Mendez takes a small 1978 model radio out of his
suitcase. He unscrews the casing and from inside takes
out what looks like a 6-inch transistor board for the
radio.
On either side of the board: telephone jacks.
He detaches the cords from the hotel phone and plugs them
into the jacks on the transistor board. It’s a phone
scrambler.
MENDEZ (V.O.)
‘The Minister of Culture and
Guidance has approved your
location scout.’
194 INT. SHERATON ROOM - A FEW MINUTES LATER 194
Mendez, on the phone --
MENDEZ
(reading the telefax)
‘He will send a representative to
meet you and your crew at the
Khayyam entrance to the Grand
Bazaar tomorrow at 3 PM.’
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger, leaving the reader questioning whether Mendez's plan will succeed and raising the stakes for the characters. The urgency of the situation, the clear danger if they're caught, and the unresolved tension between the characters (especially Joe Stafford's skepticism) creates a strong desire to see what happens next. The scene ends with Mendez leaving the group, handing out envelopes with their new identities, raising questions about the success of this plan and its next steps. The setting of a night-time veranda increases the sense of impending danger, enhancing the cliffhanger.
Script Continuation Score: 10/10
The overall tension of the script remains extremely high. The previous scenes have built a strong sense of urgency and danger, and this scene further intensifies it. The reader is invested in the characters' fate and wants to know if they will succeed in their daring escape. The unresolved issue of Joe Stafford's distrust of Mendez and the potential threat of capture add to the suspense, keeping the reader engaged. The setup of the fake identities and the impending escape create a powerful hook, promising exciting action and high stakes in the coming scenes. There are no fading plot lines; everything is tightly focused on the immediate escape.
O’DONNELL
N.E. says absolutely not. Seven
Americans walking the bazaar,
you’re asking for a riot, it’s the
hive --
MENDEZ
Seven Canadians, Jack.
O’DONNELL
Never give them multiple shots at
a cover. Are they even ready?
(CONTINUED)
ARGO - Final 75.
195 CONTINUED: 195
MENDEZ
They’re getting there.
O’DONNELL
Terrific. There’s no prize for
‘Most Improved.’
MENDEZ
(escalating)
I don’t have a choice. We say no,
they come to the residence and
pull everyone out at gunpoint.
How do you think the covers hold
up with their fingernails pulled
out?
196 INT. CANADIAN AMBASSADOR’S RESIDENCE - KITCHEN - NIGHT 196
Mark Lijek is studying pages from the envelope Tony gave
him. Joe Stafford is sitting near him, having a drink,
watching Iranian State Television footage of the
Ayatollah. Joe Stafford translates out loud.
JOE STAFFORD
‘We are a nation of 35 million
and... many of these people are
looking forward to martyrdom.‘
Kathy Stafford looks into the room. Joe stops talking,
looks up.
JOE STAFFORD
(to Kathy)
Five minutes?
He smiles at her. Kathy, who looks like she hasn’t been
sleeping, nods and leaves. Joe takes a drink. After a
moment --
JOE STAFFORD
She pleaded with me.
Mark, looking to Joe. This is new.
JOE STAFFORD
When it started in the streets
nine months ago. She begged for
us to leave. She packed our bags.
I said, ‘A little longer.’ And
what I was thinking was, ‘This is
a good thing for me. Stay. Show
Newsom you’ve got the balls. Grab
for the ring.’
(MORE)
(CONTINUED)
ARGO - Final 76.
196 CONTINUED: 196
JOE STAFFORD (CONT'D)
(a beat)
I think we’re gonna die here.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a powerful cliffhanger. The conversation between O'Donnell and Mendez highlights the escalating risk, leaving the reader wondering if the escape plan will succeed, especially given Mendez's increasingly desperate tone. The scene then cuts to Joe Stafford's confession of his wife's pleas to leave Iran months earlier and his gut feeling that they are about to die. This revelation introduces a deeply personal and emotional element to the already high-stakes situation, creating a strong desire to see how the characters will react and what will happen next. The emotional vulnerability of Joe Stafford contrasts sharply with the tense political backdrop, leaving the reader both anxious and invested in their fate.
Script Continuation Score: 9/10
The overall screenplay maintains a high level of suspense. The ongoing tension between the Americans trapped in Iran and the Iranian authorities is palpable. The introduction of Joe Stafford's personal anxieties adds a new layer of emotional depth, making the stakes feel even higher. The reader is invested in the success of Mendez's plan, but the scene leaves them with a lingering sense of doubt and apprehension, which fuels their desire to continue reading. Previous threads regarding the urgency of the situation and the dangers facing the hostages are reinforced, keeping the overall story compelling. The unresolved question of whether the escape will succeed, coupled with the new emotional vulnerability of Joe Stafford, ensures high reader engagement.
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38 -
Tensions Rise at the Komiteh Headquarters - Overall Grade:
8.5
A Kafka-esque stairway. We see a YOUNG KOMITEH call up
from the bottom and head up the stairs.
JUMP CUT TO: one flight to go.
Now on the level WITH CAMERA, we carry him INTO the
office as he hands off the ARGO script and STUDIO SIX
BUSINESS CARD. Khalkali has some words in Farsi for the
young man.
198 EXT. SHERATON BALCONY - MORNING 198
Tony looks at one of the Argo storyboards -- one
depicting an EXOTIC SPICE MARKET, a BAZAAR -- in the
light.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger, leaving the reader intensely curious about the outcome. The scene opens with a very tense and dangerous setting in the Komiteh headquarters, immediately raising the stakes. The juxtaposition of this setting with the seemingly innocuous delivery of the Argo script creates suspense. The subsequent scenes show the houseguests' apprehension and mistrust of Mendez, culminating in Joe Stafford's outright refusal to participate. This unresolved conflict, combined with the visual of the Argo script being handed off to Khalkali, strongly compels the reader to move forward to see the immediate consequences and how Mendez will handle the situation. The final line, 'So we’ll see you at two?', adds another layer of suspense.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement through its suspenseful plotline and well-developed characters. The ongoing tension surrounding the escape plan is amplified by the houseguests' distrust of Mendez and the increasingly dangerous situation in Tehran. The introduction of Khalkali in the Komiteh headquarters adds a significant new antagonist and raises the stakes considerably. While some story threads have been developing over multiple scenes (such as the overall hostage crisis), the immediate threat to the six individuals keeps the reader invested, and new developments like the script's delivery ensure that the story continues to unfold at a satisfying pace. The cliffhanger at the end of the scene directly propels the reader into the next scene.
A KOMITEH BOSS inspects the work of the CARPET WEAVER
KIDS -- whose numbers have grown into the HUNDREDS -- as
they labor quietly.
Some HEADSHOTS are in various stages of repair.
(CONTINUED)
ARGO - Final 78.
200 CONTINUED: 200
Dozens of documents are now complete, sitting on the
floor in rows. Some pages from the EMBASSY MUG BOOK are
now re-assembled. The boss picks one of the pages up:
meticulously worked so that text and photos are now
intact.
201 INT. CANADIAN AMBASSADOR’S RESIDENCE - DAY 201
PAT TAYLOR
This one.
She gives Bob Anders a Canadian maple leaf lapel pin,
which he affixes to his shirt. Cora Lijek paints lighter
hair dye onto her hair. The Houseguests are making
subtle efforts to disguise themselves.
CORA LIJEK
(at a mirror, quoting
instructions)
So don’t be recognizable, but look
exactly like your passport
picture.
MARK LIJEK
Not that picture. You won’t want
to scare them.
A nervous smile. Trying to deal with anxiety.
Joe and Kathy Stafford look to each other. Sitting
reading newspapers while the other Houseguests prep for
the scout. The PHONE starts ringing.
PAT TAYLOR
(answering the phone)
Hello?
A cloud comes over Pat as she listens.
PAT TAYLOR
No, there’s no one like that here.
She hangs up the phone fast, as if it were hot to the
touch.
BOB ANDERS *
Who was it?
Pat shakes her head.
ON JOE STAFFORD
listening. Kathy takes his hand.
(CONTINUED)
ARGO - Final 79.
201 CONTINUED: 201
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a significant cliffhanger. The meticulous reassembly of embassy documents in the carpet factory creates a sense of urgency and impending danger, immediately followed by a mysterious phone call to Pat Taylor that reveals someone knows about the houseguests' presence. The revelation that 'Somebody knows' leaves the reader with a strong desire to know who the caller was and what will happen next, creating significant suspense and compelling them to proceed to the next scene.
Script Continuation Score: 9/10
The overall screenplay maintains a high level of engagement. The escalating tension from previous scenes, including the uncertainty surrounding the escape plan and the houseguests' skepticism towards Mendez, are successfully carried over. The cliffhanger ending of the previous scene combined with the discovery of reassembled embassy documents and the ominous phone call creates a powerful hook that keeps the reader invested in the fate of the characters. The narrative threads of the ongoing escape plan, the threat of discovery, and the larger political conflict in Iran remain prominent, creating a consistent drive towards the next scenes. There are no major plot lines that have been left unresolved for too long, maintaining the reader's interest.
He gets up and leaves, and we start to hear the sound of
a man talking fast in Farsi.
203 EXT. CAR RENTAL - DAY 203
It’s a CAR RENTAL MAN, 60s, speaking. Tony is looking at
a MINIVAN on a lot of beaten-up rental cars.
MENDEZ
This one, how much? One day, how
much?
204 INT. CANADIAN AMBASSADOR’S RESIDENCE - DAY 204
Four of the Houseguests are waiting on the couch, dressed
in their best approximation of the clothes of a movie
scout crew. Cora has the maple leaf flag pin on her
shirt.
They turn when they see Tony come in the door.
Tony as he steps down into the living room, down the hall *
-- *
205 INT. CANADIAN AMBASSADOR’S RESIDENCE - KITCHEN - DAY 205 *
... to find Joe Stafford sitting at the table. They are
badly shaken.
MENDEZ
I promise you that if you will
play along today, I will get you
out tomorrow.
JOE STAFFORD
I wish I could believe you, Mr.
Harkins.
MENDEZ
My name is Tony Mendez. *
Mendez goes back out to the minivan. STAY WITH Joe and
Kathy.
ARGO - Final 80.
206 INT. MINIVAN - DAY 206
Mendez, in the driver’s seat, looks at the house, then at
his watch. He starts up the van, filled with four of the
Houseguests.
Then he looks in the rearview and sees one of the back
doors open. Joe and Kathy Stafford board.
207 EXT. TEHRAN - DAY 207
Tony drives the minivan through streets of Tehran. The
Houseguests sit in silence, looking out the windows.
There is a vehement DEMONSTRATION going on -- stars-and-
stripes burning in Molavi Square -- and it’s taking place
right in their way.
They stop at the demonstration, then realize people
aren’t passing by as much as celebrating in the street.
Tony is forced to nose his way through the crowd --
chanting and yelling -- some SLAPPING THE WINDOWS.
They finally get through and pull away. With the
demonstration receding behind them, Tony tries to regain
their focus.
MENDEZ
Tell me who you are.
This recalls attention from the windows.
LEE SCHATZ
Mike McEwan, cameraman.
BOB ANDERS
Robert Baker, director.
MARK LIJEK
Timothy Harris, location manager.
CORA LIJEK
Mary Ann Boyd, screenwriter.
KATHY STAFFORD
Rachel Dewart, production
designer.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene is highly compelling because it marks the beginning of the daring escape plan. The urgency is palpable, with the houseguests already dressed for their roles and the immediate need to navigate through a volatile demonstration. The scene ends with the introduction of the fake identities, creating a sense of suspense and raising the stakes. Will their disguises hold up? The reader is left wanting to see how this risky plan unfolds.
Script Continuation Score: 9/10
The overall screenplay remains highly engaging. The build-up to this scene, with the intense discussions and preparations, has effectively heightened the tension. The escape itself is a major plot point, promising thrilling action and suspense. The reader is invested in the success of this risky undertaking, and the potential for discovery or capture keeps them hooked. Furthermore, earlier unresolved threads, such as the overall hostage situation and the actions of the Iranian authorities, continue to fuel reader interest.
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41 -
Cultural Misunderstandings in the Tehran Bazaar - Overall Grade:
8.5
The minivan double-parks on Musavi Street. Taxis, men
loading and unloading rolled-up carpets onto pickup
trucks, chaos.
A YOUNG MAN IN SUIT WITH NO TIE waits. This is REZA, mid-
20s, a low-level administrator in the Ministry of
Guidance.
Mendez gets out and they speak and shake hands. The
image FREEZES. In a BLACK AND WHITE PHOTOGRAPH.
They exchange pleasantries and Reza leads them down a
narrow street toward the bazaar.
209 EXT./INT. TEHRAN BAZAAR - DAY 209
Reza is leading Mendez and the group of Houseguests
through the Tehran Bazaar. A word about the place: the
world’s largest bazaar. 10 kilometers of narrow alleys.
Chinese-made Swiss watches, banks, mosques, butchers,
fabric stores, gold stands. Boys with hand-trucks loaded
down with piles of fabric cut through the crowd. Older
Islamic architecture elbows up against neon signs and
rickety wooden stands with second-story balconies like
Bourbon Street.
Bob Anders walks toward the front.
REZA
You are the director?
BOB ANDERS
Yes.
REZA
(pleasant)
Is this film a foreign bride film?
BOB ANDERS
I’m sorry?
REZA
A film where a foreign bride is
brought to Iran, but she doesn’t
understand the language and
customs and there are
misunderstandings and laughs.
BOB ANDERS
No.
(CONTINUED)
ARGO - Final 82.
209 CONTINUED: 209
REZA
(not happy with that)
Mmmm.
Mendez walking toward the back of the group. Lee, the
cameraman, is looking through a viewfinder down the alley
of the bazaar.
MENDEZ
(quiet)
Mike?
LEE SCHATZ
(not looking up)
Yeh.
MENDEZ
If I said you were looking through
the wrong end of that viewfinder,
would I be right?
Lee turns the viewfinder around and looks through it
again.
LEE SCHATZ *
Yep. *
ANGLE
Mendez talking to Lee from a distance. A zoom, a closer
snapshot of LEE. Then of CORA LIJEK, who walks through
the bazaar with an open ARGO SCRIPT in her hand.
The Revolutionary Guard photographer is taking pictures
of each of the Houseguests, picking their portraits off
one by one like a sniper.
Genres:
Thriller, Drama Tone:
Tense, Suspenseful, Intriguing
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene successfully integrates the tension of the escape with the comedic elements of the disguise. The visual of the frozen black and white photograph is striking and creates intrigue. The misunderstanding about the type of film being made introduces a lighthearted element that contrasts the serious stakes, preventing the scene from becoming overly tense. The scene ends with the introduction of the Revolutionary Guard photographer, adding a layer of suspense and raising the question of whether their disguise will be successful. This unresolved element pushes the reader to the next scene.
Script Continuation Score: 9/10
The overall script maintains a high level of engagement. The prior scenes have established the high stakes and the characters' desperate situation. This scene deftly balances suspense and humor, furthering the established tension while providing some lighthearted relief. The unresolved question of whether the escapees will be discovered maintains a strong hook. The reader is invested in the success of the mission and is eager to learn if the ruse will hold.
210 EXT. CANADIAN AMBASSADOR’S RESIDENCE (TEHRAN) - DAY 210
Two sedans turn onto the property and head up the
driveway.
Ali Khalkali, the revolutionary official, gets out of one
of the cars. He’s joined by a couple other OFFICIALS and
by two armed REVOLUTIONARY GUARDS.
Sahar is moving through the garden, she sees the men
approach. She goes to greet them at the gate.
SAHAR
(Farsi, from behind
the gate)
Yes?
ARGO - Final 83.
211 OMITTED 211
212 INT. TEHRAN BAZAAR - DAY 212
Reza leads Mendez and the Houseguests deeper into this
city within a city; fundamentalist ground zero. BAZAARIS
stand at their shop doors; puzzled; unfriendly; watching
the visitors.
Kathy Stafford, the production designer on the scout,
takes a Polaroid of a window adorned in gold. The
SHOPKEEPER, a 70-ish bazaari, sees her do so.
He hurries out of his store, speaking in rapid-fire Farsi
at her. The Houseguests stop. Reza speaks to the
Shopkeeper.
REZA
(to Kathy)
He wants the photograph you took.
MENDEZ
She’s the production designer.
Her job is to take photographs.
SHOPKEEPER getting more and more heated in Farsi.
REZA
He says he did not give you
permission to take a photograph of
his store.
Other BAZAARIS and SHOPPERS are starting to gather.
Kathy holds out the Polaroid toward the Shopkeeper.
KATHY STAFFORD
He can have the photograph. Tell
him --
The Shopkeeper knocks the Polaroid out of her hand.
213 INT./EXT. CANADIAN AMBASSADOR’S RESIDENCE - ENTRANCE - 213
DAY
KHALKALI
(Farsi)
When did they arrive? *
SAHAR
(Farsi)
I’m sorry?
(CONTINUED)
ARGO - Final 84.
213 CONTINUED: 213
KHALKALI
(Farsi)
The guests of the ambassador. How
long have they been in this house?
214 INT. TEHRAN BAZAAR - DAY 214
People are now starting to surround Mendez and Reza and
the Houseguests. Bazaaris more and more heated. Women
in chadors are screaming and finger-pointing.
ANGRY MAN
(in English)
America NO!... NO!
Then he speaks in Farsi and makes shooting gestures with
his hand.
LEE SCHATZ
(quiet, to Mendez)
He’s saying the Shah killed his
son with an American gun.
Cauldron heating up and --
215 INT./EXT. CANADIAN AMBASSADOR’S RESIDENCE - ENTRANCE - 215
DAY
ON Sahar -- her face impassive -- and then --
SAHAR
(Farsi)
Two days. They arrived two days
ago.
Khalkali looks to the other Officials.
Genres:
Thriller, Drama Tone:
Tense, Heated, Puzzled, Unfriendly
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger, leaving the reader desperate to know what happens next. The simultaneous storylines—the escalating confrontation in the bazaar and Khalkali's inquiry at the Canadian residence—create a potent sense of suspense. The angry man's accusation and the revelation that he believes the Shah killed his son with an American gun directly connect the larger political context to the immediate danger facing the houseguests. The scene expertly interweaves the two threads, creating a powerful sense of urgency and impending doom. The reader is left wondering if Sahar's seemingly calm response to Khalkali will be enough to protect the houseguests, and whether Mendez and his team can escape the increasingly hostile bazaar.
Script Continuation Score: 9/10
The overall script maintains a high level of suspense and intrigue. The ongoing tension between the escaping Americans and the Iranian authorities is a constant hook, and the parallel narratives—the chaotic bazaar and the potential discovery at the Canadian residence—keep the reader engaged. The scene's ending provides a critical juncture. The previous scenes had built to this moment of potential discovery, and unresolved threads from earlier scenes (like the missing embassy documents) add layers of suspense. The threat of discovery is amplified by the underlying political conflict and the emotional weight of the situation. The fact that many of the characters are in imminent danger further strengthens this continuation score.
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43 -
Tensions in the Tehran Bazaar - Overall Grade:
8.5
216 INT. TEHRAN BAZAAR - ANGLE ON MORE AND MORE BAZAARIS - 216
DAY
A CROWD starts to gather around the group.
ON KATHY
Her claustrophobia as the crowd closes in -- an ANGRY
BAZAARI WOMAN sticks her finger in Kathy’s face --
CORA LIJEK
(to one of the women)
Canada... Ca-na-da...
(CONTINUED)
ARGO - Final 85.
216 CONTINUED: 216
She’s showing a Canadian flag, Bob Anders’ lapel button --
LEE SCHATZ
(quiet; to Mendez)
He says we’re the CIA taking
photographs to plan the bombing of
the city.
217 INT./EXT. CANADIAN AMBASSADOR’S RESIDENCE - ENTRANCE - 217
DAY
Khalkali eyes Sahar, gauging her. She hides her fear
well.
KHALKALI
(Farsi)
Sister, those who are with him,
Rasool of Allah, we are tender
among ourselves.
(beat)
But stern against the kuffar.
SAHAR
As god wills it.
KHALKALI
(quoting Mossadegh)
But those who sit silently have
sinned.
Does he know? Does he not know? Is he trying to trick
her? His opacity makes it impossible to know. He holds
his look to her -- and she holds hers.
218 INT. TEHRAN BAZAAR - DAY 218
Reza indicates an exit to the street. *
219 INT./EXT. CANADIAN AMBASSADOR’S RESIDENCE - ENTRANCE - 219
DAY
-- and Sahar, so dignified and stony she is almost
shaming these men --
SAHAR
Everyone in this house is a friend
of Iran.
Khalkali makes his decision. He wordlessly turns to go.
ARGO - Final 86.
220 INT. TEHRAN BAZAAR - DAY 220
The CROWD heckles the Houseguests as they walk toward the
exit.
221 INT. CANADIAN AMBASSADOR’S RESIDENCE - FOYER - DAY 221
Sahar calmly closes the door.
After she does, she lets the facade go. All of a sudden
scared. Maybe she tears up. Either way, it’s clear she
knows the stakes of the game she is playing.
222 INT. CANADIAN AMBASSADOR’S RESIDENCE - AFTERNOON 222
The aftermath. The Houseguests, badly shaken, come
inside. Each dealing with shock and adrenaline.
Ken Taylor comes up next to Mendez and, for once,
Taylor’s ambassadorial calm is breaking.
TAYLOR
They drew you out there to take *
your picture.
MENDEZ
Nobody broke. *
At the door to the residence, Tony can see Pat Taylor,
holding Sahar’s hand, both looking spooked as the
Houseguests come inside.
TAYLOR
(sobered now)
And tomorrow? *
A beat on Mendez, who stamps out his cigarette and
follows.
MENDEZ *
Tomorrow they’ll be ready. *
We start to hear the sound of the evening’s call to
prayer, amplified over a megaphone, in the distance.
Then --
223-224 OMITTED 223-224
ARGO - Final 87.
224A MONTAGE - EXT. TEHRAN - DUSK 224A
The call to prayer echoing as night falls in Tehran. In
an alley where cloaked women hurry past posters of
Khomeini. On a street where a five-year-old boy, in the
care of his eight-year-old brother, watches a pickup
truck of armed komiteh speed past.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger, leaving the reader wanting to know what happens next. The confrontation in the bazaar, the near-discovery at the ambassador's residence, and the ambiguous ending create a strong sense of suspense and urgency. The close call with the crowd and the veiled threat from Khalkali leave the fate of the houseguests hanging in the balance, compelling the reader to move forward to see if they escape detection and successfully complete the escape plan. The final shot of the call to prayer adds an ominous tone, further increasing the anticipation for the next scene.
Script Continuation Score: 9/10
The overall script remains highly compelling due to the consistent buildup of suspense and the unresolved tension surrounding the escape plan. The earlier scenes have effectively established the stakes, and this scene further amplifies the danger. The lingering threat of discovery and the characters' vulnerability create a strong desire to see how the operation unfolds. The combination of the immediate danger and the overarching goal of exfiltrating the hostages keeps the reader invested in the story's progression.
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44 -
Under Pressure: The Interrogation - Overall Grade:
8.5
224B INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 224B
Mendez holds a passport and some papers in front of Bob
Anders’ face. It feels late. The Houseguests are tired,
sweating, sitting around a dining room. Mendez, sleeves
rolled up, drilling them. The ARGO STORYBOARDS are
scattered around the room.
MENDEZ
Where was your passport issued?
Bob Anders doesn’t know. ANGLES ON the Houseguests.
ANDERS
Vancouver.
MENDEZ
Where were you born?
BOB ANDERS
Toronto.
MENDEZ
Toronno like piranha. Canadians
don’t pronounce the T.
LEE SCHATZ
Some border guard’s gonna know
that?
MENDEZ
If you’re held for questioning,
they’ll bring in somebody who
knows that.
MENDEZ
(to Cora Lijek)
Last three Canadian prime
minsters.
CORA LIJEK
(an A student)
Trudeau, Pearson, Diefenbaker.
(CONTINUED)
ARGO - Final 88.
224B CONTINUED: 224B
MENDEZ
Good.
(to Joe Stafford)
Your job on the film.
JOE STAFFORD
Producer.
MENDEZ
Associate Producer. What’s the
name of the last film you worked
on?
JOE STAFFORD
Uh... High and Dry.
MENDEZ
Who paid for the movie?
JOE STAFFORD
C.F.D.C.
MENDEZ
What’s your middle name?
Joe Stafford is silent. He looks down to consult the
paper in front of him, but before he can, Mendez pulls
the paper.
MENDEZ
He’s an American spy. Shoot him.
A beat on Stafford, frustrated --
MENDEZ
They’ll try to break you by
getting you agitated. You need to
know your résumé so well that you
don’t flinch.
JOE STAFFORD
(nearly defeated,
looking away)
You think your little story will
matter when there’s guns to our
heads?
MENDEZ
My story’s the only thing between
you and the gun to your head.
A beat. Mendez puts the résumé back in front of
Stafford. Kathy looks at her husband: he just isn’t
good at this.
(CONTINUED)
ARGO - Final 89.
224B CONTINUED: (2) 224B
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger, leaving the reader intensely curious about the fate of the houseguests. The interrogation is high-stakes, with Mendez's blunt declaration that Joe Stafford is an American spy creating immediate suspense. The scene masterfully builds tension by highlighting the vulnerability of the houseguests and the potential for imminent danger. The fact that Stafford falters under pressure leaves a significant question unanswered, compelling the reader to move immediately to the next scene to discover the outcome. The contrast between Cora's success and Stafford's failure also increases the tension, raising the stakes for the others.
Script Continuation Score: 10/10
The overall script remains incredibly compelling due to the sustained high tension and the escalating stakes. The ongoing threat of discovery and capture for the houseguests is a powerful hook. This scene adds to the suspense by highlighting the vulnerability of the group and their dependence on Mendez's plan. The earlier scenes have effectively established the characters and the urgency of their situation, leaving the reader invested in their survival. The impending danger keeps the reader engaged, and the unanswered questions from earlier scenes continue to build anticipation, maintaining strong forward momentum.
O’DONNELL
It all just changed. They called
the game. You’ve got to come
back.
ON Mendez, not believing what he’s hearing.
O’DONNELL
(quiet, fast, clear)
Joint Chiefs are planning a
military rescue of the hostages in
a month. Delta Force started
training to storm the grounds. So
if the six of them get brought
down there, they won’t be held for
long.
MENDEZ
I never would have exposed them if
I wasn’t authorized to take them
out.
O’DONNELL
It’s over, Tony.
MENDEZ
They will be taken. Probably not
ALIVE --
O’DONNELL
LISTEN TO ME. The thinking’s
changed. Six Americans get pulled
out of a Canadian diplomat’s house
and executed, it’s another world
outrage. Six Americans get caught
playing movie make-believe with
the CIA at the airport and
executed, it’s a national
embarrassment. They’re calling
the operation.
MENDEZ
We’re responsible for those
people.
O’DONNELL
(genuinely sad)
What we are is required to follow
orders. I’m sorry.
Mendez hangs up. O’Donnell sits listening to the dial
tone for a moment, then puts the phone on the receiver.
(CONTINUED)
ARGO - Final 91.
224F CONTINUED: (2) 224F
Then, very suddenly, he looks at an old coffee cup near
him and backhands it off his desk.
TIME CUT TO:
224G INT. CANADIAN AMBASSADOR’S RESIDENCE - KEN TAYLOR’S 224G
OFFICE - NIGHT
Maybe only a minute, maybe ten or more have passed.
Mendez sits at Taylor’s desk, numb. Cora Lijek knocks
but doesn’t get a response. She tentatively opens the
door and sticks her head inside.
CORA LIJEK
We’re ready to try again.
MENDEZ
(after a beat)
I think the most important thing *
you can do to be ready for
tomorrow is rest.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a dramatic cliffhanger. The successful location scout is immediately undercut by a phone call revealing a complete change of plans: a military rescue operation is imminent, jeopardizing the existing plan and the lives of the six Americans. The abrupt shift from seemingly good news to catastrophic news, coupled with Mendez's disbelief and O'Donnell's somber tone, leaves the reader desperate to know what happens next. The scene ends with Cora Lijek's offer to try again, setting up a potential conflict between her determination and Mendez's exhaustion and the new, more dangerous reality.
Script Continuation Score: 10/10
The overall tension in the screenplay remains incredibly high. The success of the meticulously crafted plan to exfiltrate the six Americans is thrown into doubt by the sudden announcement of a military rescue mission. This unexpected development creates intense suspense and raises significant questions about the characters' choices and the potential consequences of their actions. The reader is fully invested in the fate of these characters and is intensely curious to see how they will navigate this perilous new situation, given the high stakes and the limited time frame.
225 INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - 225
NIGHT
Now the mood among the Houseguests is lighter. Bob
Anders, a handful of liquor bottles in his arms, puts
them down on a table. Music plays on a record player.
BOB ANDERS
Scorched earth policy tonight.
Nothing gets left.
Taylor comes in, drink in hand, thoughts heavy, looks at
Tony.
MENDEZ
So you know. *
TAYLOR
(nods)
ExtAff wants you to burn the
passports before you leave.
Mendez looks at the Houseguests, setting the table.
TAYLOR
If we tell them, they’ll panic.
It’s better if you just don’t
show.
(a beat)
(MORE)
(CONTINUED)
ARGO - Final 92.
225 CONTINUED: 225
TAYLOR (CONT'D)
It was always a fucked mission.
You came closer than anybody else.
Kathy and Cora are cracking each other up.
No one sees Mendez take a bottle of Macallan from the
table and put it in his bag.
226 INT. CAR - NIGHT 226
Mendez drives through nighttime Tehran, back to the
hotel.
There is a dangling TOTEM from the rearview mirror. It
reflects light.
He passes a VAN ON FIRE.
227 OMITTED 227
228 INT. SHERATON ROOM - NIGHT 228
Mendez takes the bottle of Macallan from his bag. He
takes a drink, then drinks more. *
229 OMITTED 229 *
230 INT. ARGO PRODUCTION OFFICE - DAY 230
Chambers, listening on a phone, shakes his head at
Siegel. He hangs up.
CHAMBERS
It’s off. They want us to pack up
the office.
A beat on Lester. He’s devastated but he’s not showing *
it. *
SIEGEL *
They can wait. Let’s go get a *
drink. *
231 EXT. TEHRAN - DAWN 231
The city waking up.
ARGO - Final 93.
232 INT. CANADIAN AMBASSADOR’S RESIDENCE - DAWN 232
The Houseguests, getting dressed. Suiting up for the
airport.
Ken Taylor watches in the hall.
233 INT. SHERATON ROOM - DAWN 233
Mendez -- who looks like he hasn’t slept -- sits at a
table, looking out the window.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
The scene ends on a cliffhanger, leaving the reader wondering what will happen next. The lighter mood among the Houseguests contrasts sharply with the previous scene's intense tension, creating a sense of unease and anticipation. Mendez's secret act of taking the Macallan suggests he anticipates difficulties ahead, adding another layer of suspense. The image of a burning van in the street heightens the precariousness of their situation in Tehran. The sudden shift to Mendez drinking alone in his hotel room emphasizes his internal stress and the looming danger. The ending, cutting off before any major action, powerfully compels the reader to proceed to the next scene to discover the fate of the escapees.
Script Continuation Score: 9/10
The overall script remains highly compelling. The central tension – the escape of the six Americans – remains unresolved, and each scene contributes to the rising stakes. The previous scenes have built significant suspense, and this scene effectively uses foreshadowing (the burning van, Mendez's drinking) and a mood shift to maintain that momentum. The reader remains invested in the characters' fates and the outcome of the elaborate plan. Even though some subplots remain somewhat sidelined (such as the ongoing hostage crisis details), the main narrative arc continues to be gripping and fast-paced.
234 INT. CANADIAN AMBASSADOR’S RESIDENCE - DAWN 234
Lee Schatz puts his Infant of Prague holy card into an
Argo script. Packs the script.
Cora Lijek is sitting next to her husband.
Kathy Stafford looks at the clock.
KATHY STAFFORD
(to Joe Stafford)
He’s late.
235 EXT. SHERATON BALCONY - DAWN 235
Tony comes out to the balcony with a hotel ice bucket in
one hand and the Canadian passports in the other. He
puts the passports in the bucket, LIGHTS A MATCH.
He looks down at the match, at the passports. The first
stirring of the morning calls-to-prayer echo in the
distance.
HOLD for a long beat ON Tony. Thinking.
Then, HE BLOWS OUT THE MATCH.
236 INT. O’DONNELL’S OFFICE - NIGHT 236
O’Donnell is packing up for the night. Paper towels sit
on top of the coffee spill on his rug.
His phone rings. He picks up.
O’DONNELL
Yeah.
ARGO - Final 94.
237 INT. SHERATON ROOM - DAWN 237
MENDEZ
Somebody is responsible for things
when things happen, Jack. I am
responsible.
(a beat)
I’m taking them through.
And before Jack can answer, Tony hangs up. Stands. A
duffel bag over his shoulder, Tony turns out the light in
the hotel room. Goes.
238 INT. CIA (LANGLEY) - O’DONNELL’S OFFICE - NIGHT 238
O’Donnell, thinking. Looking at the phone. Then, with a
sudden decision, he gets up.
Rushing out of his office, into --
239 INT. CIA - THE PIT - NIGHT 239
-- where he catches ALAN SOSA, 50s, head of the
Directorate of Support -- the CIA’s chief financial
officer -- leaving for the night.
O’DONNELL
We need to confirm those seven
tickets out of Tehran on
Swissair --
SOSA
N.E. shut that down.
O’DONNELL
I’m saying it’s back on!
SOSA
I can’t do it. It’s backstopped
pending Executive Branch GO.
O’DONNELL
What the fuck does that mean?
SOSA
Carter’s got to say yes for us to
get the tickets.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene cluster effectively builds tension and suspense. Scene 234 shows the quiet preparations of the escapees, highlighting their individual anxieties. Scene 235 presents Mendez's internal conflict as he contemplates the destruction of evidence—a significant decision that leaves the reader wondering about the consequences. Scene 236 introduces a phone call, interrupting the suspenseful pause. The final scenes, 237-239, deliver a cliffhanger with O'Donnell's urgent plea to secure the flight tickets and Sosa's refusal, leaving the reader questioning whether the escape will succeed or fail. The unresolved tension created by the near-miss in the bazaar and the sudden change of plan strongly compels the reader to move forward.
Script Continuation Score: 10/10
The overall narrative remains incredibly compelling. The script expertly builds suspense and maintains high stakes, leaving the reader invested in the fate of the escapees. The previous scenes' tension, especially the near-capture in the bazaar, intensifies the urgency and elevates the reader's desire to see how the mission concludes. The cliffhanger ending of the current scene, with the flight tickets in jeopardy, creates a powerful hook. The overall arc of the story, combined with the immediate cliffhanger, leaves the reader fully engaged and eager to find out what happens next.
240 INT. CANADIAN AMBASSADOR’S RESIDENCE - DAWN 240
Pat Taylor comes to answer an insistent knocking on her
front door. She opens it.
(CONTINUED)
ARGO - Final 95.
240 CONTINUED: 240
She’s shocked to see him. Ken Taylor now appears behind *
Pat. In the hall behind him: The Houseguests are
assembled, waiting to go. They look their parts -- or,
much more so than they did on the scout. Cora Lijek has
darker hair. The Staffords look on, fully dressed.
241 INT. OUTSIDE ENGELL’S OFFICE - NIGHT 241
O’DONNELL
Where’s Engell?
SECRETARY
He’s in a meeting.
O’DONNELL
Pull him out.
(as she hesitates)
PULL HIM OUT!
242 INT. CANADIAN AMBASSADOR’S RESIDENCE - DAWN 242
Pat Taylor is embracing the Houseguests, saying goodbye.
PAT TAYLOR
Sahar’s on a bus.
MENDEZ
Good. And you two leave right
now.
Ken Taylor nods. Mendez shakes his hand.
243 INT./EXT. MINIVAN - DAWN 243
Mendez gets into the driver’s seat. Lee Schatz on the
passenger side.
We see Ken’s black embassy sedan waiting, driven by a
PAKISTANI DRIVER.
Mendez pulls away.
243A INT. KEN’S OFFICE - LATER 243A
Ken Taylor watches a SGT. CLAUDE GAUTHIER, 30s, Canadian
military policeman, use a sledgehammer to SMASH
EVERYTHING IN THE OFFICE TO PIECES.
Pat Taylor comes to the door. She’s holding a suitcase.
(CONTINUED)
ARGO - Final 96.
243A CONTINUED: 243A
TAYLOR
(to Gauthier, as he
leaves)
Get to your flight. *
244 INT. OUTSIDE ENGELL’S OFFICE - NIGHT 244
ENGELL
N.E. said NO, this is not a long-
leasher...
O’DONNELL ENGELL
... watching a show behind ... and it never has been,
a one-way whorehouse YOU don’t decide if it
mirror... goes...
O’DONNELL
It is going.
ENGELL
You’re goddamn close...
O’DONNELL
Am I goddamn close?
ENGELL
You’re goddamn close to the line
with me.
O’DONNELL
(interrupting)
I’m not leaving him at the airport
with six people and his dick in
his hand. Tell the Director to
call the White House. DO YOUR
FUCKING JOB.
Engell just stares O’Donnell down.
245 INT./EXT. MINIVAN - MORNING 245
The van speeds down the hills of the Shemiran district.
MENDEZ (V.O.)
The first checkpoint is just to
look at your passport.
246 FLASHBACK - INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 246
Mendez is sitting in the living room instructing the
Houseguests.
(CONTINUED)
ARGO - Final 97.
246 CONTINUED: 246
MENDEZ
Your passports came straight from
the Canadians, so you’re gonna be
fine.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
The scene ends with a sense of urgency and accomplishment. The escape is underway, but the danger is far from over, as evidenced by the destruction of Ken Taylor's office. This leaves the reader wanting to know if they'll successfully evade capture, particularly given the simultaneous tension of O'Donnell's confrontation with Engell at the CIA. The immediate contrast between the quiet farewell at the residence and the aggressive destruction of the office creates a compelling juxtaposition that propels the narrative forward.
Script Continuation Score: 9/10
The overall tension remains high, with multiple threads driving the narrative forward. The escape is underway, but the success is uncertain. The simultaneous scenes at the CIA heighten the suspense, creating a compelling narrative of parallel conflicts. The reader is invested in both the Houseguests' escape and O'Donnell's efforts to secure their safe passage, even after the initial threat to call off the operation. The cliffhanger ending of the previous scene and the immediate action in this scene maintain the reader's interest, while also resolving the previous scene's immediate conflict.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene is highly compelling because it introduces a fast-paced, high-stakes chase to find the Chief of Staff. The urgency is palpable, with O'Donnell's aggressive demands driving the action. The scene is structured as a series of escalating questions and reveals, creating suspense and leaving the reader eager to know how O'Donnell will locate Jordan and whether this frantic search will ultimately help or hinder the escape plan. The use of flashbacks effectively builds tension by reminding the reader of the crucial information Mendez gave the houseguests, highlighting the risks involved in each checkpoint. This multi-layered approach keeps the reader engaged and wanting more.
Script Continuation Score: 10/10
The overall script maintains a high level of engagement due to the consistently escalating stakes. The initial embassy siege, the escape, and now the frantic race to facilitate the houseguests' escape from the airport all contribute to a powerful narrative drive. The cliffhangers and open questions at the end of previous scenes, such as the fate of the hostages and the success of the escape plan, have been effectively resolved, creating a new level of engagement around this race against time. Unresolved plot lines, like the looming threat of discovery and the bureaucratic hurdles, create sustained tension.
256 INT. WHITE HOUSE CHIEF OF STAFF OFFICE - NIGHT (PRESENT) 256
Jordan is in a meeting with two staffers, his feet up on
the desk. His secretary opens the door without knocking,
hurries to Jordan, whispers something in his ear. He
immediately grabs the phone.
JORDAN
Hello?
O’DONNELL (V.O.)
Jack O’Donnell from C.I.
JORDAN
Wait -- WHO -- ?
O’DONNELL (V.O.)
Tehran Houseguest operation is
ready NOW. We don’t have the
President’s go-ahead. They are
going to be captured.
Jordan stands up with the phone.
JORDAN
(yelling out his
door)
DAVID! Pick up!
257 INT. KOMITEH HQ - MORNING 257
The office we visited earlier. A YOUNG KOMITEH comes up
the stairs again. This time, he’s RUNNING.
(CONTINUED)
ARGO - Final 100.
257 CONTINUED: 257
KHALKALI, the fiery guy who came to the residence, along
with two YOUNG KOMITEH compare (one who delivered the
pictures): on one side, copies of re-assembled
diplomatic photographs of Americans from the embassy --
like the ones of the Houseguests we saw early in the film
-- and, on the other side, the candid photographs from
the bazaar.
258 INT. CIA - THE PIT - NIGHT 258
LAMONT
Telex on Flash.
The telex begins to print, line by line...
EYES ONLY -- OFFICE OF THE PRESIDENT OF THE UNITED STATES
-- HOLLYWOOD OPTION APPROVED -- GOOD LUCK. (*Carter
White House telex, 1/29/1980.)
Mendez’s and the Houseguests’ passports sit on the
counter.
SWISSAIR REP
I’m sorry, sir. I don’t have
those reservations...
SWISSAIR REP looks at some green text on her screen, hits
another button.
SWISSAIR REP
My apologies. They just came
through.
She hits another button and tickets start to print.
260 INT. CIA - THE PIT - NIGHT 260
MALINOV
(to O’Donnell)
Swissair says they’ve picked up
the tickets.
O’DONNELL
Get the L.A. office -- tell them
to be ready in case they call.
(CONTINUED)
ARGO - Final 101.
260 CONTINUED: 260
MALINOV
We told them to shut that down!
He RUNS toward a phone --
261 INT. MEHRABAD AIRPORT - FIRST CHECKPOINT - MORNING 261
The PASSPORT OFFICIAL is looking at the Canadian
passports of the six and waving them through. Mendez has
already passed. Everyone except Kathy Stafford.
The Passport Official looks at Kathy, who is doing her
best to look friendly and casual. Then he looks at
Kathy’s passport, in which she looks stern and angry.
Kathy Stafford smoothes down her hair, frowns like she *
does in the passport photo. The Passport Official half
smiles and waves her through. They’ve all cleared the
first checkpoint.
262 INT. KOMITEH HQ - MORNING 262
Khalkali comes upon a diplomatic photograph of a man with
glasses.
He starts to leaf through the photographs from the
bazaar.
QUICK CUT TO:
Genres:
Thriller, Drama Tone:
Tense, Urgent, Anxious, Dramatic
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene is highly compelling because it features multiple simultaneous plotlines converging towards a climactic moment. The urgency of O'Donnell's phone call to Jordan, the frantic run of the Young Komiteh in the Komiteh HQ, and the arrival of the crucial telex in the CIA's Pit all create a sense of immediate action and impending danger. The juxtaposition of these scenes builds suspense and leaves the reader wanting to know what happens next, especially with the unresolved issue of whether the Houseguests will be captured.
Script Continuation Score: 10/10
The overall script maintains a high level of engagement due to the consistently high stakes. The earlier scenes have built a strong foundation of suspense and character development, and this scene significantly amplifies the tension. The impending capture of the Houseguests, coupled with the bureaucratic hurdles faced by O'Donnell and the potential discovery of the Houseguests' identities by the Komiteh, provides multiple compelling reasons to continue reading. The successful clearing of the first checkpoint adds a temporary sense of relief, further emphasizing the importance of the remaining hurdles.
Expert Critiques
Expert Suggestions
View Analysis
View Script
51 -
Tension at the Checkpoint - Overall Grade:
8.5
263 EXT. BAZAAR - POV OF THE REVOLUTIONARY GUARD PHOTOGRAPHER 263
- DAY
Mark Lijek being photographed at the bazaar the previous
day.
QUICK CUT BACK TO:
264 INT. KOMITEH HQ - MORNING 264
KHALKALI --
looks at the black and white still of Mark Lijek,
compares it to his diplomatic picture, the first portrait
we saw of Mark toward the beginning of the film. MATCH.
Khalkali stands up. SHOUTS in Farsi to another Komiteh --
ARGO - Final 102.
265 INT. MEHRABAD AIRPORT - SECOND CHECKPOINT - MORNING 265
Bob Anders stands in front of a rough-voiced IMMIGRATION
OFFICER. He’s holding Bob Anders’ YELLOW IMMIGRATION
FORM and leafing through a file of hundreds of WHITE
IMMIGRATION FORMS, the duplicates. Without success.
IMMIGRATION OFFICER #2
(in Farsi; to Officer
#1, re: his own
white pile)
Nothing.
IMMIGRATION OFFICER
(to Bob Anders)
When did you say you arrived in
Iran?
BOB ANDERS
Two days ago.
IMMIGRATION OFFICER
What was the purpose of your
visit?
BOB ANDERS
We were looking at locations to
make a film. I’m the director.
Immigration Officer pauses and looks up. Looks at the
six other faces. He looks every bit as confrontational
as Tony acted in rehearsal.
BOB ANDERS
(very calm)
We have a letter from the Minister
of Culture ... *
The Immigration Officer gestures for the letter. Bob
takes the letter inviting them on their location scout
out of a folder. Tony, barely perceptibly, nods.
266 INT. KOMITEH HQ - MORNING 266
Khalkali is now speaking with MORADI, an older Komiteh
official. They speak Farsi and it’s untranslated, but we
get it. He is showing the photograph of Mark Lijek from
the bazaar and comparing it to the U.S. diplomatic
photograph.
Moradi picks up the phone as Khalkali heads out.
ARGO - Final 103.
267 INT. MEHRABAD AIRPORT - SECOND CHECKPOINT - MORNING 267
Immigration Officer is conferring with Immigration
Officer #2 as they look at the letter from the Minister
of Culture. The Houseguests and Mendez wait.
Finally, Immigration Officer #2 shrugs.
IMMIGRATION OFFICER
Okay -- Yes -- Okay --
He waves them through. Second checkpoint done.
268 INT. CIA - THE PIT - NIGHT 268
Malinov, a phone to his ear. Ringing.
MALINOV
C’mon c’mon c’mon --
269 INT. ARGO PRODUCTION OFFICE - NIGHT 269
The phone in the office rings. No one is there.
270 EXT. WARNER BROS. STUDIOS - NIGHT 270
Siegel and Chambers are walking back to the Argo office.
They are within sight of the Argo bungalow, but a P.A. *
steps in front of them.
P.A.
(a stage whisper)
I’m sorry, we’re shooting.
He motions for them to wait. A movie -- it looks like a
police procedural -- is shooting on the lot between them
and the office.
271 INT. AIRPORT GATE - MORNING 271
ANNOUNCEMENT (V.O.)
Swissair announces general
boarding for Flight 363 to Zurich.
Passengers, mostly European businessmen, get up and
approach the gate.
ARGO - Final 104.
272 INT. MEHRABAD AIRPORT - THIRD CHECKPOINT - MORNING 272
Mendez checks in with the Houseguests with his eyes.
They are now in sight of the airport gates. And here are
six Komiteh. Young men -- none more than 33 or so --
holding automatic weapons.
They have created their own checkpoint. It looks recent,
A SCREENED-OFF AREA WITH TABLES.
KOMITEH #1
Passports.
He looks at the Canadian passports and then almost
immediately speaks.
KOMITEH #1
You come.
He directs Mendez and the Houseguests into the screened-
off area. Speaks in Farsi to another Komiteh.
Genres:
Thriller, Drama Tone:
Tense, Confrontational, Suspenseful
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger. The escapees have successfully navigated one checkpoint, but a new, unexpected checkpoint manned by armed Komiteh has been set up. The reader is left wondering if they will make it through this final obstacle before boarding their flight. The immediate juxtaposition of the seemingly successful navigation of one checkpoint with the sudden appearance of another creates intense suspense and a strong desire to see how the situation resolves. The visual tension between the calm demeanor of the escapees and the armed Komiteh further amplifies this feeling.
Script Continuation Score: 10/10
The overall tension of the script remains incredibly high. The escape plan is nearing its climax, and the reader is invested in the fate of the escapees. The previous scenes have built up significant suspense, and this scene acts as a crucial turning point, placing the characters directly in the path of danger one last time. The unresolved question of whether the escapees will be discovered and the potential consequences of failure create a powerful hook that keeps the reader engaged. The pacing is excellent, keeping the tension high without feeling rushed.
LAMONT
(holding the phone)
Purser’s telling Swissair they’re
not on the plane.
O’DONNELL
They should have boarded already.
MALINOV
(on another phone)
Still no answer in L.A.
274 INT. MEHRABAD AIRPORT - THIRD CHECKPOINT - MORNING 274
MARK LIJEK
A film.
Mark mimes turning the rotor of a movie camera. Komiteh
#1 doesn’t understand.
AZIZI (O.S.)
Sit down.
A young man with a beard -- AZIZI, late 20s -- arriving
on the scene, speaking in Farsi to the others and then in
very good American English. He looks at the six and the
face he singles out is Joe Stafford’s.
(CONTINUED)
ARGO - Final 105.
274 CONTINUED: 274
AZIZI
(harsh, icy; in *
Farsi) *
You. You had no business in Iran.
He motions for JOE STAFFORD to step forward. Mendez
shifts. A tense moment.
JOE STAFFORD
(Farsi) *
We did. We were preparing to make
a movie here, sir.
AZIZI
(Farsi) *
You don’t have journalist visas.
JOE STAFFORD
(Farsi) *
Not a documentary. A movie.
Joe Stafford reaches into his pocket and gives Azizi a
copy of the Argo Variety ad.
JOE STAFFORD
(Farsi) *
You see?
(to Mendez; English) *
Kevin, where’s your briefcase?
A beat on Mendez. Who then opens his accordion folder
and takes from it the ARGO STORYBOARDS. Joe Stafford
spreads them out on the table.
Three other Komiteh in the room lean forward, their
AUTOMATIC WEAPONS at their sides, and look at the
STORYBOARD DRAWINGS. The Persian Empire futurism of Jack
Kirby’s drawings.
JOE STAFFORD
(Farsi) *
These are the villains. Y’see
these guys here? And these are
the heroes... in the spice
market...
Joe Stafford points at the various drawings. He speaks
with an ease and confidence that we didn’t know he had.
JOE STAFFORD
(Farsi) *
They know our hero is the Chosen *
One, so they kidnap his son in the *
spice market ... They have these *
chariots... like this one...
(MORE)
(CONTINUED)
ARGO - Final 106.
274 CONTINUED: (2) 274
JOE STAFFORD (CONT'D)
they go like this... whoooosh,
hmm? They can fly... The people *
are just farmers, but they rise up *
and find their courage and defeat *
the alien king-- *
Mendez watches. It’s a performance. The three young
Komiteh are now wide-eyed, pointing, whispering in Farsi,
like teenagers around a comic book.
Azizi says something to another Komiteh in the room.
Then --
AZIZI
(to Joe Stafford; in *
English) *
You don’t go until we verify.
MENDEZ
You can call our office.
Mendez hands Azizi his card. STUDIO SIX FILMS. Kevin
Harkins. A 213 (818 wasn’t around yet) phone number.
ANGLES ON THE HOUSEGUESTS
as Azizi leaves the room with the business card and three
young Komiteh barely look up from the drawings --
275 EXT. WARNER BROS. STUDIOS - NIGHT 275
P.A., still holding Chambers and Siegel. The ACTOR
playing the cop is conferring with the director. He’s
not happy with something. They’re holding everyone until
the next take, and --
P.A.
Going again please! We’re
rolling --
276 EXT. CANADIAN AMBASSADOR’S RESIDENCE - MORNING 276
A PICKUP TRUCK with 5 Komiteh -- including Khalkali --
automatic weapons out -- drives up to the Canadian
Ambassador’s residence.
277 INT. MEHRABAD AIRPORT - KOMITEH STATION - MORNING 277
Azizi, who apparently has some authority here, enters,
telling another Komiteh in Farsi to get off the phone.
(CONTINUED)
ARGO - Final 107.
277 CONTINUED: 277
Azizi looks at the Studio Six business card and picks up
the receiver.
278 EXT. WARNER BROS. STUDIOS - NIGHT 278
SIEGEL
I’m sorry, pally. We’re just gonna *
be in the movie. Call my agent.
P.A.
Sir. SIR!
Siegel and Chambers walk through the shot toward the Argo
office.
279 INT. MEHRABAD AIRPORT - KOMITEH STATION - MORNING 279
Azizi dials the long international number. And it is a
DIAL, so this takes a long time.
280 INT. MEHRABAD AIRPORT - THIRD CHECKPOINT - MORNING 280
One of the young Komiteh is loudly debating with another
Komiteh the air-worthiness of a futuristic desert glider
in the storyboards. He’s miming the thing crashing.
Joe Stafford and the Houseguests are silent. Mendez can
see the line of passengers on their Swissair flight
dwindling.
Genres:
Thriller, Drama Tone:
Tense, Suspenseful, Dramatic, Informative
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene ends on a cliffhanger. The escapees are stopped at a checkpoint, and Joe Stafford's unexpected storytelling ability, using the Argo storyboards as a visual aid, creates a moment of intense suspense. Will their ruse work? The scene successfully shifts the power dynamic, placing the Komiteh in a position of captivated uncertainty rather than immediate aggression. The reader is left wondering if the storyboards will distract the guards long enough for the escapees to slip away, leaving a compelling question that drives the reader to the next scene.
Script Continuation Score: 10/10
The overall script maintains a high level of suspense and intrigue. The escape plan, already complex and high-stakes, is now facing a direct and immediate threat. The cliffhanger at the end of the previous scene, combined with the ongoing tension of the hostage crisis and the unresolved issue of the missing diplomat Schafer, creates a powerful pull to continue reading. The introduction of the seemingly improbable plan to use a fake movie as cover, the growing sense of desperation, and the ever-present danger from the revolutionary guards all work together to keep the reader fully invested.
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53 -
Tension at Mehrabad Airport - Overall Grade:
8.5
281 INT. MEHRABAD AIRPORT - KOMITEH STATION - MORNING 281
Azizi rings the phone three times -- four times -- he’s
going to hang up --
CHAMBERS (V.O.)
(out of breath)
Studio Six Films.
282 INT. ARGO PRODUCTION OFFICE - NIGHT 282
A beat of silence. Chambers catching his breath,
listening. The door to the office wide open.
283 INT. MEHRABAD AIRPORT - KOMITEH STATION - MORNING 283
AZIZI
May I speak to Mr. Kevin Harkins --
(CONTINUED)
ARGO - Final 108.
283 CONTINUED: 283
CHAMBERS (V.O.)
He’s out of the country on a
location scout. Can I take a
message?
284 INT. ARGO PRODUCTION OFFICE - NIGHT 284
Chambers listens for a response. Siegel now catches up.
285 INT. MEHRABAD AIRPORT - KOMITEH STATION - MORNING 285
AZIZI
No message.
286 INT. MEHRABAD AIRPORT - MORNING 286
ANNOUNCEMENT (V.O.)
Swissair announces final boarding
of Flight 363 to Zurich. All
passengers should be at the gate
at this time.
287 EXT. CANADIAN AMBASSADOR’S RESIDENCE - MORNING 287
Khalkali and Komiteh are forcing the front door of the
house open.
288 INT. MEHRABAD AIRPORT - THIRD CHECKPOINT - MORNING 288
Azizi comes back into the screened-off area. Looks at
Joe Stafford, then at Mendez. Then says something in
Farsi to the three Komiteh in the holding area. Then he
leaves.
The three young Komiteh look at the drawings, then at Joe
Stafford. Silence for a moment.
MENDEZ
(pushes the
storyboards toward
them)
Our gift to you. From our film.
Komiteh #1, who speaks enough English to understand,
translates to the others. They forget their
revolutionary mission for a second, happy with their
gift. They’d high-five if they could. They’re kids.
Komiteh #1 motions for the Houseguests to go.
ARGO - Final 109.
289 INT. CANADIAN AMBASSADOR’S RESIDENCE - FOYER - MORNING 289
Khalkali and a dozen Komiteh, guns drawn, rush into the
residence. Empty liquor bottles. The remains of what
looks like breakfast for a group of people.
A BUSLOAD of passengers about to be ferried to the
airplane.
A Swissair Rep is closing the gate to Flight 363. She
looks up to see the Houseguests and Mendez hurrying
through the terminal, headed toward her. She holds the
gate, speaks in German into a walkie, and --
Kathy Stafford’s ticket is taken and she walks through
the door. Hurries toward the transport bus. The other
five Houseguests and Mendez behind her and --
294 INT. MEHRABAD AIRPORT - KOMITEH STATION - MORNING 294
A phone rings and a Young Komiteh picks up the call. He
listens for a moment. Then he drops the phone and RUNS
into the airport terminal and --
295 INT. RUNWAY TRANSPORT BUS - MORNING 295
The Houseguests sit aboard the bus, headed to a waiting
DC-10.
The DRIVER puts the bus into gear. It doesn’t go. He
shakes his head. This goddamn thing. Shifts gears
again. Now it goes.
ARGO - Final 110.
Genres:
Thriller, Drama Tone:
Tense, Suspenseful, Action-packed
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene is highly compelling due to its cliffhanger ending. The previous scene ended with O'Donnell frantically trying to locate the Chief of Staff, leaving the reader in suspense about the fate of the operation. Scene 53 immediately throws the reader back into the thick of the action at the airport, with the Komiteh increasingly suspicious and the Houseguests perilously close to being discovered. The scene cuts between the airport, where the Houseguests are trying to board their flight, and the Canadian Ambassador's residence, which is being raided by the Komiteh, creating a sense of urgency and dread. The final image of the bus failing to start leaves the reader breathless, desperate to know if the Houseguests will make their flight and escape.
Script Continuation Score: 10/10
The overall screenplay remains incredibly compelling. The build-up of tension and suspense throughout the previous scenes has reached a fever pitch. The reader is deeply invested in the fate of the Houseguests and Mendez, and the constant threat of discovery keeps them engaged. The multiple plotlines – the frantic efforts in the CIA, the desperate attempts to escape, and the ever-present threat of the Komiteh – all converge in this scene, creating a powerful sense of urgency and momentum. The stakes are impossibly high, and the reader is desperate to find out if Mendez's audacious plan will succeed.
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54 -
Chaos at Mehrabad Airport - Overall Grade:
8.5
Young Komiteh RUNNING through the terminal, pushing
through a crowd, making a woman drop her suitcase,
contents scattering. An automatic weapon at his side.
Azizi and the three Komiteh from the third checkpoint
stand up from the table with the Argo storyboards. Young
Komiteh shouts at them and they take up their weapons and
join him, running --
Azizi and the three Komiteh arrive at Flight 363’s gate.
The door is CLOSED.
299 INT. SWISSAIR DC-10 - MORNING 299
The Houseguests put their carry-on luggage into the
overhead bins. A FLIGHT ATTENDANT is already holding a
detached seatbelt preparing to do her safety mime.
PILOT (V.O.)
(German-accented
English)
Ladies and gentlemen, from the
flight-deck. We’re looking at a
brief delay -- *
Passengers groan a bit as they read paperbacks or
International Herald Tribunes. Mark Lijek’s arm is
around Cora. Lee Schatz is moving his mouth in what
looks like a prayer. Kathy Stafford’s fingers shake as
she holds an arm rest. Joe Stafford tries to stay her
hand.
Mendez is sitting looking out the window toward the
terminal.
Azizi yells to the Swissair Rep, dragging her back toward
the gate. We can’t hear what she says back, but she’s
shaking her head.
ARGO - Final 111.
301 INT. SWISSAIR DC-10 COCKPIT - MORNING 301
From the window, we can see a GROUND CREWMAN give a
thumbs-up. The scrubbed Swiss PILOT, 50s, gives a thumbs-
up back.
He gently releases the throttle lever.
302 INT. SWISSAIR DC-10 - MORNING 302
Mendez and the Houseguests feel the plane start to move.
303 INT. MEHRABAD AIRPORT - MORNING 303
Azizi goes to the WINDOW. He can see the Swissair plane
slowly backing onto the runway.
He picks up a walkie and pushes through the flight gate
door, setting off an alarm, followed by the three other
Komiteh.
He reaches the METAL BARS outside and can’t get past.
He CALLS INTO THE WALKIE.
Genres:
Thriller, Drama Tone:
Tense, Suspenseful, Anxious
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 9/10
This scene is highly compelling because it presents a thrilling climax to the escape sequence. The frantic run of the Komiteh through the airport, the closed gate, the anxious passengers on the plane, and the final moments before takeoff create a palpable sense of suspense. The scene ends on a cliffhanger, leaving the reader wondering if the Houseguests will escape successfully, effectively pulling them into the next scene. The visual imagery of the plane taking off while the Komiteh are thwarted creates an exhilarating sense of triumph and escape.
Script Continuation Score: 10/10
The overall screenplay maintains its high level of engagement thanks to the carefully built tension and suspense. The previous scenes have effectively established the high stakes of the escape attempt and the relentless pursuit by the Komiteh. The near-misses and constant threats have kept the reader on the edge of their seats. This scene, with its thrilling climax, leaves the reader highly invested in the outcome of the mission. The unresolved question of whether the escape will succeed is a strong hook, promising a powerful and emotional conclusion to the screenplay.
An IRAN AIRLINES 747 takes off, revealing the Swissair
jet behind it. Only empty runway ahead of Swissair 363
now and --
ARGO - Final 112.
308 INT. MEHRABAD FLIGHT TOWER - MORNING 308
ANGLE ON BOOTS
taking stairs two at a time.
Three KOMITEH WITH AUTOMATICS rush up the tower stairs --
309 EXT. AIRPORT RUNWAY - MORNING 309
We’re SPEEDING BEHIND two Iranian police cars and a
canvas-topped TRUCK as they speed toward the Swissair
plane. In the back of the truck we can see half a dozen
Komiteh, weapons drawn and --
310 INT. SWISSAIR DC-10 - COCKPIT - MORNING 310
FLIGHT TRAFFIC CONTROLLER (V.O.)
Swissair 363 --
The Pilot puts his hand on the throttle control.
311 INT. MEHRABAD FLIGHT TOWER - MORNING 311
FLIGHT TRAFFIC CONTROLLER
-- you are cleared for take-off.
The Flight Traffic Controller moves his head-set mic away
from his mouth to take a drink of very strong Iranian
tea, and -- the door to the Control Room BURSTS OPEN.
Three Komiteh with automatics, shouting instructions to
the Traffic Controller, who spills his tea --
312 INT. SWISSAIR DC-10 - MORNING 312
Mendez looking out the window --
313 EXT. AIRPORT RUNWAY - MORNING 313
ANGLE ON THE THREE IRANIAN VEHICLES
speeding ahead -- they’re GAINING ON us --
313A INT. COCKPIT - CONTINUOUS ACTION 313A
The CO-PILOT looks out the window. Sees they are being
pursued by militia and police. He looks to the Pilot.
(CONTINUED)
ARGO - Final 113.
313A CONTINUED: 313A
A beat. The Pilot reaches down and pushes all four
engines to go FULL THROTTLE.
313B EXT. AIRPORT RUNWAY - CONTINUOUS ACTION 313B
ANGLE ON THE JEEPS
We start to PULL AWAY FROM them -- leaving them behind --
beginning to RISE UP --
314 INT. MEHRABAD FLIGHT TOWER - MORNING 314
The Flight Controller has his arms up... THROUGH the
floor-to-ceiling windows of the tower, as three Komiteh
watch a Swissair DC-10 angle upward and leave the
ground...
315 EXT. AIRPORT RUNWAY - MORNING 315
The Komiteh from the Jeep are now standing on the runway
watching the plane disappear.
316 EXT. TEHRAN STREET NEAR AIRPORT - CONTINUOUS ACTION 316
We are looking at a street corner in Tehran when the
PLANE CRESTS THE STOREFRONT, heading upward and away.
Genres:
Thriller, Drama Tone:
Tense, Suspenseful, Action-packed
Ratings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 10/10
This scene is a masterclass in suspenseful action. The previous scene left the reader on the edge of their seat, with the Houseguests facing a new checkpoint and the Komiteh examining a potentially incriminating photograph. Scene 55 immediately ratchets up the tension by showing the Komiteh's pursuit of the plane, creating a palpable sense of urgency. The visual descriptions of the police cars and truck chasing the plane, combined with the simultaneous view from inside the plane, creates a thrilling cinematic experience that leaves the reader breathlessly anticipating the outcome. The scene ends on a high note, with the plane successfully taking off, but the near-miss leaves the reader wanting to know what happens next, particularly considering the unresolved threats from the Komiteh.
Script Continuation Score: 10/10
The overall screenplay remains incredibly compelling. The previous scenes built a strong foundation of suspense and character development, culminating in this thrilling escape sequence. The near-capture and the urgency of the situation keep the reader fully invested. The lingering questions of whether the Houseguests will be discovered and the ongoing threat of the Komiteh are powerful hooks that guarantee continued interest. The story has successfully navigated moments of tension and high stakes, making the potential resolution of the climax highly anticipated.
O’Donnell and the Kids gathered around some phones and
monitors in the Pit.
LAMONT
(taking off
headphones)
We have wheels up. *
He starts to punch the air. O’Donnell stays his arm.
O’DONNELL
Wait.
318 INT. SWISSAIR DC-10 - MORNING 318
The Houseguests -- holding their breath --
Mendez -- looking out the window -- scanning the air
around the plane -- behind every cloud --
(CONTINUED)
ARGO - Final 114.
318 CONTINUED: 318
FLIGHT ATTENDANT (V.O.)
Ladies and gentlemen, it is our
pleasure to announce that
alcoholic beverages are now
available, as we have cleared
Iranian airspace.
The Houseguests shout and embrace and celebrate. Bob
Anders high-fives Lee Schatz, then the other Houseguests.
Mark Lijek, crying, embraces Cora.
Kathy Stafford is laughing. She kisses her husband’s
hand.
Some of the other passengers look up from their
newspapers, annoyed at this Canadian fuss.
319 INT. CIA (LANGLEY) - THE PIT - NIGHT 319
All eyes watch Malinov, listening, headphone to one
ear...
MALINOV
They’re CLEAR!
Cheers in the Pit. O’Donnell embraces Malinov.
320 INT./EXT. ARGO PRODUCTION OFFICE - NIGHT 320
Siegel throws down a phone and rushes outside... to where
Chambers smokes.
SIEGEL
OUUUT! THEY’RE OUT!
Chambers and Lester scream like kids who’ve just scored
the game-winning touchdown. The P.A. tries to shush
them.
321 INT. SWISSAIR DC-10 - MORNING 321
A mini-champagne bottle pops. The Houseguests are
celebrating: New Year’s Eve and a Super Bowl victory
party in a DC-10 aisle.
FIND Mendez, sitting alone, apart from the celebration.
Looking out the window. Mendez turns to see that someone
is standing in the aisle next to him. Joe Stafford.
Tony looks up at Joe.
(CONTINUED)
ARGO - Final 115.
321 CONTINUED: 321
FLIGHT ATTENDANT (O.S.)
I’m sorry, sir. You need to sit
down.
But Joe doesn’t pay attention to the Flight Attendant.
He extends his hand to Mendez. Who takes it. A moment
between them.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 8/10
This scene provides a powerful and satisfying resolution to the intense suspense built up throughout the previous scenes. The relief and joy of the escaped hostages are palpable, creating a strong emotional connection with the reader. While the scene itself feels relatively self-contained in terms of plot advancement, the sheer emotional impact and release of tension leave the reader eager to see how the aftermath of the escape plays out. The scene ends on a poignant note, with Mendez sitting alone, contemplating the events, leaving the reader wanting to see his inner thoughts and experiences.
Script Continuation Score: 9/10
The overall screenplay maintains a high level of engagement due to the successful culmination of the central mission. The reader's investment in the characters and their journey has been rewarded, creating a sense of satisfaction. However, the final scene leaves some lingering questions about the characters' futures and the potential long-term consequences of their actions, such as Mendez's feelings, his son's discovery of his involvement, and what the future will hold for those involved. This creates intrigue, maintaining the reader's interest in seeing how the story concludes.
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57 -
Reflections and Resolutions - Overall Grade:
8.5
An IRAQI BORDER GUARD, checking passports at a chain- *
link, barbed-wire fence, speaks to a WOMAN IN HIJAB who *
is turned away from us. The Guard stamps the Woman’s *
passport. *
BORDER GUARD (ARABIC) *
You are admitted to the Republic *
of Iraq. *
He closes the passport and the Woman turns around: it is *
SAHAR. *
(CONTINUED)
ARGO - Final 116.
322A CONTINUED: 322A
She stands and stares at the line of REFUGEES still *
waiting to cross: WOMEN balancing blankets tied up with *
all they own. An OLD MAN being helped by his SON. A *
couple of KIDS, a SEVEN YEAR-OLD shushing an INFANT in *
her arms. Lives that have become another tableau of *
refugees. *
Sahar, now one of them, walks into Iraq. *
323 INT. CIA (LANGLEY) - NIGHT 323
The celebration is quieter and drunker now.
LAMONT
(a couple of beers
along)
We are the good guys! *
ROSSI LAMONT
Six down, fifty to go. Call the Times, nail it to
the fucking door. The CIA
are the good guys.
MALINOV
The Canadians are the good guys.
LAMONT
-- we’re not greedy -- them too --
MALINOV
Only. Canada takes the credit, or
they’ll retaliate against the
hostages. Great Satan wasn’t
involved. No CIA.
LAMONT
Is that right, Jack?
O’DONNELL
Involved in what? We’re as
surprised as anybody. Thank you,
Canada.
Jack raises a glass of Scotch and takes a drink.
324 ARCHIVE FOOTAGE 324
A homemade sign that reads: “THANK YOU CANADA!”*
(*Homecoming ceremony for Houseguests 2/1980.) Hundreds
are gathered to welcome the six back.
(CONTINUED)
ARGO - Final 117.
324 CONTINUED: 324
TED KOPPEL (V.O.)
Finally, a sliver of really good
news.
*AMERICA HELD HOSTAGE, DAY 87, BROADCAST (1/29/80).
CUT TO:
325 CANADIAN MINISTER OF EXTERNAL AFFAIRS 325
FLORA MacDONALD, late 60’s. (*A.H.H. 1/29/80)
FLORA MacDONALD (V.O.)
It was a simple operation, really.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 7/10
Scene 57 effectively uses a series of short, impactful scenes to create a sense of closure and lingering emotion. The witty exchange between Siegel and Chambers about Marx's quote provides a lighthearted moment that contrasts sharply with the sobering image of Sahar among the refugees, reinforcing the human cost of the political situation. The celebratory yet subdued mood in the CIA office highlights the complex emotions of success tinged with underlying tension and the acknowledgment of Canada's significant role. The ending archive footage of the homecoming ceremony offers a cathartic and hopeful conclusion that satisfies the reader's desire for resolution while simultaneously leaving a lasting impression of the ordeal's weight.
Script Continuation Score: 9/10
The screenplay maintains a high level of engagement throughout, skillfully balancing suspense, humor, and emotional depth. The resolution of the central plotline – the escape of the hostages – is handled effectively, providing a sense of catharsis without feeling rushed. However, the narrative threads about the ongoing political climate and the personal lives of some characters (especially Mendez) add intriguing layers that would keep the reader invested in how the remaining scenes wrap up the aftermath of the daring rescue. The script's overall impact relies on a satisfying resolution, while leaving room for further emotional exploration in the final scenes.
The Houseguests arrive in the State Department lobby.
Television lights everywhere.
TED KOPPEL (V.O.)
The six fled the country posing as
Canadian diplomats. They simply
walked away.
Camera flashes, wild cheers. Banners: “WELCOME HOME
CORA AND MARK!” “IDAHO LOVES YOU, LEE!” “WELCOME HOME,
BOB ANDERS!” It’s the first moment of national
celebration since the beginning of the crisis.
327 ARCHIVE FOOTAGE 327
IRANIAN FOREIGN MINISTER SADEQ GHOTBZADEH speaks angrily
into a microphone.
SADEQ GHOTBZADEH (V.O.)
Sooner or later, here or anywhere
in the world, Canada will pay for
this violation of the sovereignty
of Iran. (*News conference
1/29/80.)
328 MORE ARCHIVE FOOTAGE (*1/30/1980) 328
Of the State Department WELCOME HOME CEREMONY.
Ambassador KEN TAYLOR is presented with a HUGE FLORAL
BOUQUET. Cheering crowds all around him.
329 OMITTED 329 *
ARGO - Final 118.
330 EXT. BY LESTER’S POOL - DAY 330
Siegel in a bathrobe, looking out over L.A., holding
The New York Times in front of him: SIX U.S. DIPLOMATS,
HIDDEN BY CANADA, LEAVE IRAN SAFELY. Next to that, an
article about Ken Taylor: DIPLOMAT DIRECTED ESCAPE IN
IRAN. (Front page, *NYT 1/30/80.)
SIEGEL
She said, ‘Why couldn’t we pull
off something like that?’ You
know what I said to her?
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 7/10
This scene provides a satisfying resolution to the main plotline, showcasing the successful escape and the public celebration. The juxtaposition of the jubilant welcome home with Ghotbzadeh's angry reaction creates a sense of triumphant closure, yet also leaves a lingering tension regarding potential future repercussions. While the scene itself is largely celebratory and self-contained, the cliffhanger of Siegel's final line creates a small hook that pushes the reader forward to see the punchline.
Script Continuation Score: 9/10
The overall script maintains high engagement due to its exciting climax and resolution. The reader has been invested in the characters' journey and the high-stakes mission, and the scene provides a well-deserved payoff. The lingering tension about future consequences and the unresolved joke leave the reader wanting to see how the story ends. The previous scenes' suspense and carefully built tension have culminated in this satisfying conclusion, keeping the reader's interest high.
And suddenly it’s dead-quiet. We’re in a vault inside a
vault in the basement of the main building.
Mendez’s suitcase is laying on a low counter, an ARCHIVES
OFFICER toe-tagging and cataloging various items.
Separating Mendez’s personal things from material related
to the operation.
Mendez empties his briefcase and the officer puts a
sticker on the VARIETY featuring the ARGO ad. Another on
the ARGO script. He’s putting things into a box that
reads: USCIA CLASSIFIED MATERIAL.
Mendez opens his accordion folder -- flips through it --
it’s empty -- no. There’s something inside.
In one of the compartments is a STORYBOARD FROM ARGO.
One that the Komiteh missed. While the Archives Officer
is turned around, Mendez slips the storyboard back into
the accordion folder and puts it back with his personal
things.
ARGO - Final 119.
334 EXT. CIA - FRONT PARKING LOT - AFTERNOON 334
O’Donnell is on his way out, heading toward Tony who is
heading in. Seeing Mendez, he stops dead.
O’DONNELL
And I left my autograph book at *
home. His Eminence called me. He *
wants to see you.
MENDEZ
He wants to fire me himself.
O’DONNELL
He wants to give you the
Intelligence Star. You’re getting
the highest award of merit of the
Clandestine Services of these
United States. Ceremony’s two
weeks from today.
Mendez stops walking. A beat.
MENDEZ
If they push it a week, I can *
bring Ian. That’s his winter *
break.
O’DONNELL
The op was classified so the
ceremony’s classified. He can’t
know about it. Nobody can know
about it.
MENDEZ
They’re gonna hand me an award,
then they’re gonna take it back?
O’DONNELL
If we wanted applause, we would
have joined the circus.
MENDEZ
I thought we did.
O’Donnell claps Tony on the shoulder. Tony walks towards
the entrance and Jack heads to his car.
O’DONNELL
(yelling to Tony; an
afterthought)
Carter said you were a great
American.
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 7/10
The scene ends on a cliffhanger of sorts, leaving the reader wondering about the significance of the hidden storyboard and the nature of the "classified" award Mendez is about to receive. The secrecy surrounding the award creates intrigue and a desire to know more about its implications, and the subplot of the hidden storyboard also offers a compelling mystery to follow into the next scene. The quiet tension in the archive vault contrasts effectively with the impending public announcement in the following scene, further driving reader engagement.
Script Continuation Score: 9/10
The overall screenplay maintains a high level of engagement due to its effective blend of suspense, intrigue, and character development. The successful escape of the hostages has created a sense of relief and satisfaction, yet the final scenes have introduced new elements of mystery, such as the classified award and the hidden storyboard, keeping the reader invested in the resolution of these unresolved plot points. The closing scenes efficiently tie up loose ends while introducing the suspense of Mendez's future. There is a natural curiosity to discover the significance of these final details before the script's conclusion.
335 INT. ARGO PRODUCTION OFFICE - ANGLE ON A POSTER - DAY 335
on the wall. ARGO: A COSMIC CONFLAGRATION.
A hand takes the poster down.
ANOTHER ANGLE
Chambers is disassembling the office. Boxes packed.
Everything now off the walls.
A PRODUCER walks by, sees Chambers in the door.
PRODUCER
What happened to your picture?
CHAMBERS
It’s in turnaround.
He turns out the lights.
336 EXT. ROAD UP TO CHRISTINE’S HOUSE - LATE AFTERNOON 336
Mendez’s car heads up the road, past a mailbox. Pulls up
to the house.
337 EXT. CHRISTINE’S HOUSE - LATE AFTERNOON 337
Mendez, a duffel bag on his shoulder, knocks on the door.
He waits. After a moment, Christine opens the door.
MENDEZ
Hi.
CHRISTINE
Hi.
They look at each other.
Before she can speak, he’s embraced her. Holds tight. *
It’s something in between romantic and fraternal. Not
reconciliation, necessarily, but warmth. She
reciprocates. It feels right, and good.
(CONTINUED)
ARGO - Final 121.
337 CONTINUED: 337
WIDEN to HOLD ON them holding each other in the dark hall
of the very American, even Hummel-kitschy house. HOLD
there for a while.
338 INT. CHRISTINE’S HOUSE - IAN’S BEDROOM - ANGLE ON TV - 338
NIGHT
A scene of the Old West on a television.
ANOTHER ANGLE
Ian is watching 1973’s sci-fi Western Westworld in the
bedroom. Ian doesn’t have to describe the scene to his
father this time. WIDEN to see that his head is on a
pillow on Tony’s lap.
CARD #1: THE IRAN HOSTAGE CRISIS ENDED ON JANUARY 20,
1981, WHEN THE REMAINING EMBASSY HOSTAGES WERE RELEASED
AFTER 444 DAYS IN CAPTIVITY.
339 INT. IAN’S BEDROOM - NIGHT 339
We can hear the sounds of gunslinging from the movie.
Glow-in-the-dark stars on the wall. A Star Wars X-Wing
fighter. A couple of rubber Planet of the Apes figures
that look like they’ve been chewed by a dog.
CARD #2: OSCAR-WINNING MAKEUP ARTIST JOHN CHAMBERS WAS
AWARDED THE CIA’S INTELLIGENCE MEDAL OF MERIT, ITS
HIGHEST CIVILIAN HONOR. HE REMAINED FRIENDS WITH TONY
UNTIL CHAMBERS DIED FROM DIABETES COMPLICATIONS IN 2001.
The CAMERA MOVES OVER the dresser of Ian’s toys -- *
CARD #3: THE INVOLVEMENT OF THE CIA COMPLEMENTED EFFORTS *
OF THE CANADIAN EMBASSY IN FREEING THE SIX HELD IN *
TEHRAN. TO THIS DAY, THE STORY STANDS AS AN ENDURING *
MODEL OF COOPERATION BETWEEN GOVERNMENTS. *
-- settling on a motley group of action figures. *
CARD #4: ALL OF THE HOUSEGUESTS RETURNED TO THE U.S. *
FOREIGN SERVICE AFTER THEIR ORDEAL IN IRAN. *
Then FIND, almost unnoticeable among Ian’s science *
fiction collection, a piece of cardboard behind Captain *
Kirk and Han Solo figures. *
It’s a STORYBOARD FROM ARGO. The one missed by the
Komiteh at the airport.
(CONTINUED)
ARGO - Final 122.
339 CONTINUED: 339
CARD #5: TONY MENDEZ WAS NOT GIVEN BACK HIS INTELLIGENCE *
STAR UNTIL 1997, WHEN THE ARGO OPERATION WAS DECLASSIFIED
BY PRESIDENT CLINTON.
LINGER ON the ARGO STORYBOARD. A MAN in a futuristic
chariot sheltering a KID from what look like laser beams.
CARD #6: HE LIVES IN RURAL MARYLAND WITH HIS FAMILY. *
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Compelled to keep Reading Score: 0/10
This final scene functions as an epilogue, providing closure and tying up loose ends. It doesn't leave the reader with unanswered questions or cliffhangers that would immediately propel them to seek out more. The focus is on resolution and reflection, rather than driving the narrative forward. While heartwarming and satisfying, it lacks the immediate hook to crave more.
Script Continuation Score: 10/10
The overall screenplay maintains a high level of engagement from beginning to end. The initial hook of the embassy siege, the ensuing desperate escape, and the elaborate plan to exfiltrate the hostages all create a compelling narrative arc. The final scene provides a satisfying conclusion, leaving the reader with a sense of accomplishment rather than frustration. The lingering image of the Argo storyboard among Ian's toys cleverly hints at the enduring legacy of the operation and Mendez's life.
Expert Critiques
Expert Suggestions
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Scene View
All scenes are analyzed on many criteria
Plot Structure Analysis
Visualization of story beats and pacing
See what quality of various criteria in your scenes?
All scenes are analyzed on many criteria. You see how yours compare to the scripts in our vault.
See what quality of various criteria in your script? This is Coco's percentiles
Your script is analyzed on many criteria. You see how yours compare to the scripts in our vault.
Are you missing some important emotions?
See all emotions elicited and their proportions to one another
Emotions Elicited throughout the screenplay
Each emotion is mapped to a scene
Themes
Central Themes in Your Screenplay
When you submit your screenplay to ScriptReader.ai, the Themes section provides an in-depth look at the key ideas that shape your story. These may range from grand concepts like greed, corruption, and power to more personal threads such as family dynamics, redemption, and loyalty. ScriptReader.ai identifies these core ideas and shows you how they interact to form the emotional and moral backbone of your script.
Example of Theme Analysis.
For example, a screenplay inspired by Wall Street might spotlight themes of greed and corruption, the allure of the American Dream, or redemption in a cutthroat financial world. The analysis could highlight how these themes interconnect—perhaps portraying how a young broker’s moral dilemma collides with the corrupt actions of a powerful tycoon.
Another Example of Theme Analysis.
Similarly, a story about systemic corruption might focus on power abuses, journalistic ethics, or personal loss driving a quest for justice. ScriptReader.ai pinpoints where each theme appears, suggests ways to strengthen it in dialogue or plot structure, and demonstrates how multiple themes can work together without overshadowing one another. By clarifying these thematic elements, ScriptReader.ai helps you craft a cohesive, resonant narrative that deeply engages your audience.
Writer's Craft
Writer's Craft Analysis
ScriptReader.ai’s Writer’s Craft section evaluates your screenplay’s strengths in language, style, pacing, and narrative structure. Whether your work conveys dark humor, philosophical undertones, or the high stakes of a financial drama, our analysis spotlights your unique voice and storytelling finesse, highlighting areas where you excel and where you can further refine your craft.
Analyzing Writing Craft.
For instance, a Fight Club inspired script might excel at blending dark humor with introspective and philosophical elements, while still leaving room to expand character backstories or experiment with narrative structure. Similarly, a Wall Street-themed screenplay might feature sharp dialogue and tension, yet benefit from deeper thematic exploration and more robust character arcs.
Refining Narrative Style.
Loglines
Crafting Compelling Loglines
ScriptReader.ai’s Loglines feature offers concise, one-sentence summaries that capture the heart of your story—its protagonist, central conflict, and stakes. From a writer’s perspective, having a range of logline options is invaluable for refining pitches, clarifying your narrative focus, and quickly conveying the essence of your screenplay to potential collaborators, producers, or agents.
AI Suggested Loglines for Anora.
By experimenting with different angles and emphases in multiple logline variations, you’ll discover new insights into your characters, theme, and plot structure. Each logline can highlight a unique facet of the story, helping you to identify what resonates most with your audience. Whether you’re honing your script for professional submission or simply seeking clarity on the core premise, well-crafted loglines serve as powerful storytelling tools.
Video Narration
Bringing Your Screenplay to Life Through Video
ScriptReader.ai’s Video Narration feature allows you to transform your screenplay into a vivid, shareable video. Using curated images and narration derived from the script, this tool immerses viewers in the story’s aesthetic, tone, world—perfect for conveying your unique vision to collaborators, producers, or fans.
Our easy-to-use interface lets you replace images and voice overs, add frames, etc. This way, you can highlight crucial moments, set the mood, and maintain creative control over how your story is presented.
Editing your script's video.
Example of an auto-Generated Preview
By customizing every element—from images and text overlays to audio narration—you can craft a compelling preview that perfectly captures your screenplay’s essence. Whether it’s to share with a focus group, pitch to industry professionals, or simply showcase your creative flair, ScriptReader.ai’s Video Narration feature is designed to bring your story to life in a dynamic and engaging way.
Scene Improvements
Enhancing Your Scenes with AI
ScriptReader.ai’s Scene Improvements feature empowers writers to refine their work, one scene at a time. By setting custom parameters—such as desired tone, pacing, or character focus—you can guide the AI to suggest meaningful enhancements that align with your creative vision. Whether you want tighter dialogue, increased conflict, or a sharper plot twist, this interactive tool helps you identify the tweaks that can make a scene truly stand out.
After generating the revised scene, you’ll see a side-by-side comparison of how it scores across multiple criteria—plot coherence, conflict, originality, dialogue authenticity, unpredictability, and more—compared to your original draft. This transparent scoring gives you immediate insight into what’s working and where further improvements may be needed.
By experimenting with different parameters and reviewing the before-and-after scores, you can hone each scene’s impact without losing your unique voice. This iterative, data-driven approach streamlines the revision process, letting you focus on the creative aspects that matter most while leveraging AI to polish your writing for maximum effect.
Similar Stories
Discover Comparable Works to Inspire Your Script
ScriptReader.ai’s Similar Stories feature suggests existing films, books, or TV shows that share significant themes, tones, or narrative elements with your screenplay.
Analyzing Similar Stories.
By familiarizing yourself with these comparable works, you can:
Identify Trends and Tropes: Spot common storytelling techniques.
Clarify Your Market Position: Pinpoint where your script might sit in the entertainment landscape.
Find Creative Inspiration: Spark ideas for plot twists and character developments.
Finding Your Story's Unique Selling Point.
Goals and Philosophical Conflict
Exploring Internal & External Goals
ScriptReader.ai’s Goals and Philosophical Conflict feature focuses on the driving forces behind your protagonist’s journey—both the personal ambitions (internal goals) and the outward objectives (external goals).
Understanding Character Goals and Conflict.
Beyond their goals, ScriptReader.ai also identifies the core philosophical tension that shapes your protagonist’s moral or existential dilemma.
By clarifying the interplay of internal goals (like self-discovery, redemption, or acceptance) and external goals (career achievement, family reunification, or saving a loved one), you can more effectively structure your script’s tension, plot progression, and character evolution.
Character Development: Watching the protagonist grow through moral and emotional dilemmas.
Narrative Structure: Driving the story forward with rising tension and resolution.
Thematic Depth: Enriching the script’s core themes.
Brainstorm Feature
Explore Your Script with Dynamic Brainstorms
ScriptReader.ai’s Brainstorm feature offers a variety of pre-created prompts and questions to jumpstart your creativity. Each brainstorm tackles your script from a unique angle—helping you delve deeper into character motivations, refine your central themes, or even reimagine entire scenes.
By selecting a brainstorm, you’ll be guided through an interactive process that prompts fresh ideas and strategies for improvement, ranging from tightening your story’s inciting incident to subverting overused tropes. Want to enhance a theme or discover new title suggestions? Our brainstorm modules help you explore these areas and more.
Brainstorming Story Elements.
Sample Brainstorms
Strengthen A Theme: Focus on your primary theme and get targeted suggestions on weaving it more tightly into your script.
Heart of Darkness: Uncover your characters’ deepest fears and hidden desires, enriching their emotional arcs.
Subvert Trope: Flip clichés on their head and discover fresh ways to keep your audience engaged.
Title Suggestions: Generate title concepts that capture your story’s essence, then refine them to perfection.
Need/Want Analysis: Pinpoint the protagonist’s core needs and wants to amplify the story’s drive.
Inciting Incident Analysis: Dissect your script’s catalyst for deeper impact and thematic alignment.
Improve Dialogue: Polish lines, add subtext, and ensure every exchange serves character and plot.
Redesign Scene: Restructure scene beats for better pacing, conflict, and narrative flow.
With each brainstorm, you can review suggestions, modify them, and see how they might align with your script. As you develop your story, these guided exercises ensure you’re continuously challenging your narrative choices and growing as a writer. More brainstorms are on the way—if you have ideas for new prompts, feel free to reach out or submit a feature request!
Screenplay Poster
Visualizing Your Story with a Custom Poster
ScriptReader.ai’s Screenplay Poster feature offers a quick and creative way to encapsulate your screenplay’s essence in a single, eye-catching image. By blending thematic colors, fonts, and symbolic graphics, our tool produces a first-draft poster that captures the overall mood and style of your story—from a dystopian thriller to a feel-good comedy.
While it may not be production-ready, this initial design provides a jumping-off point for exploring your screenplay’s visual identity. It spotlights key elements such as setting, central characters, and tonal cues. Writers can then refine the look and make it truly their own.
Example of a Generated Screenplay Poster.
Poster Edit tool.
Whether you’re showcasing your script at a pitch meeting, sharing it on social media, or simply honing your creative vision, this flexible tool makes it easy to create a visually cohesive representation of your screenplay. By experimenting with design elements, you’ll also gain deeper insight into what aspects of your story resonate most—helping you sharpen your pitch, elevate your marketing materials, and spark conversations about your work.
World Building
Constructing the World of Your Screenplay
ScriptReader.ai’s World Building feature examines the physical environment, culture, and social structures that form the backdrop of your story.
Examining Your Story's Setting.
For example, a screenplay reminiscent of Fight Club may present a grim, urban landscape peppered with abandoned houses, dimly lit dive bars, and industrial backdrops.
How Setting Shapes Character Decisions.
By illustrating how environments, cultural norms, and social dynamics influence your characters’ decisions and motivations, ScriptReader.ai helps you ensure every scene resonates with authenticity.
Unique Voice
Your Screenplay’s Unique Voice
At ScriptReader.ai, we examine how your personal style, tone, and narrative techniques combine to create a one-of-a-kind voice.
Analyzing Your Writing Style.
For instance, a script with a voice defined by “sharp, witty dialogue often laced with sarcasm and irony, introspective narration, and vivid descriptions that create a sense of unease and absurdity” could introduce its distinct perspective from the very first scene.
Spotlighting Your Script’s Distinctive Tone.
By pinpointing which scenes best capture your distinct style—whether through dark humor, satirical dialogue, or vivid tension—ScriptReader.ai helps you refine and amplify your unique voice.
Correlations and Patterns
Correlations in Your Screenplay
ScriptReader.ai’s Correlations feature identifies recurring patterns and connections within your screenplay’s scenes.
Identifying Patterns in Your Screenplay.
By understanding how elements like tension, stakes, dialogue, and character changes intersect, you can strategically craft scenes that amplify each other’s strengths.
Emotions Elicited Analysis
Explore the Emotional Landscape of Your Script
ScriptReader.ai’s Emotions Elicited Analysis dives into how each scene in your screenplay resonates on an emotional level.
Tracking Emotional Impact in Your Script.
Scene-Level Insights
Intensity & Explanation: See whether your scene is brimming with tension or warmth—and why.
Sub-Emotions: Pinpoint specific layers that enrich the emotional texture.
Targeted Suggestions: Receive actionable tips to deepen the emotional impact.
Analyzing Scene-Specific Emotional Patterns.
Script-Wide Patterns & Recommendations
Beyond individual scenes, ScriptReader.ai aggregates the data to reveal overarching trends in your screenplay’s emotional journey.
Overall Emotional Flow in the Script.
Emotion Analysis.
With these insights, you can strategically adjust your script to ensure each scene resonates with the audience exactly as intended.
Story Critique
Comprehensive Story Feedback
ScriptReader.ai’s Story Critique offers a holistic perspective on your screenplay.
Story structure and narrative insights.
By dissecting your script into key sections—Beginning, Middle, and Ending—we pinpoint strengths and areas for refinement.
Evaluating character arcs and pacing.
Overall Critique Highlights
Narrative Strengths: Where your premise excels.
Potential Weaknesses: Subplots that feel underdeveloped.
Actionable Suggestions: Concrete ways to improve your story.
Note: This section covers the broader narrative critique. For a more detailed, scene-by-scene breakdown, check your dashboard.
With Story Critique, you’ll gain a top-level understanding of your script’s strengths and opportunities.
Market Analysis
High-Level Industry Snapshot
ScriptReader.ai’s Market Analysis provides an overview of your screenplay’s potential position in the entertainment industry.
Think of it as a cursory look at whether your story aligns with current audience interests.
Example Breakdown
Budget Estimate: Based on scope, setting, and genre norms.
Target Audience Demographics: Identifies potential age brackets and interest areas.
Marketability: Evaluates script appeal against competition.
Profit Potential: Estimates resonance with audiences and critics.
Note: This feature offers broad-strokes speculation rather than definitive forecasts.
Evaluating screenplay viability in the industry.
Identifying target demographics and trends.
Scene Analysis & Critique
Dive Deep into Individual Scenes
ScriptReader.ai’s Scene Analysis provides a detailed breakdown of each moment in your screenplay—highlighting strengths, weaknesses, expert critiques, and targeted suggestions for improvement. By reviewing these insights, you can refine pacing, strengthen character interactions, and ensure every scene contributes effectively to the overall story arc.
General Scene Summary
Get an at-a-glance look at what happens in the scene: major actions, setting, and how it fits into your screenplay’s broader narrative. We also pinpoint the scene’s principal strengths—like rich character introspection or sharp dialogue—and potential weaknesses that may slow the plot or feel disconnected.
Strengths & Weaknesses
Strengths: Insightful commentary on what’s working, from vivid world-building to emotional depth.
Weaknesses: Identifies issues like inconsistent tone, unnecessary exposition, or slow pacing.
Expert Critiques
ScriptReader.ai presents critiques “from” industry veterans (like Syd Field, Linda Seger, or Robert McKee) tailored to the scene’s storytelling, structure, and character dynamics. These critiques illustrate:
Structural Guidance: Whether the scene serves as an effective inciting incident or transitions smoothly into the next segment.
Character Motivation: Suggestions for reinforcing a protagonist’s goals or clarifying an antagonist’s influence.
Emotional Resonance: How to deepen the audience’s connection with pivotal moments or highlight character arcs.
Follow-up Questions for AI
Each critique includes pointed questions to spark further exploration with the AI—like how to add conflict or foreshadow future events. Answering these prompts helps you refine your scene until it hits the emotional and narrative notes you aim for.
Scene Ratings & Technical Breakdown
In addition to qualitative feedback, ScriptReader.ai offers numerical scores for aspects such as:
Story Content: Concept, Plot, Originality
Character Development: Growth, Motivations, Internal/External Goals
Scene Elements: Conflict Level, Opposition, Stakes, Pacing
These ratings let you track improvements across multiple revisions and see how changes affect the scene’s effectiveness.
Breakdown of key scene elements and critique.
Highlighting strengths, weaknesses, and refinements.
Actionable Suggestions
Finally, each scene’s analysis wraps up with practical tips—ranging from dialogue refinements and tighter exposition to strategic scene openings/endings that amplify tension or emotion. This ensures you have a clear, step-by-step path to elevating your screenplay, scene by scene.
Whether your scene is an intense confrontation, a comedic interlude, or a turning point packed with subtext, ScriptReader.ai’s Scene Analysis breaks it down in detail—helping you polish every moment and keep audiences on the edge of their seats.
Memorable Lines
Highlighting Unforgettable Dialogue
ScriptReader.ai’s Memorable Lines feature showcases the standout moments of dialogue that capture your story’s essence—whether they’re witty comebacks, philosophical observations, or iconic catchphrases. These lines often resonate deeply with audiences, becoming cultural touchstones or references that linger long after the film ends.
We list each memorable line alongside its scene number, so you can easily find the context in your screenplay. Additionally, ScriptReader.ai offers brief commentary on why certain lines work so well—be it their emotional weight, clever construction, or perfect timing in the scene. These insights help you:
Identify Key Moments: Recognize where dialogue heightens tension or underscores a theme.
Refine Character Voices: Ensure each character speaks with a distinct, memorable style.
Strengthen Your Script’s Impact: Amplify crucial lines by revisiting set-up, delivery, or surrounding dialogue.
Examples of standout dialogue in Coco.
By understanding why a particular line resonates—perhaps it’s a succinct expression of your protagonist’s core philosophy or a pivotal moment in a power struggle—you can apply those lessons throughout your script. Make each line work harder to reveal character, drive conflict, or provoke thought, and transform your screenplay into a quotable, lasting piece of cinema.
Tropes
Explore the Core Tropes in Your Screenplay
ScriptReader.ai’s Tropes feature highlights the recognizable storytelling devices and archetypes present in your script—such as “The Anti-Hero,” “Fish Out of Water,” or “The Corrupt Corporate Executive.” These shared patterns can help you quickly understand how readers and viewers might perceive certain characters, conflicts, or plot structures.
Each trope is broken down into its defining traits, its role in your narrative, and how it contributes to the themes or character arcs. By comparing your screenplay’s tropes to well-known examples, you can identify ways to subvert expectations, deepen complexity, or steer clear of cliché. Whether it’s refining a mentor figure or injecting fresh conflict into a rags-to-riches journey, these insights help you fine-tune your script.
Analysis of recurring tropes and their impact on storytelling.
Understanding Your Story’s Building Blocks
Trope Details: Summaries of how each trope appears in your script and what it conveys.
Trope Explanation: A broader description of the trope itself, plus familiar film/book examples for context.
Contextual Insights: Why this trope matters—whether it brings comedic relief, moral complexity, or thematic depth.
Exploring how tropes shape narrative structure and character arcs.
With a clear overview of your screenplay’s tropes, you can decide how to amplify or subvert each one. Perhaps you’ll lean harder into a Fallen Hero theme to increase emotional stakes, or tweak the Moral Dilemma to create more internal tension for your protagonist. By recognizing these structural elements, ScriptReader.ai helps you strategically shape your story’s appeal and originality.
Character Analysis
Delve Deeper into Your Characters
ScriptReader.ai’s Character Analysis feature breaks down each significant character in your screenplay, evaluating aspects like background, personality, goals, arcs, and emotional resonance. Whether you have a protagonist struggling with identity or an anti-hero juggling moral dilemmas, this tool provides a clear, data-driven snapshot of how effectively they function in your story.
You’ll see scores across key categories—like complexity, dialogue, arc progression, and thematic integration—along with suggestions and follow-up questions tailored to strengthen each aspect of the character. By referencing personality frameworks such as MBTI or the Enneagram, the analysis can also inspire fresh ideas for character depth and consistency.
Fight Club Character Analysis.
Each character’s strongest and weakest scenes are highlighted to show where they shine and where there’s room for improvement. Additionally, an overview of how they contribute to the overall narrative—through pivotal choices, relationships, or thematic conflicts—ensures you have a complete picture of their role.
Foundational Definition: Who is your character at their core?
Complexity & Depth: What are their emotional wounds, backstories, or flaws?
Arc Progression: How do they change (or not) throughout the story?
Dialogue & Voice: Does their speech reveal their unique personality and struggles?
Relationships & Impact: How do they affect others, and how are they influenced in return?
Thematic Integration: Do they embody or challenge the script’s core themes?
Character Analysis Fight Club.
Armed with this insight, you’ll be able to refine character motivations, clarify arcs, and highlight the emotional beats that resonate most. From the slight nuances of everyday dialogue to the grand gestures that define a finale, ScriptReader.ai’s Character Analysis ensures your characters feel organic, compelling, and memorable.
Inconsistencies
Inconsistencies in Your Screenplay
When you submit your screenplay to ScriptReader.ai, our Inconsistencies feature highlights any discrepancies in character behavior, plot development, and overall story logic. This helps you pinpoint areas where motivations, actions, or events may not align with the established narrative or character arcs.
Example of Inconsistency Analysis: Wall Street
For instance, a character like Heidi may seem to shift personality traits or motivations unpredictably. The Inconsistencies section would call out specific scenes where this happens, noting how these sudden changes can confuse the audience and weaken the narrative. Similarly, characters such as Clive or Linden might exhibit unpredictable behaviors—oscillating between benevolent guidance and manipulative actions—without sufficient justification or a clear development arc.
Another example of Inconsistency Analysis - Wall Street.
ScriptReader.ai also flags story inconsistencies—such as unclear transitions between realities, unexplained plot devices (like sudden pixelation or virtual reality sequences), and unreliable psychic visions. In addition, if your script features abrupt shifts in tone or unexplained leaps in a character’s knowledge, the Inconsistencies section will guide you to these issues so you can refine and tighten your story for a more cohesive and engaging narrative.
Unique Selling Proposition
Unique Selling Proposition in Your Screenplay
When you submit your screenplay to ScriptReader.ai, the Unique Selling Proposition (USP) section highlights the elements that set your story apart from the rest. This includes the genre mix, setting, character motivations, themes, and any standout narrative twists that shape your screenplay’s overall appeal.
Unique Selling Proposition Analysis For Fight Club.
For instance, in a screenplay like Scores, the USP might highlight its unique blend of crime, drama, and dark humor set in 1990s New York. The analysis would call out how the story delves into the moral challenges faced by the protagonist, Michael Blutrich, as he confronts both the seedy elements of organized crime and the looming pressure from the FBI investigation.
Another Example of USP Analysis - Wall Street.
The USP section might also note the screenplay’s rich character development, the well-paced plot, and the immersive setting that portrays the underbelly of the city’s entertainment industry. By spotlighting these unique attributes, ScriptReader.ai helps you understand and emphasize what makes your work truly stand out.
P/C/R/HR Analysis
P/C/R/HR Section: A Deep Dive Into Your Screenplay
When you submit your script to ScriptReader.ai, the P/C/R/HR (Pass/Consider/Recommend/Highly Recommend) section offers a comprehensive breakdown of your screenplay’s strengths, areas for improvement, and key takeaways.
This detailed analysis focuses on highlighting the elements that are working well in your script, such as strong character development, engaging plotlines, or impactful dialogue, while also identifying potential weaknesses like pacing issues, inconsistent character motivations, or underdeveloped themes.
P/C/R/HR Script Analysis Breakdown.
For each area of feedback, you'll receive specific scene references to help you understand where these strengths or concerns appear in the script. The recommendations provide actionable steps for improvement, ensuring that your script reaches its full potential.
Additionally, the Highlight Reel gives a snapshot of your standout moments—scenes that leave a lasting impression, which you can build on to elevate the overall narrative.
By offering a balanced mix of strengths, areas of concern, and recommendations, the P/C/R/HR section equips you with targeted feedback to refine your story, enhance your screenplay’s marketability, and improve your screenwriting skills.
ScriptReader.ai providing actionable feedback.
Detailed insights into character development.
Using MBTI & Enneagram for Screenwriting
Myers-Briggs Type Indicator (MBTI): The MBTI is a framework that describes how people perceive the world and make decisions. Understanding your MBTI type can help you identify how you naturally approach your work, collaborate, and create characters in your writing.
Enneagram: The Enneagram describes nine core personality types, often with variations known as "wings." It provides insight into motivations, fears, and growth paths—valuable for exploring character arcs or your own creative process.
Using both MBTI and the Enneagram can deepen your self-awareness and support more authentic and engaging character development in screenwriting.
