Argo

Executive Summary

Poster
Overview

Genres: Drama, Thriller, Comedy, Sci-Fi, Political Thriller, Family, Historical

Setting: 1979-1980, Tehran, Iran and Washington D.C., USA

Overview: Set against the backdrop of the Iran hostage crisis in 1979, 'Argo' follows CIA operative Tony Mendez as he devises an audacious plan to rescue six American diplomats who have found refuge in the Canadian ambassador's home. The story begins with the chaotic takeover of the U.S. Embassy in Tehran, leading to the diplomats' desperate situation. As Mendez navigates the complexities of international politics and the dangers of the Iranian landscape, he concocts a scheme to pose as a film crew scouting locations for a science fiction movie. The middle of the narrative focuses on Mendez's efforts to create a convincing cover story while building relationships with the houseguests and Hollywood figures who assist him. Tension escalates as the escape plan unfolds, culminating in a high-stakes race against time at the Tehran airport. The story concludes with the successful extraction of the diplomats, highlighting the ingenuity and courage required to navigate such perilous circumstances.

Themes: Ingenuity and Deception, Courage and Sacrifice, International Relations and Political Intrigue, Personal Sacrifice and Relationships, The Absurdity of War and Politics

Conflict and Stakes: The primary conflict revolves around the urgent need to extract American diplomats from Iran amidst a hostile environment, with their lives at stake if they are discovered.

Overall Mood: Tense and suspenseful, with moments of dark humor and urgency.

Mood/Tone at Key Scenes:

  • Scene 1: The opening protest scene is chaotic and tense, setting the stage for the urgency of the diplomats' situation.
  • Scene 3: The frantic atmosphere in the Chancery office reflects the fear and desperation of the characters as they face imminent danger.
  • Scene 15: The celebratory mood on the Swissair flight contrasts sharply with the earlier tension, highlighting the relief of the successful escape.

Standout Features:

  • Unique Hook: The use of a Hollywood film production as a cover for a real-life extraction operation.
  • Major Twist: The tension of the mock execution of hostages that turns out to be a ruse, highlighting the psychological stakes.
  • Distinctive Setting: The contrasting environments of Tehran's chaos and the calm of the Canadian Ambassador's residence.
  • Innovative Idea: The integration of a film production narrative into a real-life espionage operation.
  • Unique Characters: A diverse cast of characters, each with their own backstories and motivations, enhancing the emotional depth of the story.

Comparable Scripts:

  • Argo (2012)
  • The Siege (1998)
  • Zero Dark Thirty (2012)
  • The American (2010)
  • Body of Lies (2008)
  • The Hunt for Red October (1990)
  • The Spy Who Came in from the Cold (1965)
  • The Bridge of Spies (2015)
  • The Killing of America (1981)

Writing Style:

The screenplay exhibits a diverse yet cohesive writing style, blending elements of political thriller, character-driven drama, and occasionally, dark humor. It features consistently sharp dialogue, often fast-paced, which reveals character motivations and drives the narrative forward. The scenes frequently incorporate high-stakes situations, moral dilemmas, and complex character interactions, often within historically relevant or politically charged contexts. While there's a strong emphasis on dialogue, the action sequences, when present, are intense and well-integrated into the narrative.

Style Similarities:

  • Aaron Sorkin
  • Tony Gilroy
Other Similarities
Pass/Consider/Recommend

Recommend


Explanation: The screenplay for 'Argo' effectively captures the tension and urgency of a real-life crisis while providing a compelling narrative arc for its characters. It excels in character development, particularly in the portrayal of Tony Mendez, whose journey from a covert operative to a determined rescuer is both engaging and relatable. The pacing is generally strong, though some sections could benefit from tightening. Overall, the screenplay presents a well-structured story that balances historical context with personal stakes, making it a gripping read.


USP: Argo stands apart from typical thrillers by blending nail-biting suspense with a surprisingly comedic element, born from the absurdity of the plan. It's a historical drama that doesn't shy away from the political complexities of the time, offering a unique perspective on a lesser-known aspect of the Iran hostage crisis. Its compelling narrative comes from the underdog nature of the operation and the sheer ingenuity involved in the daring rescue.
Market Analysis

Budget Estimate:$30-50 million

Target Audience Demographics: Adults aged 18-54, particularly those interested in historical dramas, political thrillers, and true stories.

Marketability: The screenplay is based on a true story with historical significance, appealing to audiences interested in political dramas and real-life heroism.

The blend of suspense, humor, and historical context makes it attractive to a diverse audience, including fans of both drama and action.

Strong character development and a gripping narrative create a compelling viewing experience that can resonate with audiences.

Profit Potential: High, due to the film's potential for critical acclaim, award nominations, and a strong box office appeal given its historical context and engaging storyline.

Analysis Criteria Percentiles
Writer's Voice

Summary:The writer's voice is characterized by a compelling blend of sharp, realistic dialogue, fast-paced action sequences, and vivid descriptions that create a tense and urgent atmosphere. There's a consistent focus on the political and historical context, balancing moments of high-stakes tension with flashes of dark humor and witty banter, particularly among the CIA operatives and Hollywood figures. The narrative seamlessly integrates multiple perspectives, from the chaotic embassy scenes to the tense planning meetings and the frenetic energy of a Hollywood film production.

Best representation: Scene 10 - Tensions Rising: A Night of Uncertainty. Scene 10, set during a dinner at the Canadian Ambassador's residence, best encapsulates the writer's unique voice. It masterfully blends light-hearted banter and underlying tension, perfectly capturing the precarious balance between normalcy and impending danger. The seemingly mundane actions – the toasting, the helicopter sound, the wine glasses shaking – subtly build suspense, while the dialogue reveals the characters' personalities and anxieties. This blend of humor, tension, and insightful character dynamics is a recurring hallmark of the writer's style and is most effectively showcased in this scene.

Memorable Lines:

  • Siegel: Argo fuck yourself. (Scene 24)
  • Siegel: You can either sign here and take ten thousand for your toilet-paper script -- or you can go fuck yourself. (Scene 21)
  • AL GOLACINSKI: Don’t shoot. You don’t want to be the sonofabitch who started a war - (Scene 2)
  • Chambers: You can teach a rhesus monkey to be a director in a day. (Scene 18)
  • SPACE NURSE: My creation... My creation... (Scene 14)
Characters

Tony Mendez:A CIA operative tasked with extracting American diplomats from Iran using a creative cover story.

Ken Taylor:The Canadian Ambassador who assists Mendez in the extraction operation.

Joe Stafford:One of the American diplomats hiding in the Canadian Ambassador's residence, skeptical of the escape plan.

Cora Lijek:A diplomat's wife who is resourceful and plays a key role in the escape.

O'Donnell:A CIA officer who coordinates the extraction and faces bureaucratic challenges.

Story Shape
Summary **Title: Argo** **Genre:** Thriller/Drama **Logline:** Amidst the chaos of the Iranian Revolution, a CIA operative devises a daring plan to rescue six American diplomats who have taken refuge in the Canadian Embassy, posing as a Canadian film crew making a science fiction movie to escape the clutches of their captors. **Summary:** On November 4, 1979, the U.S. Embassy in Tehran is besieged by an overwhelming protest, echoing the widespread anti-American sentiment in Iran. Inside, panic erupts among consulate staff as chaos reigns, with violence imminent. As tensions escalate, six American diplomats find themselves trapped after escaping to the Canadian Ambassador's residence, where further conflicts arise over their uncertain fate. While the U.S. government struggles to formulate a response, seasoned CIA operative Tony Mendez is pulled into a high-stakes mission to exfiltrate the hostages. Faced with skepticism from both the CIA and State Department, he devises a bold plan: creating a false identity as a film crew scouting locations for a sci-fi movie titled "Argo." This unorthodox approach, weaved with a sense of dark humor, becomes the focal point of Mendez's strategy. Following intense preparations and a series of fraught encounters with security forces, Mendez and the houseguests confront various challenges that heighten their risk of exposure, including a tense trip through a Tehran bazaar and close calls at airport checkpoints. As the situation becomes increasingly precarious, Mendez and the houseguests must maintain their cover while navigating the dangers of a city on the edge. The film culminates in a suspenseful airport escape, where the fragile threads of their deception are tested as they face armed guards and a potential riot. Just as their plan seems on the verge of unraveling, a desperate sprint towards the aircraft marks their last chance for freedom. In a heart-stopping climax, they narrowly elude capture as they board a departing plane, leaving their pursuers behind. In the aftermath of their escape, the diplomats receive a heartfelt welcome back to the U.S., juxtaposed against the backdrop of international tensions still simmering. The narrative concludes with personal reflections on the bittersweet nature of survival amidst chaos, with Mendez received accolades for his cunning strategy that saved lives, while grappling with the personal toll of the mission. "Argo" weaves a masterful tale of risk, resilience, and the intricate dance of deception against a historical backdrop, highlighting the lengths individuals will go to protect each other in the face of overwhelming dangers.


Screenplay Story Analysis

Story Critique The screenplay for Argo boasts a compelling premise, effectively capturing the tension and stakes of the real-life hostage crisis. The character of Tony Mendez is well-developed, showcasing his resourcefulness and quiet heroism. The screenplay successfully builds suspense, particularly in the sequences leading up to and during the exfiltration. The inclusion of the Canadian Ambassador and his family adds a layer of human interest and moral complexity. However, the screenplay occasionally falters in pacing. Certain plot points feel rushed, while others drag, disrupting the overall flow. The subplot involving the sci-fi movie feels somewhat extraneous and could be streamlined. Some characters, while present, lack sufficient depth, hindering their emotional impact. The ending, while satisfying in its resolution, could benefit from a more profound exploration of the emotional aftermath for Mendez and the rescued hostages.
Suggestions:
  • Streamline the subplot of the fictional film's production, focusing on aspects directly relevant to the exfiltration. Consider removing irrelevant scenes.
  • Deepen the development of supporting characters beyond their functional roles, providing them with more distinct personalities and motivations.
  • Re-evaluate the pacing; some scenes could be shortened or removed, while others may need expansion to enhance the emotional impact.
  • Expand on the emotional aftermath of the operation, including the reunion of Mendez with his family and the lasting effects on the rescued hostages.
  • Explore the political and moral complexities more thoroughly, highlighting the ethical dilemmas faced by Mendez and the Canadian Ambassador.

Note: This is the overall critique. For scene by scene critique click here
Beginning The opening scenes effectively establish the setting and stakes of the Iranian hostage crisis, creating immediate tension and drawing the audience into the precarious situation at the US Embassy. The portrayal of the escalating protest and the initial breach creates a palpable sense of danger. The introduction of key characters like Mendez and the consular officers is swift but effective. However, the beginning could benefit from a stronger hook. While the events are historically accurate, the opening might feel somewhat slow for a modern audience. The initial focus on the embassy staff could be broadened to include a glimpse of the outside world's reaction, to better contextualize the events and the immediate urgency.
Suggestions:
  • Consider starting with a more impactful image or event, instantly grabbing the audience's attention.
  • Introduce the overarching conflict more swiftly, perhaps by showing snippets of news coverage or initial reactions to the crisis.
  • Expand the introduction of Mendez, giving the audience more of a sense of his past experience and expertise before the main conflict.
  • Introduce the stakes beyond the immediate embassy by showing some of the global reactions and pressure upon the US government.
Middle The middle section successfully builds tension as Mendez and his team develop their elaborate plan. The interactions between the CIA and State Department provide a nuanced portrayal of bureaucratic challenges. The scenes in Hollywood offer welcome comic relief, effectively juxtaposing the absurdity of the filmmaking process with the seriousness of the mission. However, the middle section could be tightened. Some scenes involving the creation of the fake movie feel overly detailed, diverting from the central plot. The emotional arc of the hostages while in hiding could also use more development. Their individual personalities are mostly presented in surface detail.
Suggestions:
  • Streamline the scenes in Hollywood, focusing on those moments most relevant to the central mission.
  • Develop more nuanced character interactions and conflicts among the hostages during their time in hiding, emphasizing the psychological pressures.
  • Introduce more subplots that affect the urgency, e.g., growing unrest in Tehran, increased surveillance, etc.
  • Increase the tension by introducing smaller setbacks or near-misses that put the plan in jeopardy.
Ending The climax of the escape is exciting and suspenseful, successfully conveying the risks and challenges faced by Mendez and the hostages. The resolution is satisfying, showcasing their successful escape and the collective relief. However, the ending could be strengthened by more detailed aftermath scenes. The celebrations are somewhat brief, and the emotional impact on the characters is not fully explored. The film could benefit from a more lingering reflection on the broader geopolitical implications and the lasting impact of the hostage crisis.
Suggestions:
  • Expand the scenes depicting the return of the hostages and the reaction of the American public.
  • Explore the long-term effects of the experience on Mendez and the hostages, including their personal relationships and emotional well-being.
  • Include a scene that summarizes the effects of the crisis on US-Iran relations.
  • Add a final scene that emphasizes the enduring heroism of Mendez and the unsung contribution of the Canadian Ambassador.

See the full analysis by clicking the title.

1 - Breach of the Embassy Tense, Chaotic, Intense 8.5 8 99 8 889989989 89999
2 - Confronting Chaos Tense, Chaotic, Urgent 8.5 8 98 8 787989989 89988
3 - Chaos at the Chancery Tense, Chaotic, Panic 8.5 8 98 8 889989989 89999
4 - Escape from Chaos Frantic, Tense, Chaotic, Violent 8.5 8 99 8 889989989 89988
5 - Crisis at the State Department Tense, Frantic, Anxious 8.5 8 98 8 789989988 99999
6 - Political Dilemmas in the Chief's Office Tense, Frantic, Serious 8.5 9 99 8 787979978 89888
7 - A Nation in Despair Tense, Chaotic, Frantic, Anxious 8.5 8 99 8 887979979 89888
8 - Urgent Extraction Plans Frantic, Tense, Urgent, Serious 8.5 8 99 8 889989979 99988
9 - Tensions in the Conference Room Tense, Serious, Intense, Strategic 8.7 9 99 9 887.5989998 998.588
10 - Dinner Disrupted Tense, Frantic, Anxious, Relief 8.5 8 98 8 887878979 89888
11 - Tensions Rising: A Night of Uncertainty Tense, Frantic, Anxious, Chaotic 8.5 8 99 8 887979989 89888
12 - Tensions Unraveled Tense, Anxious, Chaotic, Dark 8.5 9 89 9 887989889 89888
13 - A Night of Reflection Innocent, Nostalgic, Playful 8.5 8 88 9 687273668 79888
14 - Behind the Scenes: The Minotaur Mishap Humorous, Surreal, Satirical 8.5 8 89 8 787.5786796 89888.5
15 - A Bold Proposal Tense, Serious, Strategic, Innovative 8.7 9 98 9 789989988 99999
16 - High Stakes and Tension Tense, Anxious, Suspenseful 8.5 8 99 8 789889988 89999
17 - Tensions and Deceptions Tense, Serious, Humorous 8.5 9 89 8 787.5889987 898.588
18 - The Producer Dilemma Tense, Humorous, Sarcastic 8.5 8 99 9 789788977 99888
19 - Navigating the Hostage Crisis Tense, Anxious, Humorous 8.5 9 98 8 887.5989988 998.588
20 - Script Disputes at the Pool Tense, Serious, Humorous 8.5 9 99 8 887979978 99888
21 - Desperate Negotiations Sarcastic, Confrontational, Humorous 8.5 8 99 8 887.5889987 998.588.5
22 - Tacos and Tensions Tense, Reflective, Serious 8.5 8 98 8 787879968 98888
23 - Creative Chaos in the Argo Production Office Tense, Humorous, Serious 8.5 9 98 8 887.5879988 898.588
24 - Press Event Shenanigans at the Beverly Hilton Tense, Humorous, Sarcastic 8.5 8 98 8 787879978 98899
25 - Tension and Uncertainty Tense, Anxious, Defiant, Hopeful, Skeptical, Humorous 8.5 8 99 8 787.5889988 89888
26 - Mock Execution and Mundane Moments Tense, Suspenseful, Dramatic, Emotional 8.5 8 99 8 887989989 99888
27 - Navigating Tensions in Hollywood Tense, Humorous, Reflective 8.5 8 99 9 987.5989988 998.588
28 - The Absurd Proposal Tense, Serious, Conspiratorial, Skeptical 8.5 9 99 8 787.5989988 998.588
29 - The Weight of Departure Tense, Anxious, Reflective 8.5 8 89 9 889789889 99999
30 - Tensions and Postcards Tense, Anxious, Humorous 8.5 8 98 8 787879978 89888
31 - Whispers of Tension Tense, Suspenseful, Informative 8.5 8 99 8 787778988 99888
32 - Navigating Challenges Tense, Reflective, Somber 8.5 8 89 9 887.5788889 89888
33 - Entering the Storm: Mendez in Tehran Tense, Dark, Suspenseful, Informative 8.5 8 89 8 787989888 99888
34 - Urgent Alliances Tense, Suspenseful, Serious 8.5 8 98 8 787.5889987 898.588
35 - Tension in Tehran Tense, Serious, Suspenseful 8.5 8 98 8 889989989 99999
36 - The Urgency of Escape Tense, Anxious, Serious 8.5 8 98 8 789889978 89888
37 - Tensions in the Dark Tense, Anxious, Desperate 8.5 8 88 9 887979879 99888
38 - Tensions Rise at the Komiteh Headquarters Tense, Anxious, Defiant, Desperate 8.5 8 99 9 889989989 89999
39 - Disguises and Dread Tense, Anxious, Nervous 8.5 8 98 8 789889888 89999
40 - Escape from Tehran Tense, Anxious, Determined 8.5 8 99 8 887889989 89988
41 - Cultural Misunderstandings in the Tehran Bazaar Tense, Suspenseful, Intriguing 8.5 9 88 8 776979868 87888
42 - Tensions Rise in Tehran Tense, Heated, Puzzled, Unfriendly 8.5 8 89 9 787.5989898 898.588
43 - Tensions in the Tehran Bazaar Tense, Anxious, Fearful, Calming 8.5 8 99 8 887.5989989 898.588
44 - Under Pressure: The Interrogation Tense, Serious, Instructive 8.5 8 99 8 787889988 89888
45 - Urgent Decisions Tense, Serious, Emotional 9.2 9 99 9 898989989 99988
46 - A Toast to Tension Tense, Anxious, Reflective 8.5 8 99 8 787778878 89888
47 - Dawn of Tension Tense, Anxious, Serious 8.5 8 99 8 887989989 89988
48 - Dawn of Urgency Tense, Anxious, Urgent 8.5 8 98 8 889889989 89999
49 - Urgent Pursuit Tense, Urgent, Anxious 8.5 8 99 8 887889979 89988
50 - Race Against Time Tense, Urgent, Anxious, Dramatic 9.2 9 99 9 98910810989 99999
51 - Tension at the Checkpoint Tense, Confrontational, Suspenseful 8.5 8 99 8 789989988 89888
52 - The Art of Deception Tense, Suspenseful, Dramatic, Informative 8.5 8 99 8 787.5989988 998.588
53 - Tension at Mehrabad Airport Tense, Suspenseful, Action-packed 8.5 8 99 8 789989988 89999
54 - Chaos at Mehrabad Airport Tense, Suspenseful, Anxious 8.5 8 89 8 787889988 89988
55 - Escape from Tehran Tense, Suspenseful, Action-packed 9.2 9 98 9 8899810989 99999
56 - Escape and Reflection Tense, Anxious, Relieved, Celebratory 8.5 8 88 9 889778889 89999
57 - Reflections and Resolutions Tense, Anxious, Reflective 8.5 8 98 8 887879979 89888
58 - A Triumphant Return Amidst Tension Tense, Anxious, Celebratory 8.5 8 89 8 789788889 89999
59 - A Hidden Honor Tense, Serious, Reflective, Humorous 8.2 8 99 9 787676778 89888
60 - Bittersweet Goodbyes Reflective, Emotional, Nostalgic 8.5 8 89 9 887364769 89888


Scene 1 - Breach of the Embassy
ARGO



by

Chris Terrio


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 --
Genres: ["Drama","Thriller"]

Summary On November 4, 1979, a tense scene unfolds at the U.S. Embassy in Tehran as a large protest erupts outside, with crowds chanting anti-American slogans and displaying effigies. Inside, consular officers Bob Anders and Mark Lijek observe the escalating chaos, while Marine Sgt. Rocky Sickmann reports the breach of the embassy gates by organized students armed with bolt cutters and weapons. The situation intensifies as protestors flood into the compound, marking a critical turning point in the crisis.
Strengths
  • Intense atmosphere
  • Effective tension-building
  • Realistic portrayal of a crisis situation
Weaknesses
  • Some dialogue could be more impactful
  • Limited character development in this specific scene

Ratings
Overall

Overall: 8.5

The scene effectively sets the tone for the rest of the screenplay, establishing the high stakes and intense conflict that will drive the narrative forward.


Story Content

Concept: 8

The concept of a violent protest at the U.S. Embassy in Tehran is compelling and sets the stage for the larger story to unfold.

Plot: 8.5

The plot is advanced significantly in this scene, with the introduction of key conflicts and obstacles that the characters will have to navigate.

Originality: 9

The scene presents a fresh perspective on a historical event, blending archival footage with fictionalized drama to create a compelling narrative.


Character Development

Characters: 8

The characters are introduced in a way that establishes their roles and relationships within the unfolding crisis, setting up potential character arcs.

Character Changes: 8

While there are no significant character changes in this scene, the events set the stage for potential growth and development in the future.

Internal Goal: 8

The protagonist's internal goal is likely to survive the escalating situation and protect themselves and their colleagues.

External Goal: 9

The protagonist's external goal is to navigate the dangerous protest and potential breach of the embassy's security.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with the characters facing immediate danger and escalating tensions.

Opposition: 8

The strong opposition from the protestors and the uncertain outcome of the situation create a sense of danger and conflict.

High Stakes: 9

The stakes are high in this scene, with the characters facing immediate danger and the potential for serious consequences.

Story Forward: 9

The scene significantly moves the story forward by introducing key conflicts and obstacles that the characters will have to overcome.

Unpredictability: 8

This scene is unpredictable because of the escalating tension and uncertain outcome of the protest.

Philosophical Conflict: 7

The philosophical conflict in this scene is the clash between American values of democracy and freedom and Iranian revolutionary ideals of anti-imperialism and religious governance.


Audience Engagement

Emotional Impact: 8.5

The scene has a high emotional impact, evoking fear and tension in the audience as the characters face a dangerous situation.

Dialogue: 7.5

The dialogue in the scene effectively conveys the tension and urgency of the situation, but could be more impactful in certain moments.

Engagement: 9

This scene is engaging because of its fast-paced action, high stakes, and historical context that draws the audience in.

Pacing: 9

The pacing of the scene builds tension effectively, with a balance of action and exposition to keep the audience engaged.


Technical Aspect

Formatting: 9

The formatting adheres to industry standards, with clear scene headings and descriptions that enhance the visual storytelling.

Structure: 9

The scene follows a clear structure, moving between different locations and characters to build tension and suspense.


Critique
  • The opening scene effectively sets the tone and context for the story, immersing the audience in the historical moment of the Iranian Revolution. The use of vivid imagery, such as the burning American flag and the effigies, creates a strong emotional impact and establishes the stakes right away.
  • The dialogue is minimal in this scene, which is appropriate given the chaotic environment. However, the characters' internal thoughts and emotions could be better conveyed through visual storytelling or brief internal monologues to enhance audience connection with them.
  • The scene transitions between the exterior protest and the interior of the embassy smoothly, but the pacing could be improved. The shift from the protest to the consulate office feels abrupt. A more gradual transition could help maintain tension and build anticipation for the impending crisis.
  • While the scene introduces key characters, it lacks depth in their characterization. Providing brief visual or auditory cues about their personalities or backgrounds could help the audience connect with them more quickly. For instance, showing Bob Anders' reaction to the protest could hint at his character's perspective.
  • The use of archive footage is a creative choice, but it may confuse viewers who are not familiar with the historical context. A brief visual or auditory cue indicating that this is a flashback or archival footage could clarify the timeline for the audience.
  • The scene does a good job of establishing the physical setting of the embassy, but it could benefit from more sensory details. Describing sounds, smells, or the atmosphere inside the embassy could enhance immersion and make the audience feel more present in the scene.
Suggestions
  • Consider adding a brief internal monologue or visual cue to express the characters' emotions as they observe the protest, which would help the audience connect with them on a deeper level.
  • Introduce a more gradual transition between the protest and the embassy interior to maintain tension and build anticipation for the conflict.
  • Incorporate sensory details to enhance the atmosphere, such as the sounds of the protest, the smell of smoke, or the tension in the air, to create a more immersive experience.
  • Provide brief character moments or visual cues that hint at the personalities of key characters, allowing the audience to form connections with them early on.
  • Add a visual or auditory cue to clarify the use of archive footage, ensuring that the audience understands the timeline and context of the events being depicted.



Scene 2 - Confronting Chaos
9 INT. CHANCERY OFFICE - MORNING 9

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.

AL GOLACINSKI
I’m going outside.

(CONTINUED)
ARGO - Final 6.
22 CONTINUED: 22

GALLEGOS
Why?

AL GOLACINSKI
To reason with them. *

Marines open the Chancery door, with a look --
Genres: ["Drama","Thriller"]

Summary In the embassy's Chancery office, chaos ensues as Deputy Political Officer Ann Swift reports thousands of protestors outside, prompting anxiety among consulate staff about their safety. Chief of security Al Golacinski orders the Marines to prepare for potential violence while urging restraint. As protestors begin to smash windows, tensions rise among the staff regarding whether to stay or evacuate. Ultimately, Golacinski decides to confront the mob outside, leaving the situation unresolved and the staff in a state of uncertainty.
Strengths
  • Tense atmosphere
  • Realistic reactions
  • High stakes
Weaknesses
  • Limited character development
  • Some dialogue may feel cliched

Ratings
Overall

Overall: 8.5

The scene effectively conveys the escalating tension and danger through chaotic visuals and urgent dialogue, keeping the audience engaged and on edge.


Story Content

Concept: 8

The concept of portraying a high-stakes situation with escalating tension and danger is well-executed, keeping the audience on the edge of their seats.

Plot: 8.5

The plot of the scene revolves around the escalating chaos and danger as protestors breach the embassy gates, effectively driving the narrative forward.

Originality: 8

The scene presents a fresh approach to a tense situation, with authentic dialogue and actions that feel realistic.


Character Development

Characters: 8

The characters react realistically to the escalating situation, conveying fear, determination, and urgency, adding depth to the scene.

Character Changes: 7

While there are no significant character changes in this scene, the characters' reactions and decisions reveal more about their personalities.

Internal Goal: 8

Ann Swift's internal goal is to maintain control and gather information amidst the chaos. This reflects her need for order and safety in a dangerous situation.

External Goal: 7

The protagonist's external goal is to ensure the safety of the embassy staff and prevent violence. This reflects the immediate challenge of the protest turning violent.


Scene Elements

Conflict Level: 9

The level of conflict is high as protestors breach the embassy gates, leading to a chaotic and dangerous situation.

Opposition: 8

The opposition in the scene is strong, with the embassy staff facing a dangerous situation and uncertain outcome.

High Stakes: 9

The stakes are high as protestors breach the embassy gates, putting the characters in a dangerous and life-threatening situation.

Story Forward: 9

The scene significantly moves the story forward by escalating the danger and chaos, setting the stage for further developments.

Unpredictability: 8

This scene is unpredictable because of the escalating tension and uncertain outcome of the protest.

Philosophical Conflict: 7

The philosophical conflict is between the use of force and diplomacy in handling the protest. This challenges the protagonist's beliefs about conflict resolution and the consequences of their actions.


Audience Engagement

Emotional Impact: 8.5

The scene evokes fear, anxiety, and determination in the audience, creating an emotional impact that enhances the tension and urgency.

Dialogue: 8

The dialogue effectively conveys the urgency and tension of the situation, adding to the chaotic atmosphere of the scene.

Engagement: 9

This scene is engaging because of its high stakes, fast-paced action, and tense atmosphere.

Pacing: 9

The pacing of the scene is fast and intense, building suspense and keeping the audience engaged.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and easy to follow, enhancing the reader's understanding of the chaotic events.

Structure: 8

The scene follows the expected structure for a tense, action-driven sequence in a screenplay.


Critique
  • The scene effectively captures the escalating tension and chaos within the embassy, mirroring the external conflict. However, the pacing could be improved by varying the length of dialogue and action beats to create a more dynamic rhythm. For instance, some lines could be shortened or delivered with more urgency to heighten the sense of panic.
  • The dialogue, while functional, lacks distinct character voices. Each character should have a unique way of speaking that reflects their personality and background. For example, Ann Swift's dialogue could be more authoritative to reflect her position, while the Marines might use more colloquial language under stress.
  • The visual descriptions are strong, but they could be enhanced by incorporating more sensory details. For instance, describing the sounds of shattering glass or the smell of tear gas could immerse the audience further into the scene. This would help convey the chaos more vividly.
  • The motivations of the characters could be more clearly defined. For example, why does Al Golacinski decide to confront the mob? Providing a brief internal thought or a line of dialogue that hints at his reasoning could add depth to his character and make his actions more relatable.
  • The transition between the different locations (Chancery office, consulate office, Marine post) could be smoother. Consider using visual or auditory cues to guide the audience through the shifts in setting, which would help maintain the flow of the scene.
Suggestions
  • Consider adding a moment of silence or a brief pause before the chaos erupts to emphasize the tension and build anticipation for the impending violence.
  • Incorporate more character reactions to the chaos around them. For example, showing how the Iranian visa applicants react to the violence could add emotional weight and highlight the stakes for everyone involved.
  • Use more active verbs in the descriptions to create a sense of urgency. Instead of 'the Marines stare,' consider 'the Marines' eyes widen in disbelief' to convey their shock and fear more vividly.
  • Introduce a ticking clock element, such as a countdown to a critical moment, to increase the urgency and stakes of the scene. This could be a radio announcement or a visual cue that time is running out.
  • Explore the use of overlapping dialogue to reflect the chaos of the situation. This could create a more realistic portrayal of the frantic environment and emphasize the confusion among the characters.



Scene 3 - Chaos at the Chancery
23 INT. CHANCERY OFFICE - MORNING 23

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.

BILL DAUGHERTY
Are you kidding me?

AHERN
Get the shredder.
Genres: ["Drama","Thriller"]

Summary In a tense Chancery office, Fred Kupke directs frantic staffers to shred documents as protestors, led by a gunman threatening Al Golacinski, breach the building. Inside, Cora Lijek calls for help while Joe Stafford communicates in Farsi, highlighting the urgency of the crisis. Marines rush to secure classified materials, leading to chaos when the power is cut. In the vault, Tom Ahern and Bill Daugherty destroy sensitive documents, grappling with the gravity of their dire situation.
Strengths
  • Effective portrayal of chaos and tension
  • High emotional impact on the audience
  • Compelling plot progression
Weaknesses
  • Some characters' actions may seem reckless or impulsive

Ratings
Overall

Overall: 8.5

The scene effectively conveys the high-stakes situation with a sense of urgency and chaos. The tension is palpable, and the escalating conflict keeps the audience engaged.


Story Content

Concept: 8

The concept of a high-stakes situation at the embassy during a protest is compelling and effectively executed. The scene effectively conveys the escalating tension and danger.

Plot: 8.5

The plot of the scene revolves around the escalating conflict and chaos at the embassy, driving the narrative forward and setting up the stakes for the characters.

Originality: 8

The scene presents a fresh approach to a familiar situation, showcasing the authenticity of the characters' actions and dialogue in a high-stakes environment.


Character Development

Characters: 8

The characters' reactions to the escalating situation are believable and add to the tension of the scene. Their actions and dialogue reflect the urgency of the moment.

Character Changes: 8

The characters undergo a change as they are forced to confront the escalating danger and make difficult decisions. Their actions in the face of crisis reveal new aspects of their personalities.

Internal Goal: 8

The protagonist's internal goal is likely to survive the dangerous situation and protect the classified material from falling into the wrong hands. This reflects their fear of failure and desire to fulfill their duty.

External Goal: 9

The protagonist's external goal is to secure the classified material and ensure the safety of themselves and their colleagues amidst the violent protests and threats.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with protestors breaching the embassy gates, violence escalating, and the characters facing imminent danger.

Opposition: 8

The opposition in the scene is strong, with protesters, threats, and escalating danger creating obstacles for the characters to overcome.

High Stakes: 9

The stakes in the scene are very high, with the characters facing imminent danger and having to make life-threatening decisions. The outcome of the situation will have a significant impact on the story.

Story Forward: 9

The scene significantly moves the story forward by escalating the conflict and raising the stakes for the characters. It sets the stage for the events to come.

Unpredictability: 8

This scene is unpredictable because of the escalating tension, unexpected events, and high level of danger faced by the characters.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the value of duty and sacrifice. The characters must weigh the importance of their mission against their personal safety and well-being.


Audience Engagement

Emotional Impact: 8.5

The scene has a high emotional impact due to the sense of fear, panic, and desperation conveyed by the characters. The audience is likely to feel the tension and chaos of the situation.

Dialogue: 7.5

The dialogue in the scene effectively conveys the characters' panic and desperation. It adds to the overall tension and chaos of the situation.

Engagement: 9

This scene is engaging because of its fast-paced action, high stakes, and intense dialogue that keeps the audience on the edge of their seats.

Pacing: 9

The pacing of the scene effectively builds tension and maintains a sense of urgency, keeping the audience engaged and invested in the characters' actions.


Technical Aspect

Formatting: 9

The formatting of the scene is clear and concise, effectively conveying the chaotic events and character actions.

Structure: 9

The scene follows the expected structure for its genre, effectively building tension and escalating the conflict.


Critique
  • The scene effectively builds tension by juxtaposing the chaos inside the Chancery office with the escalating violence outside. However, the transitions between the different locations (Chancery, Consulate office, and Vault) could be smoother to maintain the flow of urgency. The abrupt shifts may disorient the audience and dilute the mounting tension.
  • Character motivations and emotional stakes could be more clearly defined. For instance, while Fred Kupke's frantic orders to shred documents convey urgency, it would enhance the scene to show his emotional state—fear, desperation, or determination—through his dialogue or actions. This would help the audience connect more deeply with the characters.
  • The dialogue, while functional, lacks distinctiveness among characters. Each character should have a unique voice that reflects their personality and emotional state. For example, Ann Swift's line about the police could be more impactful if it included a personal touch or a hint of her own fear, rather than just a factual report.
  • The visual descriptions are strong, particularly the imagery of the protestors and the chaos inside the embassy. However, the scene could benefit from more sensory details—sounds, smells, and tactile sensations—to immerse the audience further in the environment. For instance, describing the acrid smell of tear gas or the frantic sounds of shattering glass would enhance the urgency.
  • The pacing of the scene is uneven. While the initial chaos is well-established, the latter part, particularly in the vault, feels slower and less urgent. The stakes should remain high throughout, and the pacing should reflect that by maintaining a sense of immediacy as the characters work to destroy classified materials.
Suggestions
  • Consider adding a moment of personal reflection or a brief flashback for a character, such as Kupke or Swift, to deepen their emotional stakes and provide context for their actions. This could help the audience empathize with their plight.
  • Enhance character differentiation by giving each character a distinct way of speaking or reacting to the crisis. This could be achieved through unique phrases, tones, or even physical actions that reflect their personalities.
  • Incorporate more sensory details to create a vivid atmosphere. Describe the sounds of the protest, the feeling of panic in the air, or the physical sensations of fear and urgency experienced by the characters.
  • Smooth out the transitions between locations by using visual or auditory cues that connect the scenes. For example, the sound of breaking glass could lead into the chaos of the vault, maintaining the tension.
  • Maintain a consistent pacing throughout the scene. Ensure that the urgency of the situation is reflected in the dialogue and actions, keeping the audience on edge as the characters navigate the escalating crisis.



Scene 4 - Escape from Chaos
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.

BOB ANDERS
Keep going.


41-45 OMITTED 41-45
Genres: ["Drama","Thriller"]

Summary In a chaotic Chancery stairwell, Brother Ali leads student protesters while tear gas fills the air. Inside, Ann Swift frantically coordinates the evacuation of Iranian visa applicants as Bob Anders destroys American visa plates. Mark Lijek urges the group to escape, prioritizing the Iranians' safety. As they descend, tensions rise with a student demanding accountability for a damaged portrait of Khomeini. The Iranians successfully flee to the street, followed by the consulate staff, just as armed students burst into the office. The scene concludes with the group moving away from the protest, aware of the lingering danger but determined to find safety.
Strengths
  • Intense atmosphere
  • Realistic portrayal of fear and panic
  • High emotional impact
  • Effective tension-building
Weaknesses
  • Some chaotic moments may be overwhelming for viewers

Ratings
Overall

Overall: 8.5

The scene effectively conveys the high stakes and tension of the situation, keeping the audience on edge with its chaotic and violent atmosphere. The sense of fear and panic among the characters is palpable, drawing the viewers into the intense drama unfolding.


Story Content

Concept: 8

The concept of portraying a high-stakes and intense situation within the U.S. Embassy during a protest is compelling and engaging. The scene effectively captures the fear and desperation of the characters, creating a sense of urgency and danger.

Plot: 8.5

The plot of the scene revolves around the escalating chaos and violence within the embassy, effectively driving the tension and conflict forward. The characters' decisions and actions in response to the crisis propel the narrative and keep the audience engaged.

Originality: 9

The scene presents a fresh perspective on historical events, showcasing the authenticity of characters' actions and dialogue in a high-stakes situation.


Character Development

Characters: 8

The characters in the scene are portrayed realistically, showcasing their fear, panic, and desperation in the face of danger. Their actions and interactions contribute to the intensity of the scene, making the audience empathize with their plight.

Character Changes: 8

Several characters undergo changes in the scene, transitioning from initial shock to a survival mode, showcasing their resilience and determination in the face of danger.

Internal Goal: 8

The protagonist's internal goal is to maintain composure and ensure the safety of themselves and others amidst the chaos. This reflects their need for control and protection.

External Goal: 9

The protagonist's external goal is to evacuate the consulate safely and navigate the dangerous situation outside. This reflects the immediate challenge of survival and escape.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with the characters facing imminent danger and violence during the protest at the embassy. The escalating chaos and the characters' struggle to survive heighten the tension and drama.

Opposition: 8

The opposition in the scene is strong, with the characters facing multiple obstacles and threats that challenge their survival and decision-making.

High Stakes: 9

The stakes in the scene are extremely high, with the characters' lives in danger as they face violent protestors and escalating chaos within the embassy. The sense of urgency and peril adds to the intensity of the scene.

Story Forward: 9

The scene effectively moves the story forward by escalating the crisis within the embassy, setting the stage for further developments and challenges for the characters. The intense situation propels the narrative and keeps the audience engaged.

Unpredictability: 8

This scene is unpredictable due to the shifting dynamics between characters, the threat of violence, and the uncertain outcome of the evacuation.

Philosophical Conflict: 7

The philosophical conflict is between the values of peace and violence, as seen in the contrast between the peaceful mood among the staffers and the aggressive actions of the student protesters.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, evoking fear, anxiety, and panic in the audience as they witness the characters' desperate situation. The intense atmosphere and the characters' emotional turmoil resonate strongly with viewers.

Dialogue: 7.5

The dialogue in the scene is tense and urgent, reflecting the characters' emotions and the escalating crisis. It effectively conveys the sense of fear and chaos within the embassy, adding to the overall intensity of the scene.

Engagement: 9

This scene is engaging because of its high stakes, intense action, and the characters' struggle for survival in a dangerous situation.

Pacing: 9

The pacing of the scene effectively builds tension and suspense, keeping the audience on edge as the characters navigate the chaotic environment.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for a screenplay, effectively conveying the chaotic and urgent atmosphere of the scene.

Structure: 8

The scene follows the expected structure for a tense action sequence, building suspense and escalating the danger for the characters.


Critique
  • The scene effectively captures the chaos and urgency of the situation, but it could benefit from more character development. While we see the actions of the characters, their emotional responses and motivations are somewhat underexplored. For instance, how does Mark Lijek feel about the decision to prioritize the Iranians' escape? Adding internal thoughts or brief exchanges that reveal their fears or hopes could enhance the emotional weight of the scene.
  • The dialogue is functional but lacks distinctiveness among characters. Each character's voice should reflect their personality and background more clearly. For example, Mark Lijek's insistence on leaving could be more passionate or desperate, while Bob Anders' command could reflect his leadership style. This would help differentiate their voices and make the scene more engaging.
  • The pacing of the scene is quite rapid, which is appropriate given the context, but it may lead to confusion for the audience. Consider slowing down certain moments to allow for brief pauses or reactions that can heighten tension. For instance, after Mark's command to leave, a moment of hesitation or a glance exchanged between characters could amplify the stakes.
  • The visual descriptions are strong, but they could be enhanced with more sensory details. For example, describing the sounds of the protest or the smell of tear gas could immerse the audience further into the scene. This would create a more visceral experience and heighten the tension.
  • The transition between the frantic atmosphere in the Chancery office and the calmness among the consulate staff could be more pronounced. The contrast is interesting, but it feels abrupt. A line of dialogue or a visual cue that highlights this shift could make it clearer and more impactful.
Suggestions
  • Incorporate internal monologues or brief character reflections to deepen emotional engagement. This could be done through voiceovers or dialogue that reveals their thoughts about the situation.
  • Revise the dialogue to ensure each character has a unique voice that reflects their personality and background. This will help the audience connect with them on a deeper level.
  • Consider adding moments of hesitation or emotional reactions to key decisions, allowing the audience to feel the weight of the characters' choices.
  • Enhance sensory details in the scene to create a more immersive experience. Describe sounds, smells, and tactile sensations to draw the audience into the chaos.
  • Clarify the transition between the frantic atmosphere and the calmness among the consulate staff with a visual or dialogue cue that emphasizes the contrast.



Scene 5 - Crisis at the State Department
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"]

Summary In a tense State Department hall at night, aides Bates and Malick express frustration over the U.S. inability to retaliate against attackers following an embassy siege. Joined by Robert Pender, they urgently discuss the search for their missing colleague, Schafer. Assistant Secretary Hal Saunders reveals that six individuals have escaped to the Canadian Ambassador's house, contradicting earlier reports. The scene culminates with Secretary Cyrus Vance struggling to connect with Ottawa for further instructions, highlighting the escalating crisis.
Strengths
  • Intense conflict
  • Sharp dialogue
  • Realistic portrayal of crisis management
Weaknesses
  • Limited character development
  • Some dialogue may be too expository

Ratings
Overall

Overall: 8.5

The scene effectively conveys the urgency and chaos of the situation, keeping the audience engaged and on edge. The dialogue is sharp and impactful, adding to the tension and drama.


Story Content

Concept: 8

The concept of the scene, focusing on the political fallout and decision-making process in a crisis, is compelling and well-developed.

Plot: 8.5

The plot of the scene is gripping, with high stakes and escalating tension driving the narrative forward.

Originality: 8

The scene presents a fresh take on political thriller elements, with authentic character interactions and morally complex decisions.


Character Development

Characters: 8

The characters are well-defined and their actions and dialogue contribute to the overall tension and drama of the scene.

Character Changes: 7

While there are no significant character arcs in this scene, the characters' actions and decisions reveal aspects of their personalities under pressure.

Internal Goal: 8

The protagonist's internal goal is to navigate the crisis and make decisions that align with their personal values and beliefs.

External Goal: 9

The protagonist's external goal is to handle the situation at hand, including potential rescue attempts and communication with other government officials.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-faceted, with political, personal, and ethical dilemmas driving the narrative.

Opposition: 8

The opposition in the scene adds complexity and uncertainty, keeping the audience on edge about the characters' decisions and outcomes.

High Stakes: 9

The stakes are high in the scene, with lives on the line, political repercussions looming, and intense pressure on the characters to make critical decisions.

Story Forward: 9

The scene significantly moves the story forward by showing the State Department's response to the crisis and setting up future developments.

Unpredictability: 8

The scene is unpredictable due to the shifting alliances and moral dilemmas faced by the characters.

Philosophical Conflict: 7

The philosophical conflict revolves around the ethics of political decisions and the consequences of past actions on current events.


Audience Engagement

Emotional Impact: 8

The scene evokes a strong emotional response from the audience, particularly feelings of tension, anxiety, and urgency.

Dialogue: 8.5

The dialogue is sharp, realistic, and heightens the sense of urgency and conflict in the scene.

Engagement: 9

This scene is engaging due to its high stakes, fast-paced dialogue, and complex political dynamics.

Pacing: 9

The pacing of the scene effectively builds tension and maintains the audience's interest through rapid dialogue and escalating stakes.


Technical Aspect

Formatting: 9

The formatting adheres to the expected format for a screenplay in this genre, with clear scene descriptions and character actions.

Structure: 9

The scene follows a traditional structure for a political thriller, building tension and conflict effectively.


Critique
  • The scene effectively captures the chaos and urgency of the situation, reflecting the high stakes involved in the embassy crisis. The dialogue is sharp and conveys the frustration and tension among the characters, particularly in their discussions about retaliation and the implications of past U.S. actions in the region.
  • However, the scene could benefit from clearer character differentiation. While Bates, Malick, and Pender have distinct voices, the addition of more unique traits or backstory elements could help the audience connect with them on a deeper level. For instance, giving each character a specific motivation or personal stake in the crisis could enhance their emotional weight.
  • The pacing of the scene is brisk, which is appropriate given the context, but it may feel overwhelming for the audience. Consider incorporating brief moments of stillness or reflection amidst the chaos to allow viewers to absorb the gravity of the situation. This could also serve to heighten the tension when the action resumes.
  • The transition from the hallway to the Secretary of State's office feels abrupt. A smoother transition could enhance the flow of the narrative. Perhaps a brief moment of hesitation or a visual cue indicating the urgency of their movement could help bridge the two locations more effectively.
  • The dialogue, while engaging, occasionally veers into exposition-heavy territory. Strive for a balance between conveying necessary information and maintaining natural conversation. For example, instead of stating facts outright, characters could express their concerns or frustrations in a way that reveals information organically.
Suggestions
  • Introduce a brief character moment that highlights each character's personal stakes in the crisis, such as a family member in Iran or a past experience that shapes their perspective on the situation.
  • Incorporate a moment of silence or a reflective pause amidst the chaos to allow the audience to process the urgency and stakes of the situation.
  • Enhance the transition between the hallway and the Secretary of State's office by adding a visual cue or a moment of hesitation that emphasizes the urgency of their mission.
  • Revise dialogue to reduce exposition and allow for more organic conversations that reveal character motivations and the gravity of the situation without feeling forced.
  • Consider adding a visual element that emphasizes the chaos outside the State Department, such as news footage or a radio report, to ground the characters' discussions in the larger context of the crisis.



Scene 6 - Political Dilemmas in the Chief's Office
49 INT. CHIEF OF STAFF’S OFFICE - NIGHT 49

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"]

Summary In a tense night meeting in the Chief of Staff's office, Deputy Chief of Staff Landon Butler discusses the situation regarding the critically ill shah of Iran, while Chief of Staff Jordan weighs the political implications of taking him in against the safety of six hostages outside the embassy. As they debate the best course of action, an analyst reports that the crisis may resolve within 24 hours, prompting Jordan to prioritize briefing the president over the immediate safety of the hostages.
Strengths
  • Intense atmosphere
  • Realistic portrayal of crisis
  • Strong character reactions
Weaknesses
  • Some chaotic moments may be hard to follow for the audience

Ratings
Overall

Overall: 8.5

The scene is well-structured, intense, and crucial to the overall plot. It effectively conveys the escalating danger and the characters' reactions, keeping the audience engaged.


Story Content

Concept: 8.5

The concept of the scene is well-developed, focusing on the embassy crisis and the characters' responses to the escalating danger. It effectively conveys the high stakes and the complexity of the situation.

Plot: 8.5

The plot of the scene is crucial in advancing the overall story, highlighting the intense situation within the embassy and the characters' decisions under pressure.

Originality: 9

The scene presents a fresh perspective on political decision-making and ethical considerations in a crisis situation, with authentic character interactions and dialogue.


Character Development

Characters: 8

The characters in the scene are well-defined and their reactions to the crisis feel authentic. Their interactions and decisions drive the tension and conflict of the scene.

Character Changes: 7

Some characters experience a shift in their priorities and decisions as they navigate the crisis, showing growth and adaptation in the face of danger.

Internal Goal: 8

Jordan's internal goal is to navigate the complex political landscape and make decisions that will protect his country's interests while also considering humanitarian concerns.

External Goal: 7

Jordan's external goal is to handle the hostage crisis in Iran and make strategic decisions to ensure the safety of the hostages and maintain diplomatic relations.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with the characters facing imminent danger and making critical decisions under pressure.

Opposition: 7

The opposition in the scene comes from conflicting viewpoints on how to handle the hostage crisis, adding complexity to the characters' decisions.

High Stakes: 9

The stakes in the scene are extremely high, with the characters' lives at risk and critical decisions needing to be made under intense pressure.

Story Forward: 9

The scene significantly moves the story forward by showcasing the escalating crisis and the characters' responses, setting the stage for further developments.

Unpredictability: 7

The scene is unpredictable in terms of character decisions and political outcomes, keeping the audience on edge.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the ethical considerations of political decisions, balancing national security with moral obligations.


Audience Engagement

Emotional Impact: 8

The scene has a strong emotional impact, conveying the fear and tension experienced by the characters in the face of danger.

Dialogue: 8

The dialogue in the scene effectively conveys the urgency and tension of the situation, with characters making quick decisions and reacting to the escalating crisis.

Engagement: 9

This scene is engaging due to the high stakes, sharp dialogue, and moral dilemmas that keep the audience invested in the characters' decisions.

Pacing: 8

The pacing of the scene builds tension effectively, with a balance of dialogue and action that keeps the audience engaged.


Technical Aspect

Formatting: 8

The formatting adheres to the conventions of a screenplay, with clear scene descriptions and dialogue formatting.

Structure: 8

The scene follows the expected structure for a political drama, with clear character motivations and escalating tension.


Critique
  • The scene effectively captures the tension and urgency of the political situation, but it could benefit from more character development. The dialogue feels somewhat expository and lacks emotional depth. For instance, while Jordan's pragmatic approach is clear, his emotional stakes regarding the hostages could be more pronounced to create a stronger connection with the audience.
  • The use of dialogue to convey the stakes is effective, but it sometimes feels too on-the-nose. Phrases like 'We’ve got 60 in the embassy with guns to their heads right now' could be rephrased to sound more natural and less like a plot summary. This would enhance the realism of the conversation.
  • The scene's pacing is somewhat uneven. The dialogue flows quickly, but the emotional weight of the situation could be emphasized with pauses or reactions from the characters. For example, after Titterton's comment about the hostages, a moment of silence or a visual reaction from Jordan could heighten the tension.
  • The setting is established with maps and silent televisions, which is a good visual cue, but it could be enhanced with more sensory details. Describing the atmosphere in the room—such as the tension in the air, the sounds of the televisions, or the expressions on the characters' faces—would create a more immersive experience.
  • The ending feels abrupt with the cut to black. While it serves to heighten the tension, it might be more impactful to include a brief moment of reflection or a visual cue that emphasizes the gravity of the decision to leave the six hostages where they are.
Suggestions
  • Consider adding a moment of vulnerability for Jordan, perhaps a flash of concern for the hostages that contrasts with his otherwise pragmatic demeanor. This could help the audience connect with him on a deeper level.
  • Revise the dialogue to make it feel more organic. Instead of stating facts, allow characters to express their emotions and frustrations more subtly, which can convey the stakes without feeling overly expository.
  • Incorporate pauses in the dialogue to allow characters to react to each other's statements. This can create a more dynamic and realistic conversation, reflecting the weight of their decisions.
  • Enhance the sensory details in the setting to create a more vivid atmosphere. Describe the tension in the room, the flickering lights of the televisions, or the sound of papers rustling to immerse the audience in the scene.
  • Consider extending the scene slightly to include a moment of reflection or a visual that underscores the gravity of the situation before cutting to black. This could be a close-up of Jordan's face or a lingering shot of the monitors showing the hostages.



Scene 7 - A Nation in Despair
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...

MENDEZ (V.O.)
Ten weeks State’s sitting on this?


53-55 OMITTED 53-55
Genres: ["Drama","Thriller"]

Summary The scene depicts the emotional toll of an ongoing hostage crisis in Virginia, marked by yellow ribbons and signs for prayers. It follows CIA operative Tony Mendez, who wakes up in a disheveled apartment and drives past the symbols of hope before arriving at CIA headquarters. News coverage highlights the despair of families affected, particularly focusing on Angela Belk, the wife of a hostage. Mendez reflects on the stagnation of the situation, underscoring the urgency and hopelessness surrounding the crisis.
Strengths
  • Intense pacing
  • Realistic portrayal of chaos
  • Strong character development
Weaknesses
  • Minimal dialogue
  • Some actions may be predictable

Ratings
Overall

Overall: 8.5

The scene effectively conveys the high-stakes and tension of the situation, keeping the audience engaged with the characters' desperate actions and decisions.


Story Content

Concept: 8

The concept of a daring escape during a violent protest is compelling and adds depth to the overall story, showcasing the characters' bravery and quick thinking.

Plot: 8.5

The plot of the scene is crucial in advancing the story, highlighting the escalating danger faced by the characters and setting the stage for future developments.

Originality: 9

The scene presents a fresh perspective on a historical event, blending factual details with fictionalized elements to create an engaging story. The characters' actions and dialogue feel authentic and add depth to the narrative.


Character Development

Characters: 8

The characters' actions and decisions in the scene are driven by their fear and desperation, adding layers to their personalities and showcasing their resilience.

Character Changes: 8

The characters undergo significant changes in the scene, from fear and desperation to determination and courage.

Internal Goal: 8

The protagonist's internal goal is to navigate the complexities of the hostage crisis and find a solution to bring the hostages home safely. This reflects his desire to fulfill his duty as a CIA agent and his fear of failure.

External Goal: 7

The protagonist's external goal is to execute a plan to rescue the hostages from Iran. This reflects the immediate challenge he is facing in the crisis.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with the characters facing physical danger and making life-threatening decisions.

Opposition: 7

The opposition in the scene is strong, with the protagonist facing political and logistical challenges in his mission to rescue the hostages.

High Stakes: 9

The stakes in the scene are incredibly high, with the characters' lives on the line and the danger escalating with each passing moment.

Story Forward: 9

The scene propels the story forward by showcasing the characters' escape and the escalating danger they face, setting the stage for future developments.

Unpredictability: 7

This scene is unpredictable due to the uncertain outcome of the hostage crisis and the protagonist's risky mission to rescue them.

Philosophical Conflict: 7

The philosophical conflict is between the value of human life and political power. The protagonist's beliefs in the importance of saving lives clash with the political complexities of the hostage situation.


Audience Engagement

Emotional Impact: 8.5

The scene evokes a strong emotional response from the audience, with fear, relief, and panic palpable throughout.

Dialogue: 7.5

The dialogue in the scene is minimal but impactful, conveying the characters' urgency and fear effectively.

Engagement: 9

This scene is engaging because of its tense atmosphere, well-developed characters, and compelling dialogue that keeps the audience invested in the story.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, with a balance of action and dialogue that keeps the story moving at a compelling pace.


Technical Aspect

Formatting: 8

The scene adheres to the expected formatting for its genre, with clear scene headings, descriptions, and dialogue formatting that enhance readability.

Structure: 8

The scene follows a structured format that effectively conveys the setting, characters, and plot progression. It maintains a cohesive flow that keeps the audience engaged.


Critique
  • The scene effectively establishes the emotional weight of the hostage crisis through visual imagery, such as the yellow ribbons and signs urging prayers. However, it could benefit from a stronger connection to the characters' emotional states, particularly Mendez's, as he transitions from a chaotic personal life to the gravity of his professional responsibilities.
  • The juxtaposition of the peaceful suburban setting with the ongoing crisis creates a stark contrast, but the scene lacks a deeper exploration of how this crisis affects the community. Adding brief interactions or reactions from locals could enhance the emotional impact and provide a broader context.
  • The dialogue in the scene is minimal, which can be effective for pacing, but it may leave the audience wanting more character development. Mendez's half-awake response to the phone call feels somewhat detached; a more engaged reaction could better convey his urgency and the stakes involved.
  • The use of news broadcasts as a narrative device is effective in conveying the ongoing crisis, but it could be more tightly integrated with Mendez's character arc. For instance, showing Mendez's reaction to the news could provide insight into his emotional state and motivations.
  • The transition from the exterior shots to Mendez's apartment feels abrupt. A smoother transition that connects the two locations thematically or visually could enhance the flow of the scene.
Suggestions
  • Consider adding a brief moment where Mendez interacts with a neighbor or a passerby to illustrate the community's response to the hostage crisis, which would ground the story in a more relatable context.
  • Enhance Mendez's emotional journey by including a moment of reflection or a flashback that connects his personal struggles to the larger crisis, allowing the audience to empathize with his character more deeply.
  • Incorporate more dialogue or internal monologue from Mendez as he wakes up and processes the phone call, which could heighten the tension and urgency of the situation.
  • Explore the use of sound design to amplify the emotional weight of the news broadcasts, perhaps by layering in ambient sounds from the neighborhood to contrast with the gravity of the news.
  • Consider using a visual motif, such as the yellow ribbons, to symbolize hope or despair throughout the scene, reinforcing the emotional stakes as Mendez navigates his day.



Scene 8 - Urgent Extraction Plans
56 INT. D.O. FLOOR - HALLWAY - LANGLEY - AFTERNOON 56

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.
Genres: ["Drama","Thriller"]

Summary In a tense scene at CIA headquarters in 1979, O'Donnell frantically briefs Mendez on the urgent situation of six embassy employees hiding from Revolutionary Guards in the Canadian ambassador's house. With the White House anxious for their safe extraction and the threat of public executions looming, O'Donnell emphasizes the lack of experience in the State Department for such operations, drawing Mendez into the high-stakes mission. The chaotic office environment reflects the urgency of their discussion, culminating in O'Donnell's warning that the upcoming meeting is not open for debate.
Strengths
  • Intense atmosphere
  • Realistic dialogue
  • High stakes
  • Strong character dynamics
Weaknesses
  • Potential for confusion with multiple characters and locations

Ratings
Overall

Overall: 8.5

The scene effectively conveys the tension and urgency of the situation, keeping the audience engaged and on edge. The high stakes and fast-paced dialogue contribute to a gripping narrative.


Story Content

Concept: 8

The concept of a high-stakes rescue operation in a hostile environment is compelling and drives the narrative forward. The scene effectively captures the risks and challenges faced by the characters.

Plot: 8.5

The plot is engaging and propels the story forward, setting up the rescue mission as a critical turning point in the narrative. The escalating conflict and high stakes add depth to the storyline.

Originality: 9

The scene is original in its depiction of a historical event with a fresh perspective, focusing on the behind-the-scenes political maneuvering and moral dilemmas faced by the characters. The dialogue feels authentic and the characters' actions are believable.


Character Development

Characters: 8

The characters are well-developed and their actions and dialogue reflect the intense situation they are in. Their motivations and reactions add depth to the scene.

Character Changes: 8

The characters undergo significant emotional and psychological changes as they face the life-threatening situation. Their decisions and actions reflect their growth and resilience in the face of danger.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate the dangerous political landscape and make a decision that could save lives while also protecting his own reputation and career.

External Goal: 9

The protagonist's external goal is to plan and execute a successful extraction mission to save the embassy employees from Iran.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-layered, with external threats and internal tensions driving the narrative forward. The high stakes and imminent danger create a sense of urgency.

Opposition: 8

The opposition in the scene is strong, with the characters facing multiple obstacles and conflicting priorities. The audience is left uncertain about the outcome, adding to the tension.

High Stakes: 9

The stakes are extremely high in the scene, with the characters risking their lives to save the escaped embassy employees from capture and possible execution. The outcome of the rescue mission will have far-reaching consequences.

Story Forward: 9

The scene significantly advances the plot by introducing a critical mission to rescue the escaped embassy employees. It sets up a pivotal moment in the narrative that will impact the characters and the overall story.

Unpredictability: 7

This scene is unpredictable because of the shifting alliances and moral dilemmas faced by the characters. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene is the tension between moral duty and political expediency. The protagonist must balance the need to save lives with the potential consequences for his career and the US government's reputation.


Audience Engagement

Emotional Impact: 8.5

The scene evokes a strong emotional response from the audience, eliciting feelings of fear, tension, and empathy for the characters. The high stakes and desperate situation heighten the emotional impact.

Dialogue: 8.5

The dialogue is sharp, tense, and realistic, effectively conveying the urgency and danger of the situation. It enhances the character dynamics and drives the plot forward.

Engagement: 9

This scene is engaging because of its fast-paced dialogue, high stakes, and sense of urgency. The audience is drawn into the characters' dilemma and invested in the outcome.

Pacing: 9

The pacing of the scene is fast and tense, with a sense of urgency that drives the action forward. The rhythm of the dialogue and description enhances the suspense and keeps the audience engaged.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and easy to follow, with concise action lines and dialogue that flows naturally. It adheres to the expected format for a screenplay in this genre.

Structure: 8

The structure of the scene effectively builds tension and conveys important information through dialogue and action. It follows the expected format for a suspenseful political thriller.


Critique
  • The scene effectively conveys a sense of urgency and chaos, reflecting the high stakes of the situation. O'Donnell's frantic behavior and dialogue help establish the tension surrounding the escapees, making the audience feel the pressure of the moment.
  • The dialogue is sharp and informative, providing necessary exposition without feeling overly expository. O'Donnell's lines about the Revolutionary Guards and the potential consequences for the escapees create a palpable sense of danger.
  • The transition between locations (from O'Donnell's office to The Pit) is smooth, maintaining the momentum of the scene. The description of the CIA headquarters adds a layer of authenticity, grounding the narrative in the historical context of the 1970s.
  • However, the scene could benefit from more character development. While O'Donnell and Mendez are established as key players, their emotional stakes could be deepened. For instance, exploring Mendez's personal feelings about the situation could enhance the audience's connection to him.
  • The pacing is generally good, but there are moments where the dialogue could be tightened to maintain a brisker tempo. For example, some lines could be trimmed or rephrased for greater impact, ensuring that the urgency of the situation is reflected in the dialogue's rhythm.
  • The visual descriptions, while effective, could be more vivid. Adding sensory details about the environment—such as the sounds, smells, or even the atmosphere of the CIA office—could immerse the audience further into the scene.
Suggestions
  • Consider adding a moment where Mendez reflects on the personal stakes involved in the mission, perhaps recalling a past experience that parallels the current situation. This could deepen his character and make the audience more invested in his journey.
  • Tighten the dialogue by removing any redundant phrases or words that do not add to the urgency or clarity of the scene. Aim for brevity to enhance the fast-paced nature of the conversation.
  • Incorporate more sensory details to enrich the setting. Describe the sounds of the typewriters, the smell of stale coffee, or the tension in the air to create a more immersive experience for the audience.
  • Introduce a moment of hesitation or doubt from Mendez to humanize him further. This could be a brief internal conflict about the risks involved, which would add depth to his character and the stakes of the mission.
  • Consider using visual metaphors or motifs that reflect the chaos of the situation, such as cluttered desks symbolizing the disarray of the operation, to enhance the thematic elements of the scene.



Scene 9 - Tensions in the Conference Room
58 INT. CONFERENCE ROOM - A FEW MINUTES LATER 58

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.

ENGELL
(to Mendez)
You have a better plan?

Mendez doesn’t respond.

ENGELL
Get one. *


58A-59 OMITTED 58A-59
Genres: ["Drama","Thriller"]

Summary In a tense conference room meeting, Deputy Chief Adam Engell introduces State Department representatives Bob Pender and Bates to CIA officers to discuss the exfiltration of American diplomats in Iran. Pender proposes an escape plan using bicycles, which CIA specialist Mendez criticizes as impractical, advocating instead for creating new identities to facilitate a safer airport exit. The discussion highlights the conflict between the CIA and State Department over the best approach, culminating in Engell asking Mendez for a better plan, which he does not provide, leaving the situation unresolved.
Strengths
  • Intense dialogue
  • High-stakes decision-making
  • Strategic planning
  • Tension-filled interactions
Weaknesses
  • Some dialogue may be too technical for general audiences
  • Lack of emotional depth in certain interactions

Ratings
Overall

Overall: 8.7

The scene is well-structured, intense, and crucial to the plot. It effectively conveys the urgency and complexity of the situation.


Story Content

Concept: 8.6

The concept of planning an escape for the embassy employees is compelling and well-developed, showcasing the complexities and risks involved in such an operation.

Plot: 8.8

The plot is advanced significantly in this scene, as the characters discuss and plan a crucial operation that will impact the overall story.

Originality: 9

The scene introduces a fresh approach to the rescue mission genre by focusing on unconventional methods like using bicycles and creating new identities. The authenticity of the characters' actions and dialogue adds depth to the plot.


Character Development

Characters: 8.5

The characters are well-defined and their personalities shine through in their interactions and decision-making processes.

Character Changes: 8

While there are no significant character changes in this scene, the characters' resolve, decision-making, and strategic thinking showcase their development and adaptability.

Internal Goal: 8

The protagonist's internal goal in this scene is to assert his expertise and competence in front of his colleagues and superiors. This reflects his desire for recognition and respect within the intelligence community.

External Goal: 7.5

The protagonist's external goal is to come up with a viable plan to rescue the six individuals from Iran using bicycles as a means of transportation. This goal reflects the immediate challenge of navigating the dangerous terrain and evading detection by Iranian authorities.


Scene Elements

Conflict Level: 8.9

The conflict in the scene is high, as the characters grapple with difficult decisions, conflicting opinions, and the looming threat of discovery.

Opposition: 8

The opposition in the scene is strong, with conflicting viewpoints and strategic disagreements among the characters. The audience is left uncertain about the best course of action, adding to the suspense.

High Stakes: 9

The stakes are extremely high in this scene, as the characters plan an escape that could mean life or death for the embassy employees. The risk of discovery adds to the tension.

Story Forward: 9

The scene significantly moves the story forward by introducing a crucial operation, setting up challenges, and highlighting the risks involved in the characters' escape plan.

Unpredictability: 8.5

This scene is unpredictable because of the unexpected twists in the characters' decisions and the conflicting viewpoints on the best course of action. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the differing approaches to the rescue mission. Some characters advocate for unconventional methods like using bicycles, while others prefer more traditional strategies like creating new identities for the individuals. This conflict challenges the protagonist's beliefs about the best course of action in high-stakes situations.


Audience Engagement

Emotional Impact: 8.2

The scene evokes a sense of tension, anxiety, and concern, drawing the audience into the characters' high-stakes predicament.

Dialogue: 8.7

The dialogue is sharp, strategic, and reflects the tension and urgency of the situation. It effectively conveys the characters' motivations and concerns.

Engagement: 9

This scene is engaging because of the high stakes, conflicting viewpoints, and strategic decision-making involved in the rescue mission. The tension and suspense keep the audience invested in the outcome.

Pacing: 8.5

The pacing of the scene is effective in building tension and maintaining the audience's interest. The rapid-fire dialogue and strategic discussions contribute to the overall rhythm of the scene.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay in the political thriller genre, with clear descriptions of characters and settings. The dialogue is formatted correctly and contributes to the overall flow of the scene.

Structure: 8

The scene follows the expected structure for a dialogue-heavy, tension-filled sequence in a political thriller genre. The pacing and rhythm of the dialogue contribute to the effectiveness of the scene.


Critique
  • The scene effectively establishes the tension between the CIA and State Department, showcasing the differing approaches to the crisis. However, the dialogue can feel a bit expository at times, with characters explaining their roles and the situation rather than engaging in natural conversation. This can detract from the urgency of the moment.
  • Mendez's character is introduced as a strong voice of reason, but his initial comments about the bicycle plan come off as overly sarcastic, which may undermine the gravity of the situation. Balancing his humor with the seriousness of the context could enhance his character's depth.
  • The scene's pacing is uneven, particularly in the middle where the dialogue becomes cluttered with too many voices chiming in. This can confuse the audience and dilute the impact of Mendez's critical points. Streamlining the dialogue to focus on key characters could improve clarity.
  • The use of visual elements, such as the photographs of the hostages, is a strong choice, but the scene could benefit from more vivid descriptions of the characters' reactions to these images. This would help to humanize the stakes involved and create a stronger emotional connection for the audience.
  • The ending of the scene, where Engell asks Mendez if he has a better plan, feels abrupt and lacks a strong emotional or narrative payoff. It would be more impactful if Mendez's silence was accompanied by a moment of reflection or a visual cue that emphasizes the weight of the situation.
Suggestions
  • Consider revising the dialogue to make it feel more organic and less like exposition. Allow characters to express their frustrations and ideas in a way that feels more conversational.
  • Balance Mendez's sarcasm with moments of seriousness to maintain the tension of the scene. This will help to establish him as a competent and relatable character.
  • Streamline the dialogue by focusing on fewer characters during critical moments. This will help maintain clarity and ensure that the audience can follow the stakes without getting lost in the chatter.
  • Enhance the emotional weight of the scene by including more descriptive reactions from the characters when the photographs of the hostages are revealed. This will help to create a stronger connection to the stakes involved.
  • Add a moment of reflection or a visual cue at the end of the scene to emphasize the gravity of Mendez's silence when asked for a better plan. This could involve a close-up on his face or a lingering shot on the photographs, reinforcing the tension.



Scene 10 - Dinner Disrupted
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.

TAYLOR
You should get into the crawl *
space.


61-67 OMITTED 61-67
Genres: ["Drama","Thriller"]

Summary During a dinner at the Canadian Ambassador's residence, guests engage in light-hearted conversations, with Ken Taylor toasting to their resilience. However, the atmosphere shifts dramatically when the sound of a helicopter interrupts, causing tension among the guests. Joe Stafford's withdrawn demeanor raises concern from his wife, Kathy, while Cora and Mark Lijek debate Stockholm Syndrome. As the noise shakes the wine glasses, Ken suggests they seek safety in the crawl space, signaling a transition from camaraderie to crisis.
Strengths
  • Effective tension-building
  • Compelling character dynamics
  • Emotional depth
Weaknesses
  • Some transitions between locations could be smoother

Ratings
Overall

Overall: 8.5

The scene effectively captures the tension, desperation, and relief experienced by the characters. The contrast between the chaotic escape and the calm dinner scene adds depth to the storytelling.


Story Content

Concept: 8

The concept of showcasing the escape of the consulate employees and their subsequent relief at the Canadian Ambassador's residence is well-executed, providing a compelling narrative arc.

Plot: 8.5

The plot effectively moves the story forward by showcasing the escape of the characters and their transition to a safer location, setting up future developments in the narrative.

Originality: 8

The scene introduces a fresh approach to diplomatic settings by incorporating humor and tension, creating an authentic portrayal of the characters' actions and dialogue.


Character Development

Characters: 8

The characters are well-developed, with distinct personalities and reactions to the escalating crisis. Their interactions and dynamics add depth to the scene.

Character Changes: 8

Several characters undergo changes in their emotions and perspectives, particularly during the escape and the subsequent relief at the Canadian Ambassador's residence.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain a sense of normalcy and composure despite the underlying tension and potential danger. This reflects their need to protect their guests and uphold their diplomatic responsibilities.

External Goal: 7

The protagonist's external goal in this scene is to keep the guests safe and maintain a sense of hospitality despite the looming threat of danger, as indicated by the noise of the helicopter.


Scene Elements

Conflict Level: 8

The conflict in the scene is high, with characters facing imminent danger during the escape and experiencing a mix of emotions ranging from fear to relief.

Opposition: 7

The opposition in the scene is strong, with the noise of the helicopter disrupting the formal dinner setting and creating a sense of danger that the characters must navigate.

High Stakes: 8

The stakes are high in the scene, with characters facing imminent danger during the escape and the risk of capture by the Revolutionary Guards.

Story Forward: 9

The scene effectively moves the story forward by showcasing the escape of the characters and setting up future developments in the narrative.

Unpredictability: 7

This scene is unpredictable due to the sudden noise of the helicopter, adding a sense of danger and uncertainty to the otherwise formal dinner setting.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is the tension between maintaining diplomatic decorum and addressing the imminent danger. This challenges the protagonist's beliefs in diplomacy and hospitality.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, evoking fear, hope, and relief in the audience through the characters' experiences and reactions.

Dialogue: 8

The dialogue effectively conveys the tension, relief, and desperation felt by the characters, enhancing the emotional impact of the scene.

Engagement: 9

This scene is engaging because of the witty dialogue, subtle tension, and dynamic interactions between characters, keeping the audience invested in the unfolding events.

Pacing: 8

The pacing of the scene contributes to its effectiveness by gradually building tension through dialogue exchanges and culminating in a climactic moment with the noise of the helicopter.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with proper scene headings, character names, and dialogue formatting.

Structure: 8

The scene follows the expected format for its genre, with clear character introductions, dialogue exchanges, and a buildup of tension leading to a climactic moment.


Critique
  • The scene effectively captures the tension of the situation through the juxtaposition of a seemingly light-hearted dinner conversation against the backdrop of the ongoing crisis. However, the humor feels somewhat forced and may detract from the gravity of their circumstances. The dialogue could benefit from a more organic flow that reflects the characters' anxiety and fear, rather than relying on comedic elements that may not resonate given the context.
  • The character dynamics are introduced, but they lack depth. For instance, Joe Stafford's withdrawal is noted, but his internal conflict or emotional state isn't explored. This could be an opportunity to delve deeper into the psychological impact of their situation on each character, particularly those who are more affected by the crisis.
  • The dialogue, while humorous, sometimes feels disjointed and lacks a clear thematic connection to the overarching narrative. For example, the references to 'Stockholm Syndrome' and the light banter about Martin could be tied more closely to the characters' fears and the reality of their situation, enhancing the emotional stakes.
  • The introduction of the helicopter noise serves as a strong auditory cue to heighten tension, but it could be more effectively integrated into the dialogue. Characters could react more visibly to the sound, allowing the audience to feel the immediate threat rather than just hearing it. This would create a more immersive experience.
  • The toast by Ken Taylor is a nice touch, but it feels somewhat disconnected from the preceding dialogue. A more cohesive transition into the toast could enhance the emotional weight of the moment, perhaps by reflecting on their shared experiences or fears before raising their glasses.
Suggestions
  • Consider revising the dialogue to incorporate more subtle humor that reflects the characters' coping mechanisms in the face of danger, rather than overt jokes that may feel out of place.
  • Explore Joe Stafford's character more deeply by including a moment of vulnerability or a line that reveals his internal struggle, which could resonate with the audience and add depth to the scene.
  • Tie the dialogue more closely to the themes of fear and survival. For example, characters could express their concerns about the helicopter noise more explicitly, discussing what it means for their safety.
  • Enhance the auditory tension by having characters react to the helicopter noise in real-time, perhaps pausing mid-conversation or exchanging worried glances, to create a more immediate sense of danger.
  • Revise Ken Taylor's toast to reflect a deeper emotional connection to their situation, perhaps by acknowledging the hardships they've faced together, which would make the moment feel more poignant and impactful.



Scene 11 - Tensions Rising: A Night of Uncertainty
68 INT. MENDEZ’S CAR - NIGHT 68

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.


73 OMITTED 73
ARGO - Final 26.
Genres: ["Drama","Thriller"]

Summary Mendez drives home at night, reflecting on the escalating hostage crisis in Iran as he listens to the radio. A montage reveals global reactions, including a statement from Tehran Mary branding the Americans as spies. Inside the Canadian Ambassador's residence, tensions mount among the houseguests, particularly as Kathy Stafford expresses her claustrophobia, while others voice their frustrations and fears about their precarious situation. The scene captures the growing anxiety surrounding the crisis, ending with a montage of news footage that underscores the escalating tension.
Strengths
  • Intense atmosphere
  • Realistic portrayal of chaos
  • Effective tension-building
  • Emotional resonance
Weaknesses
  • Potential for confusion due to multiple characters and locations
  • Some dialogue may be overwhelming

Ratings
Overall

Overall: 8.5

The scene effectively conveys the escalating tension and danger faced by the characters, creating a sense of urgency and chaos. The high stakes and emotional impact are palpable, keeping the audience engaged.


Story Content

Concept: 8

The concept of showcasing the escalating tensions and chaos within the U.S. Embassy during the hostage crisis is compelling. The scene effectively conveys the urgency and high stakes faced by the characters.

Plot: 8.5

The plot is well-developed within the scene, focusing on the characters' attempts to navigate the chaotic situation and escape the embassy. The tension and danger drive the plot forward effectively.

Originality: 9

The scene introduces fresh perspectives on the hostage crisis, such as the internal conflicts within the Canadian Ambassador's residence and the news coverage from different locations. The dialogue feels authentic and reflects the tense political climate of the time.


Character Development

Characters: 8

The characters are well-portrayed in the scene, each facing their own fears and challenges amidst the chaos. Their actions and decisions reflect the high stakes and urgency of the situation.

Character Changes: 8

Some characters experience changes in their behavior and decisions due to the escalating danger and chaos. Their responses to the situation reflect their growth and adaptation.

Internal Goal: 8

Mendez's internal goal is to navigate the complex political landscape and find a solution to the hostage crisis. This reflects his deeper desire to protect the lives of the hostages and uphold American values.

External Goal: 7

Mendez's external goal is to come up with a plan to rescue the hostages and bring them back safely to the United States. This reflects the immediate challenge he is facing in the scene.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with characters facing physical danger, emotional turmoil, and difficult decisions. The escalating tensions drive the conflict forward.

Opposition: 7

The opposition in the scene is strong, with conflicting perspectives and internal conflicts among the characters that create obstacles for the protagonist.

High Stakes: 9

The stakes in the scene are extremely high, with characters facing physical harm, potential capture, and life-threatening situations. The urgency and danger heighten the stakes.

Story Forward: 9

The scene effectively moves the story forward by showcasing the characters' attempts to escape the embassy amidst the escalating tensions. It adds depth to the overall narrative.

Unpredictability: 8

This scene is unpredictable because it introduces new information and perspectives on the political crisis, keeping the audience guessing about the characters' next moves.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the clash between American values of freedom and justice and the Iranian perspective on sovereignty and national security. This challenges Mendez's beliefs and values as he tries to navigate the situation.


Audience Engagement

Emotional Impact: 8.5

The scene has a significant emotional impact, evoking fear, relief, concern, and panic in the audience. The characters' struggles and the chaotic environment resonate emotionally.

Dialogue: 7.5

The dialogue in the scene effectively conveys the characters' emotions, fears, and urgency. It adds to the tension and chaos of the situation.

Engagement: 9

This scene is engaging because it presents multiple perspectives on the hostage crisis, creating a sense of urgency and suspense that keeps the audience invested in the outcome.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, with quick cuts between different locations and characters that maintain a sense of urgency.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene headings and descriptions that enhance the visual storytelling.

Structure: 8

The scene follows a structured format that effectively transitions between different locations and characters, maintaining a cohesive narrative flow.


Critique
  • The scene effectively uses a montage to convey the global impact of the hostage crisis, but it could benefit from a clearer emotional throughline connecting Mendez's internal state with the external chaos. The juxtaposition of Mendez's solitary drive with the news reports creates a sense of isolation, yet the emotional weight of his character's struggle could be more pronounced.
  • The dialogue in the Canadian Ambassador's residence feels somewhat disjointed. While it captures the tension among the houseguests, the transitions between characters could be smoother to maintain the flow of the scene. For instance, Joe Stafford's line about Kathy's claustrophobia could be expanded to show more of his concern, enhancing the emotional stakes.
  • The use of Tehran Mary as a voiceover is effective in establishing the propaganda narrative, but it might be more impactful if her character were introduced visually in the scene. This would allow the audience to connect her words with a face, adding a layer of personal conflict to the political rhetoric.
  • The cross-cutting between the various locations is a strong technique, but it could be more cohesive. The transitions between Mendez's car, the Canadian Ambassador's residence, and the Mushroom Inn feel abrupt. A more gradual transition or thematic link between these locations could enhance the narrative flow.
  • The scene lacks a strong climax or turning point. While it builds tension, it doesn't culminate in a moment that significantly alters the stakes for the characters. Introducing a specific event or revelation that heightens the urgency could create a more compelling narrative arc.
Suggestions
  • Consider adding a moment of introspection for Mendez as he drives, perhaps reflecting on the weight of the situation or his personal stakes in the crisis. This could deepen the audience's connection to his character.
  • Enhance the dialogue among the houseguests by incorporating more emotional stakes. For example, have Joe express his fears more explicitly, or show Kathy's anxiety manifesting in a physical way, such as fidgeting or pacing.
  • Introduce Tehran Mary visually in the scene, perhaps by showing her on a television screen in the background while the houseguests discuss their situation. This would create a stronger connection between her words and the characters' experiences.
  • Smooth out the transitions between locations by using visual or auditory cues, such as the sound of the radio fading into the background noise of the Canadian Ambassador's residence, to create a more seamless flow.
  • Incorporate a specific event or revelation that raises the stakes for the characters, such as a sudden announcement about the hostages or a decision made by the houseguests that could jeopardize their safety, to create a more dynamic climax.



Scene 12 - Tensions Unraveled
74 INT. CARPET FACTORY - DAY 74

ANGLE - A SMALL HAND

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"]

Summary In this tense scene, a small hand meticulously reassembles shredded embassy papers revealing 'U.S. DEPARTMENT OF STATE -- TEHRAN -- CLASSIFIED,' while Ayatollah Khomeini's voiceover expresses defiance against America. The narrative shifts to an anti-Iran protest outside the White House, showcasing hostility towards Iranians, including a violent incident involving an Iranian-American man. In a small-town bar, Stroup voices his frustration and readiness to fight, reflecting the anger of some Americans. The scene transitions to the Canadian Ambassador's residence in Tehran, where guests hide in a dark crawlspace, and concludes with Mendez watching Walter Cronkite report on the ongoing hostage crisis, emphasizing the somber reality of the situation.
Strengths
  • Intense tension
  • Authenticity through real-life footage
  • Emotional depth of characters
Weaknesses
  • Some dialogue may feel slightly forced or melodramatic

Ratings
Overall

Overall: 8.5

The scene effectively conveys the high stakes and tension of the hostage situation, with a strong focus on the emotional impact and uncertainty faced by the characters. The use of real-life footage adds authenticity and depth to the narrative, enhancing the overall impact of the scene.


Story Content

Concept: 8.5

The concept of the scene, focusing on the intense chaos and uncertainty of the hostage crisis, is well-executed and engaging. The mix of real-life footage and fictional narrative creates a compelling and immersive experience for the audience.

Plot: 8

The plot of the scene effectively moves the story forward by highlighting the challenges and dangers faced by the characters in the midst of the hostage crisis. The escalating tension and uncertainty keep the audience engaged and invested in the outcome.

Originality: 9

The scene demonstrates a high level of originality through its portrayal of real historical events and the complex political dynamics of the time. The authenticity of the characters' actions and dialogue adds depth and realism to the narrative.


Character Development

Characters: 8.5

The characters in the scene are well-developed, with each facing their own fears and challenges in the midst of the crisis. The emotional depth and complexity of the characters add to the overall tension and drama of the scene.

Character Changes: 8

Several characters undergo significant changes in the scene, facing their fears and challenges in the midst of the crisis. The emotional and psychological impact of the situation leads to growth and development for the characters, adding depth to their arcs.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate the complex political landscape and make decisions that will ultimately lead to the successful rescue of the hostages. This reflects his deeper desire to protect and save lives while facing the fear of failure and the weight of responsibility.

External Goal: 7

The protagonist's external goal in this scene is to gather information and resources to execute the rescue plan effectively. This reflects the immediate challenge of coordinating a covert operation in a hostile environment.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with the characters facing intense danger and uncertainty in the midst of the hostage crisis. The escalating tensions and challenges create a sense of urgency and desperation, driving the narrative forward.

Opposition: 8

The opposition in the scene is strong, with external threats, political tensions, and moral dilemmas creating obstacles for the protagonist to overcome. The audience is left uncertain of how the characters will navigate these challenges.

High Stakes: 9

The stakes in the scene are high, with the characters facing intense danger and uncertainty in the midst of the hostage crisis. The potential consequences of failure are dire, adding urgency and tension to the narrative.

Story Forward: 8

The scene effectively moves the story forward by highlighting the challenges and dangers faced by the characters in the midst of the hostage crisis. The escalating tension and uncertainty drive the narrative forward, setting the stage for future developments.

Unpredictability: 8

This scene is unpredictable because of the shifting alliances, moral dilemmas, and unexpected obstacles that the characters face. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is the clash between American and Iranian values, as seen in the anti-Iran protests and the tension surrounding the hostage crisis. This challenges the protagonist's beliefs in diplomacy and peaceful resolution.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, evoking feelings of fear, uncertainty, and desperation in the audience. The intense emotions and challenges faced by the characters create a sense of empathy and connection with their struggles.

Dialogue: 7.5

The dialogue in the scene effectively conveys the emotions and tensions of the characters, adding depth to their interactions and relationships. The mix of spoken lines and real-life footage enhances the authenticity of the dialogue.

Engagement: 9

This scene is engaging because of its fast-paced action, high stakes, and emotional depth. The tension and suspense keep the audience invested in the characters' fates and the outcome of the rescue mission.

Pacing: 8

The pacing of the scene is well-executed, with a balance of action, dialogue, and suspense that keeps the story moving forward and maintains the audience's interest.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene headings, descriptions, and dialogue formatting that enhance readability and flow.

Structure: 8

The structure of the scene follows the expected format for its genre, effectively transitioning between different locations and characters to advance the plot and build tension.


Critique
  • The scene effectively uses visual imagery to convey the tension and stakes of the situation, particularly with the small hand reassembling shredded documents. However, the metaphor comparing the hand's skill to 'a blindfolded child Mozart at the harpsichord' feels overly whimsical and may detract from the gravity of the moment. This could be rephrased to maintain a serious tone.
  • The transition from the reassembling of documents to Khomeini's voiceover is abrupt. While it serves to juxtapose the actions of the Iranian revolutionaries with the American perspective, the flow could be smoother. Consider adding a visual or auditory cue that links the two moments more cohesively.
  • The use of archive footage is powerful, but the description of the protest could be more vivid. Instead of simply stating that a man is kicked, delve into the emotions of the crowd or the atmosphere to heighten the tension. This would create a more immersive experience for the audience.
  • Stroup's dialogue in the bar is a strong moment, but it could benefit from more context. Who is Stroup? What is his relationship to the events unfolding? Providing a brief introduction or visual cue could help ground the audience in his perspective.
  • The transition to the crawlspace scene is effective in conveying the urgency of the situation, but the description could be enhanced. Instead of just stating it goes 'completely black,' consider using sensory details to evoke the claustrophobia and fear the characters are experiencing as they descend.
Suggestions
  • Revise the metaphor about the hand reassembling documents to maintain a serious tone, perhaps comparing it to a skilled craftsman or surgeon to emphasize the tension and stakes.
  • Add a visual or auditory cue to create a smoother transition between the reassembling of documents and Khomeini's voiceover, such as a close-up of the documents revealing the words 'CLASSIFIED' before cutting to Khomeini.
  • Enhance the description of the protest footage by including more sensory details, such as the sounds of the crowd, the expressions on people's faces, or the atmosphere of anger and fear.
  • Provide more context for Stroup's character, perhaps through a brief visual introduction or a line of dialogue that hints at his background or connection to the events.
  • Use sensory details to describe the crawlspace scene, focusing on the darkness, the cramped conditions, and the characters' emotional responses to heighten the tension.



Scene 13 - A Night of Reflection
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"]

Summary In a quiet night scene, 7-year-old Ian Mendez is torn between doing his homework and watching 'Battle for Planet of the Apes.' During a phone call with his father, Mendez, Ian admits to being captivated by the movie. Mendez joins him by watching the same film, becoming engrossed in its themes of destruction and loss. The contrasting settings of Ian's innocent bedroom and the ominous imagery of the film highlight the tension between childhood responsibilities and the deeper reflections prompted by the movie.
Strengths
  • Emotional depth
  • Character development
  • Natural dialogue
Weaknesses
  • Limited plot progression
  • Low stakes

Ratings
Overall

Overall: 8.5

The scene is well-crafted, providing a touching moment between father and son while hinting at Mendez's ability to pay attention to details and think creatively.


Story Content

Concept: 8

The concept of showcasing a personal moment amidst a larger crisis adds depth to Mendez's character and sets the stage for his upcoming mission.

Plot: 7.5

While the plot doesn't advance significantly, the scene serves as a character-building moment for Mendez and sets the tone for his upcoming involvement in the mission.

Originality: 8

The scene presents a fresh approach to a common family interaction, with authentic dialogue and relatable characters.


Character Development

Characters: 9

The scene focuses on Mendez and Ian, highlighting their relationship dynamics and providing insight into Mendez's caring nature as a father.

Character Changes: 6

While there is no significant character change, the scene deepens the audience's understanding of Mendez's character as a caring father.

Internal Goal: 8

The protagonist's internal goal in this scene is to avoid getting in trouble for watching a movie instead of doing homework. This reflects his desire to please his parents and avoid consequences.

External Goal: 7

The protagonist's external goal in this scene is to catch up on the movie 'Battle for Planet of the Apes' with his father. This reflects the immediate circumstances of their interaction and bonding over a shared interest.


Scene Elements

Conflict Level: 2

There is minimal conflict in the scene, focusing more on the personal relationship between Mendez and Ian.

Opposition: 7

The opposition in the scene is strong enough to create conflict and drive the protagonist's actions, but not overwhelming.

High Stakes: 3

The stakes are low in this scene, focusing more on personal relationships than the larger political crisis.

Story Forward: 6

The scene doesn't significantly move the main plot forward but provides important character development for Mendez.

Unpredictability: 6

This scene is unpredictable because of the unexpected twist of the protagonist watching a movie instead of doing homework.

Philosophical Conflict: 6

There is a philosophical conflict between the protagonist's desire to watch a movie and his responsibility to do homework. This challenges his values of honesty and obedience.


Audience Engagement

Emotional Impact: 8

The scene evokes a sense of warmth and nostalgia, creating an emotional connection with the audience.

Dialogue: 7

The dialogue is simple and natural, reflecting the father-son interaction and adding to the authenticity of the scene.

Engagement: 9

This scene is engaging because of the relatable family dynamics and the tension between the protagonist's internal and external goals.

Pacing: 8

The pacing of the scene builds tension effectively and keeps the audience engaged in the interaction between the characters.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay, with clear scene headings and character actions.

Structure: 8

The scene follows the expected structure for a dialogue-driven family interaction, with clear character motivations and development.


Critique
  • The scene effectively uses cross-cutting to juxtapose Ian's innocent childhood moment with the serious undertones of Mendez's situation, creating a contrast that heightens the emotional stakes. However, the transition between the two settings could be more pronounced to emphasize the tension between Ian's world and the dangerous reality Mendez faces.
  • The dialogue between Ian and Mendez is natural and captures the father-son dynamic well, but it could benefit from more subtext. For instance, Mendez's questions about homework could hint at his concern for Ian's well-being amidst the chaos, adding depth to their relationship.
  • The use of 'Battle for Planet of the Apes' as a backdrop is a clever choice, symbolizing themes of destruction and loss that parallel Mendez's own struggles. However, the connection between the film's themes and Mendez's situation could be made clearer through Ian's reactions or Mendez's reflections, enhancing the thematic resonance.
  • The scene lacks a strong emotional climax or turning point. While it sets up a moment of connection between father and son, it doesn't fully explore the emotional weight of their separation due to the crisis. A more poignant moment or realization could elevate the scene's impact.
  • The visual description of the television and the movie could be more vivid to draw the audience into the moment. Describing Ian's expressions or Mendez's physical reactions to the film could enhance the emotional engagement and provide a clearer picture of their internal states.
Suggestions
  • Consider adding a moment where Mendez reflects on the film's themes and how they relate to his own situation, perhaps through a line of dialogue or a visual cue that connects his thoughts to the movie.
  • Enhance the emotional stakes by incorporating a moment where Ian expresses his fears or confusion about the situation, allowing Mendez to reassure him in a way that reveals his own vulnerabilities.
  • Strengthen the cross-cutting technique by using more dynamic transitions between Ian's innocent world and Mendez's tense reality, perhaps through sound design or visual motifs that highlight the contrast.
  • Introduce a brief moment of tension or urgency in Mendez's demeanor as he listens to Ian, suggesting that he is aware of the dangers surrounding them, which could add depth to their conversation.
  • Explore the possibility of Ian's dialogue reflecting a deeper understanding of the situation, perhaps by having him ask questions that hint at his awareness of the crisis, which would add complexity to his character.



Scene 14 - Behind the Scenes: The Minotaur Mishap
86 INT. SCI-FI LAB - A MINOTAUR - DAY 86

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.

CHAMBERS
Hey, Tony.
Genres: ["Sci-Fi","Comedy"]

Summary In a sci-fi lab, a bull/human Minotaur experiment is brought to life by a space nurse, but the tension breaks when the Minotaur accidentally knocks into her. The scene shifts to a Warner Bros. soundstage where the director discusses the Minotaur's tight prosthetic with an assistant director. Renowned makeup artist John Chambers arrives to address the issue, humorously commenting on the actor's abilities. The scene concludes with Chambers at the craft services table, receiving a phone call.
Strengths
  • Humorous tone
  • Creative concept
  • Engaging characters
Weaknesses
  • Lack of emotional depth
  • Limited character development

Ratings
Overall

Overall: 8.5

The scene is entertaining, engaging, and provides insight into the filmmaking process with a comedic twist. It effectively blends humor with a surreal setting.


Story Content

Concept: 8

The concept of exploring the behind-the-scenes chaos of a sci-fi film production, specifically focusing on a makeup mishap with a Minotaur character, is creative and entertaining.

Plot: 7.5

While the plot of the scene is not complex, it serves its purpose in showcasing the challenges faced by the characters in a humorous and entertaining way.

Originality: 9

The scene introduces a fresh take on the sci-fi genre by combining it with Hollywood behind-the-scenes elements. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 8

The characters in the scene are quirky and entertaining, adding to the comedic tone of the scene. Their interactions and reactions to the makeup mishap enhance the humor.

Character Changes: 7

While there are no significant character changes in the scene, the characters' reactions to the makeup mishap showcase their personalities and quirks.

Internal Goal: 8

The protagonist's internal goal in this scene is to see their creation come to life and succeed. This reflects their desire for validation, recognition, and accomplishment in their work.

External Goal: 7.5

The protagonist's external goal is to ensure the Minotaur's prosthetic is comfortable and allows him to act. This reflects the immediate challenge of technical difficulties on set.


Scene Elements

Conflict Level: 6.5

The conflict in the scene revolves around the makeup mishap and the challenges it presents to the characters, adding humor and tension to the situation.

Opposition: 7.5

The opposition in the scene is strong enough to create tension and conflict, but not overwhelming. It adds complexity to the protagonist's goals and challenges.

High Stakes: 6

The stakes in the scene revolve around the success of the film production and the challenges faced by the characters, adding tension and humor to the situation.

Story Forward: 7

The scene moves the story forward by providing insight into the challenges faced by the characters in the filmmaking process, adding depth to the narrative.

Unpredictability: 8.5

This scene is unpredictable because of the unexpected interactions between characters, the sudden shift from sci-fi lab to Hollywood soundstage, and the humorous dialogue.

Philosophical Conflict: 8

The philosophical conflict in this scene is between artistic integrity and practicality. The protagonist values the Minotaur's performance, while others prioritize the technical aspects of the prosthetic.


Audience Engagement

Emotional Impact: 6

The scene focuses more on humor and entertainment than emotional depth, providing light-hearted entertainment for the audience.

Dialogue: 7.5

The dialogue in the scene is witty and humorous, capturing the chaotic and comedic nature of the situation. It adds to the overall entertainment value of the scene.

Engagement: 9

This scene is engaging because of its blend of humor, tension, and unexpected twists. The characters and setting draw the audience in and keep them invested in the story.

Pacing: 8

The pacing of the scene is well-executed, with a good balance of dialogue, action, and character interactions. It keeps the audience engaged and moves the story forward effectively.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and concise, following the expected format for its genre and effectively conveying the setting and character interactions.

Structure: 8.5

The scene follows a unique structure that blends sci-fi lab setting with Hollywood soundstage, creating a dynamic and engaging narrative flow.


Critique
  • The scene lacks a clear emotional connection to the overarching narrative. While it introduces a humorous moment with the Minotaur and the space nurse, it feels disconnected from the tension and stakes established in previous scenes. This could confuse the audience about the relevance of this scene to the main plot.
  • The dialogue, particularly the line 'If he could act he wouldn’t be playing the Minotaur,' is witty but may come off as too flippant given the serious context of the hostage crisis. It risks undermining the gravity of the situation that the characters are facing elsewhere in the script.
  • The transition from the sci-fi lab to the Warner Bros. soundstage is abrupt and lacks a smooth narrative flow. The audience may struggle to understand why this scene is included at this point in the screenplay, as it does not build on the tension or character development established earlier.
  • The scene could benefit from more visual storytelling that ties back to the themes of the film. For instance, incorporating elements that reflect the chaos and uncertainty of the hostage situation could create a stronger thematic resonance.
  • The use of humor in this scene feels out of place and may detract from the overall tone of the screenplay. While comic relief can be effective, it should be carefully balanced with the surrounding dramatic elements to maintain narrative cohesion.
Suggestions
  • Consider integrating the Minotaur scene more closely with the main narrative by establishing a thematic link between the absurdity of the film production and the dire circumstances of the hostages. This could enhance the audience's understanding of the stakes involved.
  • Revise the dialogue to maintain a sense of humor while ensuring it aligns with the overall tone of the screenplay. Humor should serve to lighten the mood without detracting from the seriousness of the situation.
  • Add a brief moment of reflection or commentary from a character that connects the absurdity of the film set to the reality of the hostage crisis. This could help ground the scene within the larger narrative.
  • Consider using visual motifs or symbols that echo the themes of the hostage situation, such as the Minotaur representing the monstrous nature of the conflict, to create a more cohesive narrative.
  • Ensure that transitions between scenes are smooth and purposeful, guiding the audience through the story without jarring shifts that could disrupt engagement.



Scene 15 - A Bold Proposal
90 INT. CIA - CONFERENCE ROOM - DAY 90

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"]

Summary In a tense CIA conference room, Pender and Engell debate strategies to extract hostages from Iran. Marmor raises concerns about a previous plan to pose as teachers, leading to Mendez's entrance with a more daring idea: posing as a Canadian film crew scouting locations for a science fiction movie. This proposal shifts the room's energy, but Pender remains skeptical, questioning Mendez's authority and the plan's feasibility. The scene ends with lingering doubts about the new strategy.
Strengths
  • Innovative plan
  • Tension and conflict
  • Clear dialogue
Weaknesses
  • Limited emotional depth

Ratings
Overall

Overall: 8.7

The scene is well-structured, introduces a unique and innovative plan, and sets up high stakes and tension effectively.


Story Content

Concept: 9

The concept of using a fake movie production as a cover for a rescue mission is fresh and engaging, adding a layer of intrigue to the plot.

Plot: 8.5

The plot is advanced significantly with the introduction of the Hollywood exfiltration plan, setting up a high-stakes mission.

Originality: 8

The scene introduces a fresh approach to the rescue mission genre by incorporating elements of deception and cover stories. The characters' actions and dialogue feel authentic and grounded in reality.


Character Development

Characters: 8.5

The characters are driven by their respective agendas, leading to conflict and tension, especially between Mendez and the other officials.

Character Changes: 7

Mendez shows a new level of energy and determination in this scene, signaling a shift in his approach to the mission.

Internal Goal: 8

The protagonist's internal goal is to come up with a plan to rescue the hostages without risking their lives or blowing their cover. This reflects their desire to succeed in their mission while minimizing potential harm.

External Goal: 9

The protagonist's external goal is to create a believable cover story for the rescue mission. This reflects the immediate challenge of convincing others of the legitimacy of their plan.


Scene Elements

Conflict Level: 8.8

There is a high level of conflict due to the clash of ideas, the introduction of a risky plan, and the urgency of the situation.

Opposition: 8

The opposition in the scene is strong, with conflicting viewpoints and strategic decisions that create uncertainty and tension.

High Stakes: 9

The stakes are high as the characters are planning a risky rescue mission with the potential for severe consequences if it fails.

Story Forward: 9

The scene significantly moves the story forward by introducing a game-changing plan and setting up the next phase of the mission.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in the characters' plan and the shifting dynamics between them.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the ethics of using deception and manipulation for a greater good. The characters must grapple with the moral implications of their actions in order to achieve their goal.


Audience Engagement

Emotional Impact: 7.5

While there is tension and anxiety in the scene, the emotional impact is not as pronounced as in other scenes with more personal stakes.

Dialogue: 8.7

The dialogue is sharp, strategic, and serves to highlight the clash of ideas and the introduction of the innovative plan.

Engagement: 9

This scene is engaging because of its high stakes, fast-paced dialogue, and strategic planning. The audience is drawn into the characters' dilemma and the unfolding plan.

Pacing: 9

The pacing of the scene effectively builds tension and maintains the audience's interest. The rapid-fire dialogue and strategic discussions contribute to its effectiveness.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions.

Structure: 9

The scene follows a structured format that effectively builds tension and advances the plot. The pacing and rhythm contribute to its effectiveness.


Critique
  • The scene effectively introduces Mendez's bold plan, showcasing his confidence and creativity in a high-stakes situation. However, the dialogue could benefit from more tension and urgency to reflect the gravity of the situation. The stakes are high, and the characters should express more concern about the risks involved in Mendez's plan.
  • The character dynamics are somewhat flat. While Mendez's energy is noted, the reactions from Pender, Engell, and the others feel muted. Adding more distinct personalities and reactions could enhance the scene's emotional impact. For instance, showing skepticism from Pender or excitement from O'Donnell could create a more dynamic interaction.
  • The dialogue includes some exposition, particularly regarding the plan and the characters' roles. While exposition is necessary, it should be woven into the dialogue more naturally. For example, instead of stating that Chambers is a prosthetics guy, Mendez could reference a past successful collaboration to establish credibility and history.
  • The pacing of the scene feels uneven. Mendez's entrance is energetic, but the subsequent dialogue slows down significantly. Consider tightening the exchanges to maintain momentum and keep the audience engaged. Quick back-and-forth dialogue can heighten tension and urgency.
  • The scene lacks visual elements that could enhance the storytelling. Describing the setting more vividly or incorporating visual cues that reflect the characters' emotions could create a more immersive experience. For example, the tension in the room could be illustrated through body language or the physical environment.
Suggestions
  • Infuse the dialogue with more urgency and stakes. Characters should express their fears and concerns more explicitly, reflecting the high-pressure environment they are in.
  • Enhance character dynamics by giving each character a distinct voice and reaction to Mendez's plan. This could involve adding more conflict or support among the characters to create a richer interaction.
  • Integrate exposition more seamlessly into the dialogue. Use character interactions to reveal information rather than stating it outright, which can make the dialogue feel more organic.
  • Consider tightening the pacing by shortening some exchanges or adding interruptions that reflect the chaotic nature of the situation, keeping the audience on edge.
  • Incorporate more visual storytelling elements to enhance the scene. Describe the characters' physical reactions, the setting, and any relevant props that could add depth to the scene.



Scene 16 - High Stakes and Tension
91 INT. CIA - THE PIT - A FEW MINUTES LATER 91

Tony stands in small messy KITCHEN AREA, pouring coffee.
On the coffeepot somebody’s pinned a note: CHANGE FILTER
IF YOU USE! DO UNTO OTHERS.

O’Donnell approaches, quietly stands behind him, smoking
quietly. Mendez turns around.

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.
Genres: ["Drama","Thriller"]

Summary In a chaotic CIA kitchen, Tony Mendez is assigned a critical mission by O'Donnell to create a credible movie cover for hostages, highlighting the urgency of the situation. The scene shifts to Mendez on a flight, juxtaposed with a tense moment in Tehran where Komiteh soldiers violently raid a home. Meanwhile, at the Canadian Ambassador's residence, Lee Schatz and Bob Anders play poker, attempting to maintain normalcy amidst the surrounding chaos, while Pat Taylor helps Sahar, emphasizing the emotional weight of their precarious circumstances. The scene concludes with a poignant exchange between Pat and Sahar, underscoring the ongoing danger.
Strengths
  • Effective tension-building
  • Clear setup for upcoming mission
  • Engaging character interactions
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and sets up the high stakes of the mission. It transitions smoothly between different locations and characters, keeping the audience engaged.


Story Content

Concept: 8

The concept of using a fake movie as a cover for a rescue mission is intriguing and sets up an engaging premise for the rest of the story.

Plot: 8.5

The plot progresses effectively, introducing new challenges and obstacles for the characters while setting up the central mission in L.A.

Originality: 9

The scene introduces a fresh take on the spy genre by blending elements of political intrigue, deception, and moral dilemmas. The characters' actions and dialogue feel authentic and contribute to the authenticity of the setting and plot.


Character Development

Characters: 8

The characters are well-developed, each with their own motivations and concerns. Their interactions add depth to the scene and foreshadow future conflicts.

Character Changes: 7

While there are no significant character changes in this scene, the escalating tension sets the stage for potential growth and development.

Internal Goal: 8

The protagonist's internal goal is to successfully execute a covert mission to rescue hostages in Iran. This reflects his deeper desire to prove his skills and loyalty to his country, as well as his fear of failure and the consequences of being caught.

External Goal: 9

The protagonist's external goal is to make the movie thing credible in order to gain approval from the CIA Director. This reflects the immediate challenge he faces in convincing others of the feasibility of his plan.


Scene Elements

Conflict Level: 8

The conflict in the scene is palpable, with the characters facing external threats and internal tensions.

Opposition: 8

The opposition in the scene is strong, with external forces and internal conflicts creating obstacles for the protagonist that raise the stakes and drive the narrative forward.

High Stakes: 9

The high stakes of the mission are clearly established, creating a sense of urgency and danger for the characters.

Story Forward: 9

The scene effectively moves the story forward by introducing key plot elements and setting up the central mission in L.A.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists and turns in the plot, as well as the ambiguous motivations of the characters that keep the audience guessing.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the protagonist's moral dilemma of deceiving others for a greater good. This challenges his beliefs about honesty and integrity, as well as the ethical implications of his actions.


Audience Engagement

Emotional Impact: 8

The scene evokes fear and concern in the audience, drawing them into the characters' precarious situation.

Dialogue: 8

The dialogue is tense and realistic, reflecting the characters' emotions and the high-stakes situation they are in.

Engagement: 9

This scene is engaging because of its fast-paced dialogue, tense atmosphere, and high-stakes conflict that keeps the audience on the edge of their seats.

Pacing: 9

The pacing of the scene is well-executed, with a balance of dialogue, action, and description that maintains tension and momentum throughout.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for a screenplay, with clear scene headings, character names, and dialogue formatting that enhances readability and visual storytelling.

Structure: 9

The scene follows the expected structure for a suspenseful thriller, with a clear setup of the protagonist's goals and challenges, leading to a cliffhanger ending that propels the narrative forward.


Critique
  • The scene effectively transitions from the tense atmosphere of the CIA to the personal stakes involved in Mendez's mission. However, the dialogue could be more impactful. O'Donnell's warning to Mendez feels somewhat generic and lacks emotional weight. It would benefit from more specific stakes or personal implications for Mendez, making the audience feel the pressure he is under.
  • The juxtaposition of Mendez reading 'The Five C's of Cinematography' while the news of 'NEW THREATS FOR HOSTAGE TRIBUNALS' is highlighted creates an interesting contrast between the mundane and the dire. However, this could be further emphasized by showing Mendez's reaction to the headline, which would deepen his character and the gravity of the situation.
  • The transition to the Komiteh soldiers entering the house is abrupt. While it serves to heighten the tension, the scene could benefit from a smoother transition that connects Mendez's personal stakes with the broader conflict. Perhaps a brief moment of reflection from Mendez before the cut could enhance the emotional impact.
  • The poker scene with Lee Schatz and Bob Anders adds a layer of normalcy amidst chaos, but it feels somewhat disconnected from the urgency of the previous scenes. The dialogue here is minimal and could be expanded to reflect their anxiety or camaraderie in the face of danger, making it more engaging.
  • The introduction of Sahar in the dining room is intriguing, but her interaction feels underdeveloped. The eye contact moment is significant, yet it lacks context. Expanding on this moment could provide insight into the relationships and tensions within the household, enhancing the emotional stakes.
Suggestions
  • Revise O'Donnell's dialogue to include more specific stakes related to Mendez's mission, perhaps referencing personal consequences or the broader implications of failure.
  • Include a reaction shot of Mendez as he reads the newspaper headline, allowing the audience to see his internal conflict and the weight of the situation he is stepping into.
  • Consider adding a brief moment of reflection for Mendez before cutting to the Komiteh scene, perhaps showing him contemplating the risks involved in his mission.
  • Expand the dialogue in the poker scene to reflect the characters' emotional states, perhaps incorporating humor or tension that reflects their precarious situation.
  • Develop Sahar's character further by providing more context for her relationship with the houseguests, possibly through dialogue or internal thoughts that reveal her perspective on the situation.



Scene 17 - Tensions and Deceptions
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.

MENDEZ
No.

CHAMBERS
You’ll fit right in. *
ARGO - Final 36.
Genres: ["Drama","Thriller"]

Summary In this tense scene, Kathy Stafford obsessively washes wine glasses in the kitchen, reflecting her stress, while Joe Stafford tries to comfort her. Meanwhile, Ken Taylor learns from Pat that Sahar possesses crucial information, hinting at underlying tensions. The focus shifts to Chambers' studio, where Mendez reveals the gravity of a covert operation involving the Iran hostages and proposes creating a fake movie as a cover for an exfiltration mission, to which Chambers humorously agrees. The scene blends domestic anxiety with the urgency of a dangerous mission.
Strengths
  • Unique concept
  • Tension
  • Humor
  • Innovative approach
Weaknesses
  • Limited character development
  • Some dialogue could be more impactful

Ratings
Overall

Overall: 8.5

The scene effectively combines tension, humor, and seriousness to introduce a unique and engaging concept that drives the plot forward.


Story Content

Concept: 9

The concept of using a fake movie as a cover for an extraction mission is innovative and engaging, adding depth to the plot and character dynamics.

Plot: 8

The plot is advanced by introducing a unique plan for the extraction mission, setting the stage for the challenges and conflicts to come.

Originality: 9

The scene introduces a fresh approach to the rescue mission genre by incorporating elements of Hollywood deception and manipulation. The characters' actions and dialogue feel authentic and grounded in reality, adding to the originality of the scene.


Character Development

Characters: 8

The characters are introduced in a way that hints at their roles in the upcoming mission, adding depth and intrigue to their interactions.

Character Changes: 7

The characters are beginning to adapt to the unconventional plan, setting the stage for potential growth and development.

Internal Goal: 8

The protagonist's internal goal in this scene is to convince Chambers to help him create a fake movie as part of a rescue mission. This reflects his deeper need to save the hostages and his fear of failure in the dangerous mission.

External Goal: 7.5

The protagonist's external goal is to set up a production company and build a cover around making a movie to rescue the hostages hiding in the city.


Scene Elements

Conflict Level: 7.5

The conflict is subtly introduced through the high-stakes mission and the challenges of deception and extraction.

Opposition: 8

The opposition in the scene is strong, with Chambers questioning Mendez's plan and adding complexity to the protagonist's mission. The audience is left unsure of how the conflict will be resolved.

High Stakes: 9

The high stakes of the extraction mission are clearly established, adding tension and urgency to the scene.

Story Forward: 9

The scene effectively moves the story forward by introducing a key element of the extraction plan, setting up the next phase of the mission.

Unpredictability: 7.5

This scene is unpredictable because of the unexpected twists in the characters' motivations and the moral dilemmas they face, keeping the audience on edge.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the idea of deception and manipulation for a greater good. Chambers questions the morality of creating a fake movie, while Mendez justifies it as a necessary tactic for the rescue mission. This challenges the protagonist's beliefs about the ethics of his actions.


Audience Engagement

Emotional Impact: 7

The scene sets a tense and serious tone, with hints of humor, creating an emotional impact that draws the audience into the story.

Dialogue: 7.5

The dialogue effectively conveys the tension and humor of the scene, setting the tone for the mission ahead.

Engagement: 9

This scene is engaging because of the dynamic interactions between the characters, the high stakes of the rescue mission, and the witty dialogue that keeps the audience invested in the outcome.

Pacing: 8.5

The pacing of the scene is well-executed, with a balance of dialogue and action that maintains tension and keeps the audience engaged in the unfolding events.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings and dialogue formatting that enhances readability.

Structure: 8

The scene follows the expected structure for its genre, with clear character motivations and a well-defined conflict driving the action forward.


Critique
  • The scene effectively establishes a sense of tension and urgency through Kathy's obsessive washing of the wine glasses, which symbolizes her anxiety about the situation. However, the dialogue between Joe and Kathy feels somewhat flat and could benefit from more emotional depth or subtext to convey their relationship dynamics more vividly.
  • The transition from the kitchen to the bathroom with Ken and Pat feels abrupt and lacks a clear thematic connection. It would be more impactful if the scenes were linked by a common thread, such as a shared concern about the safety of the houseguests or the escalating situation outside.
  • The dialogue in the subsequent scenes with Mendez and Chambers is humorous and engaging, but it risks undermining the gravity of the situation. While humor can be effective, it should be balanced with the seriousness of the context to maintain tension. The contrast between the light-hearted banter and the dire circumstances could be more pronounced.
  • Chambers' character is introduced with a strong sense of personality, but the dialogue could be tightened to enhance his wit and charm. Some lines feel a bit too on-the-nose, and subtlety could make his character more relatable and engaging.
  • The pacing of the scene shifts dramatically from the tension in the kitchen to the more comedic tone in Chambers' studio. This could disorient the audience. A smoother transition or a more gradual build-up to the humor would help maintain narrative flow.
Suggestions
  • Consider adding more layers to Kathy's character by incorporating her internal thoughts or feelings about the situation, perhaps through a brief voiceover or a moment of reflection that reveals her fears.
  • Link the kitchen and bathroom scenes thematically by having Ken and Pat discuss the same concerns that Kathy is experiencing, creating a sense of unity among the characters as they navigate their anxiety.
  • Maintain the humor in Mendez and Chambers' dialogue but ensure it serves to highlight the absurdity of their situation rather than detracting from the tension. This could involve more clever wordplay or situational irony.
  • Refine Chambers' dialogue to make it snappier and more impactful. Consider using subtext to convey his character's personality rather than stating things outright, allowing the audience to infer his wit.
  • To improve pacing, consider interspersing moments of tension with humor more evenly throughout the scene, allowing for a more cohesive emotional journey that reflects the characters' experiences.



Scene 18 - The Producer Dilemma
100 INT. SMOKE HOUSE - AFTERNOON 100

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.’

TIME CUT TO:
Genres: ["Drama","Thriller","Comedy"]

Summary In a smoke house, Chambers and Mendez strategize about creating a fake movie to disguise a covert operation. Chambers reviews photos of the team, suggesting Cora Lijek as a potential screenwriter, while stressing the need for a credible producer. Mendez's inexperience is highlighted as Chambers dismisses his claim of being the producer. The scene shifts to Lester Siegel's home, where he is preparing for an award ceremony, showcasing his reluctance and gruff demeanor. The tone blends urgency with dark humor, setting the stage for their mission.
Strengths
  • Sharp dialogue
  • Character dynamics
  • Humor
Weaknesses
  • Limited action
  • Lack of visual elements

Ratings
Overall

Overall: 8.5

The scene is well-written with a good balance of tension, humor, and character dynamics. The introduction of Lester Siegel adds a new dimension to the story and sets the stage for the upcoming mission.


Story Content

Concept: 8

The concept of creating a fake movie as a cover for the extraction mission is intriguing and adds a layer of complexity to the plot. The scene effectively conveys the challenges and risks involved in this plan.

Plot: 8.5

The plot progresses significantly in this scene as the characters discuss and plan the next steps of the operation. The introduction of Lester Siegel and the decision to create a fake movie add depth to the story.

Originality: 9

The scene presents a fresh take on the spy genre by focusing on the unconventional method of using a fake movie as a cover story. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 9

The characters in this scene, especially Lester Siegel, are well-developed and add richness to the story. Their interactions and dialogue reveal their personalities and motivations effectively.

Character Changes: 7

While there are no significant character changes in this scene, the introduction of Lester Siegel adds a new dynamic to the group and sets the stage for character development in future scenes.

Internal Goal: 8

The protagonist's internal goal is to establish himself as a producer and gain respect in the industry. This reflects his desire for recognition and validation.

External Goal: 9

The protagonist's external goal is to create a fake movie as a cover story for a covert operation. This reflects the immediate challenge of deceiving the enemy and executing a risky plan.


Scene Elements

Conflict Level: 7

The conflict in this scene is more subtle, revolving around the challenges of creating a believable cover story for the extraction mission. The tension comes from the high stakes involved.

Opposition: 8

The opposition in the scene is strong, with conflicting goals and motivations among the characters. The uncertainty of their alliances and intentions adds depth to the conflict.

High Stakes: 8

The stakes are high in this scene as the characters discuss the risks and challenges of creating a fake movie to extract the hostages. The success of their plan could mean life or death for the hostages.

Story Forward: 9

The scene moves the story forward significantly by introducing a key character, setting up the next phase of the operation, and adding complexity to the plot. The decision to create a fake movie has far-reaching implications for the mission.

Unpredictability: 7

This scene is unpredictable because of the unexpected twists and turns in the characters' plans and motivations. The audience is kept on their toes, unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict revolves around the ethics of deception and the sacrifices necessary for the greater good. The protagonist must navigate the moral implications of his actions in service of a larger mission.


Audience Engagement

Emotional Impact: 7

The scene has a moderate emotional impact, with moments of humor and tension. The audience is drawn into the characters' dilemma and the risks they face.

Dialogue: 9

The dialogue in this scene is sharp, witty, and engaging. It effectively conveys the tension and humor of the situation while providing valuable information about the mission.

Engagement: 9

This scene is engaging because of its witty dialogue, tense atmosphere, and high stakes. The characters' interactions and the unfolding plot keep the audience hooked.

Pacing: 8

The pacing of the scene is well-executed, with a balance of dialogue, action, and description. The rhythm builds tension and maintains the audience's interest.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay, with clear scene headings and descriptions. The dialogue is well-formatted and easy to follow.

Structure: 8

The scene follows the expected structure for a spy thriller, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to the tension and suspense.


Critique
  • The dialogue between Chambers and Mendez is engaging and showcases their personalities well, but it could benefit from more subtext. While Chambers is clearly the more experienced figure, Mendez's responses could reflect more of his internal conflict or determination, adding depth to their interaction.
  • Chambers' line about teaching a rhesus monkey to be a director is humorous and establishes his character as someone who doesn't take the situation too seriously. However, this humor could be balanced with a moment of gravity to remind the audience of the high stakes involved in their mission.
  • The scene transitions from the smoke house to Siegel's house, but the transition feels abrupt. A more gradual shift or a line that connects the two locations could enhance the flow and maintain the audience's engagement.
  • The introduction of Siegel is effective, but the description could be more vivid. Instead of stating he is 'halfway to dressed in a tuxedo,' consider showing him in the midst of preparing for the award ceremony, perhaps with a humorous detail about his appearance or demeanor that reflects his character.
  • The use of 'Khomaniacs' as a term for the Iranian revolutionaries is a bit jarring and may come off as insensitive. It could be beneficial to find a term that conveys the same idea without risking alienation of the audience or appearing disrespectful.
Suggestions
  • Consider adding a moment where Mendez expresses his doubts or fears about the plan, which would create a stronger emotional connection with the audience and highlight the risks involved.
  • Enhance the transition between the smoke house and Siegel's house by including a line that reflects on the urgency of their mission or the stakes involved, creating a smoother narrative flow.
  • Incorporate more visual details about Siegel's environment to enrich the scene. For example, describe the decor of his home or the atmosphere of the award ceremony to provide context and depth.
  • Revise the dialogue to include more subtext, allowing characters to convey their feelings and motivations without stating them outright. This will create a more engaging and layered interaction.
  • Consider softening the humor in Chambers' dialogue to maintain a balance between levity and the seriousness of their situation, ensuring that the audience remains aware of the stakes at hand.



Scene 19 - Navigating the Hostage Crisis
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.
Genres: ["Drama","Thriller"]

Summary In a tense evening discussion in Siegel's den, Siegel and Mendez grapple with the daunting challenges of extracting hostages from Iran while watching a news report on the crisis. Siegel expresses deep skepticism about their plan, likening it to a suicide mission, while Mendez listens and considers the risks. Chambers interjects, critiquing the media's sensationalism and suggesting a title for their operation, highlighting their collaborative effort. The scene underscores the urgency and gravity of their situation, culminating in Siegel's insistence on the need for a well-thought-out strategy.
Strengths
  • Tension-filled dialogue
  • Engaging plot development
  • Strong character dynamics
Weaknesses
  • Some dialogue may be overly expository

Ratings
Overall

Overall: 8.5

The scene effectively combines tension, humor, and defiance to create a compelling and engaging narrative that highlights the complexities of the mission.


Story Content

Concept: 9

The concept of using a fake movie as a cover for a rescue mission is innovative and adds depth to the plot, creating intrigue and suspense.

Plot: 8.5

The plot is engaging, with a clear focus on the mission to rescue hostages and the challenges faced by the characters, driving the narrative forward.

Originality: 8

The scene presents a fresh approach to the rescue mission genre, focusing on the political and ethical dilemmas faced by the characters. The dialogue feels authentic and engaging, adding depth to the characters' motivations and actions.


Character Development

Characters: 8

The characters are well-developed, each with distinct personalities and motivations that add depth to the scene.

Character Changes: 8

The characters undergo subtle changes in their perspectives and decisions, reflecting the evolving nature of the mission and their roles within it.

Internal Goal: 8

The protagonist's internal goal in this scene is to convince Siegel to support the risky mission despite the odds and challenges they face. This reflects the protagonist's determination, courage, and belief in the mission's importance.

External Goal: 7.5

The protagonist's external goal is to secure support and resources for the mission to rescue hostages in Iran. This goal reflects the immediate circumstances and challenges they are facing in the mission.


Scene Elements

Conflict Level: 8.5

The scene is filled with internal and external conflicts, adding tension and driving the narrative forward.

Opposition: 8

The opposition in the scene is strong, with characters facing internal and external challenges that test their beliefs, values, and loyalties. The uncertainty of the outcome adds to the tension and drama of the scene.

High Stakes: 9

The scene effectively conveys the high stakes involved in the mission to rescue hostages, highlighting the risks and dangers faced by the characters.

Story Forward: 9

The scene significantly moves the story forward by introducing key plot points, escalating the tension, and setting up the mission's challenges.

Unpredictability: 8

This scene is unpredictable because of the characters' conflicting motivations, the high-stakes mission, and the ethical dilemmas they face. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the morality and ethics of the mission, as well as the manipulation of media and public perception. It challenges the protagonist's beliefs about sacrifice, deception, and the greater good.


Audience Engagement

Emotional Impact: 8

The scene evokes fear, defiance, and despair, eliciting emotional responses from the audience and deepening the stakes of the mission.

Dialogue: 8.5

The dialogue is sharp, engaging, and reveals important information about the mission and the characters' perspectives, enhancing the scene's impact.

Engagement: 9

This scene is engaging because of its intense dialogue, high stakes, and political intrigue. The conflict and tension keep the audience invested in the characters' decisions and actions.

Pacing: 8.5

The pacing of the scene is effective in building tension and suspense, with a balance of dialogue, action, and character interactions. The rhythm of the scene keeps the audience engaged and invested in the unfolding events.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions, character actions, and dialogue. The formatting enhances the readability and impact of the scene.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene effectively captures the tension and absurdity of the situation, with Siegel's sarcastic remarks highlighting the gravity of the mission while also providing dark humor. This balance is crucial in maintaining audience engagement amidst the serious subject matter.
  • The dialogue is sharp and character-driven, particularly Siegel's lines that convey his skepticism and experience. However, the pacing could be improved by tightening some of the exchanges to maintain a brisker rhythm, especially given the high stakes involved.
  • The visual elements, such as the TV showing the chaos in Iran and the trophies in Siegel's den, create a stark contrast between the glamorous world of Hollywood and the dire reality of the hostage crisis. This juxtaposition is effective but could be enhanced by more specific descriptions of the room's atmosphere to further immerse the audience.
  • The transition from Siegel's skepticism to the need for a script feels a bit abrupt. While it serves as a plot point, it could benefit from a more gradual build-up to emphasize the shift from disbelief to acceptance of the absurd plan.
  • The use of the TV as a narrative device is clever, but it could be more integrated into the characters' dialogue. For instance, Siegel could react more directly to specific images or statements on the TV, which would deepen the connection between the external chaos and their internal conflict.
Suggestions
  • Consider tightening the dialogue to enhance the pacing and maintain tension. For example, eliminate any redundant phrases that do not add to character development or plot progression.
  • Add more sensory details to the setting to create a vivid atmosphere. Describe the sounds, smells, or even the lighting in Siegel's den to ground the audience in the scene.
  • Develop the transition from skepticism to the realization that a script is needed. Perhaps include a moment of reflection or a shared look between Siegel and Chambers that signifies a shift in their understanding of the situation.
  • Incorporate more direct reactions from Siegel to the TV footage, allowing the audience to see how the external chaos impacts his decision-making process.
  • Explore the emotional weight of the situation further. Perhaps include a moment where Siegel reflects on the implications of their plan, adding depth to his character and the gravity of the mission.



Scene 20 - Script Disputes at the Pool
104 EXT. BY LESTER’S POOL - MORNING 104

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. *
Genres: ["Drama","Thriller"]

Summary In a lighthearted morning scene at Lester's pool, Chambers attempts to pitch his script 'The Horses of Achilles' to the skeptical Siegel, who insists it’s a Western despite Chambers' claims of its ancient Troy setting. As Chambers juggles a phone call about office space, Siegel expresses a desire for a fake movie to be a fake hit. The conversation shifts to Mendez, who discusses project risks and eviction papers with O'Donnell before critiquing a science-fantasy script. While Siegel dismisses the script as 'dog shit,' Chambers sees potential in acquiring it, leading to a humorous debate about its relevance and the risks involved.
Strengths
  • Engaging dialogue
  • Innovative concept
  • Balanced tone
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 8.5

The scene effectively combines tension, humor, and skepticism to introduce a unique and innovative concept. The dialogue is engaging, and the plot progression is significant.


Story Content

Concept: 9

The concept of using a fake movie as a cover for a covert operation is innovative and sets the stage for a complex and intriguing plot development. It adds depth to the narrative and showcases the characters' ingenuity.

Plot: 8.5

The plot in this scene is crucial as it introduces a significant turning point in the story, setting up the central conflict and raising the stakes for the characters. It moves the narrative forward in a compelling way.

Originality: 9

The scene offers a fresh perspective on the film industry, blending elements of creativity, competition, and industry politics in a unique way. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 8

The characters in the scene are well-developed, with distinct personalities and motivations. Their interactions drive the plot forward and add depth to the overall story.

Character Changes: 8

While there are no significant character changes in this scene, the introduction of the fake movie plan sets the stage for potential character growth and development in future scenes.

Internal Goal: 8

The protagonist's internal goal is to secure the option for a script and navigate the challenges of the industry. This reflects their desire for success, recognition, and creative fulfillment.

External Goal: 7

The protagonist's external goal is to secure the option for a script and potentially overcome obstacles related to industry politics and competition.


Scene Elements

Conflict Level: 8.5

The scene has a high level of conflict, both internal and external, as the characters grapple with the risks and challenges of their mission. The tension between different ideas and approaches adds depth to the narrative.

Opposition: 7

The opposition in the scene is strong enough to create conflict and tension, challenging the characters' goals and motivations.

High Stakes: 9

The scene establishes high stakes by highlighting the risks and challenges faced by the characters in their mission. The potential consequences of failure add tension and urgency to the narrative.

Story Forward: 9

The scene significantly moves the story forward by introducing a crucial plot element and raising the stakes for the characters. It sets up future conflicts and developments, driving the narrative towards a resolution.

Unpredictability: 7

This scene is unpredictable due to the characters' shifting motivations and the potential obstacles they face in the industry, keeping the audience on their toes.

Philosophical Conflict: 6

The philosophical conflict revolves around the value of creativity and originality in the film industry, as well as the balance between commercial success and artistic integrity.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, including tension, skepticism, and hope. The characters' struggles and the high-stakes nature of their mission create a sense of urgency and suspense.

Dialogue: 8.5

The dialogue in the scene is engaging, witty, and realistic. It effectively conveys the characters' emotions, motivations, and conflicts, adding depth to the narrative.

Engagement: 9

This scene is engaging due to its blend of humor, tension, and industry insights, keeping the audience invested in the characters' goals and conflicts.

Pacing: 8

The pacing of the scene is well-executed, balancing dialogue, action, and character introspection to maintain momentum and tension.


Technical Aspect

Formatting: 8

The scene follows standard formatting conventions for a screenplay, with clear scene headings, character names, and dialogue formatting.

Structure: 8

The scene follows a clear structure with well-defined character interactions and plot progression, fitting the expected format for a dialogue-driven screenplay scene.


Critique
  • The scene effectively captures the tension and absurdity of the situation, particularly through the dialogue between Chambers and Siegel. However, the humor can sometimes undercut the gravity of the mission, which may confuse the audience about the stakes involved.
  • The transition between the outdoor setting by the pool and the indoor setting in Siegel's living room feels abrupt. A smoother transition could enhance the flow of the scene and maintain the audience's engagement.
  • While the dialogue is witty and showcases the characters' personalities, it occasionally veers into exposition-heavy territory. For instance, Mendez's line about the script being a space movie in the Middle East could be more subtly integrated into the conversation rather than stated outright.
  • The stakes of the mission are mentioned but not fully explored in this scene. O'Donnell's voiceover provides some context, but it might be beneficial to have Mendez express his concerns more directly to Siegel and Chambers, emphasizing the urgency of their situation.
  • The use of humor, particularly Siegel's dismissive comments about the script, is effective but could be balanced with moments of seriousness to reflect the dire circumstances surrounding the characters. This would create a more nuanced emotional tone.
Suggestions
  • Consider adding a brief moment of reflection for Mendez after reading the script, allowing him to express his thoughts on the absurdity of the situation and the risks involved. This could deepen the emotional impact of the scene.
  • To improve the transition between locations, consider using a visual cue, such as a cutaway shot of the pool before moving indoors, to create a more cohesive flow.
  • Incorporate more physical actions or reactions from the characters during the dialogue to enhance the visual storytelling and keep the audience engaged.
  • Explore the stakes of the mission further by having Mendez articulate his fears or doubts about the plan, which would add depth to his character and heighten the tension.
  • Balance the humor with moments of seriousness by allowing characters to acknowledge the gravity of their situation, perhaps through a shared look or a brief pause in the conversation.



Scene 21 - Desperate Negotiations
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.
Genres: ["Drama","Comedy"]

Summary In Max Klein's cluttered office, Lester Siegel attempts to negotiate the production of his film script, but Klein dismisses him, citing a better offer from MGM. Despite Tony Mendez's supportive presence, Lester's frustration boils over as he delivers a harsh ultimatum, offering a low payment or telling Klein to 'go fuck yourself.' The tense confrontation highlights Siegel's desperation and fading relevance in the industry, ending with him presenting a contract and pen to Klein, leaving the decision in Klein's hands.
Strengths
  • Sharp dialogue
  • Tension-filled negotiation
  • Humorous moments
Weaknesses
  • Lack of physical action
  • Limited visual variety

Ratings
Overall

Overall: 8.5

The scene is engaging and entertaining, with sharp dialogue and a humorous tone. It effectively sets up the conflict and establishes the high stakes of the situation.


Story Content

Concept: 8

The concept of using a fake movie production as a cover for a covert operation is intriguing and adds depth to the story. The scene effectively explores the challenges and dynamics of Hollywood.

Plot: 8.5

The plot is advanced significantly in this scene through the negotiation between Mendez and Klein. It sets up a crucial element of the story and raises the stakes for the characters.

Originality: 9

The scene offers a fresh take on the competitive nature of the film industry, with unique character dynamics and dialogue that feel authentic and engaging.


Character Development

Characters: 8

The characters are well-defined and their personalities shine through in the dialogue and interactions. The scene allows for character development and reveals their motivations.

Character Changes: 8

Both Mendez and Klein undergo subtle changes in their approach and demeanor during the negotiation, revealing more about their characters. It sets the stage for future developments.

Internal Goal: 8

The protagonist's internal goal in this scene is to assert his authority and negotiate a deal for his script. This reflects his desire for recognition and success in the industry.

External Goal: 7.5

The protagonist's external goal is to secure a production deal for his script within a month. This reflects the immediate challenge he is facing in getting his project off the ground.


Scene Elements

Conflict Level: 8

The conflict between Mendez and Klein is palpable, with both characters vying for control and advantage in the negotiation. It creates tension and drives the scene forward.

Opposition: 8

The opposition in the scene is strong, with conflicting goals and power dynamics creating obstacles for the protagonist to overcome.

High Stakes: 9

The high stakes of the negotiation, including financial implications and personal pride, add intensity to the scene. The outcome will have significant consequences for the characters.

Story Forward: 9

The scene significantly moves the story forward by introducing a key plot point and escalating the conflict. It sets the stage for the next phase of the narrative.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in the negotiation and the shifting power dynamics between the characters.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the value of success and integrity in the film industry. Siegel represents the pragmatic approach of prioritizing profit, while Klein values artistic integrity and respect.


Audience Engagement

Emotional Impact: 7

The scene elicits a range of emotions, from tension to humor, keeping the audience engaged. The high stakes and confrontational nature of the negotiation add to the emotional impact.

Dialogue: 9

The dialogue is sharp, witty, and engaging, driving the scene forward and revealing the conflicting personalities of Mendez and Klein. It adds depth to the characters and enhances the tension.

Engagement: 9

This scene is engaging because of the witty dialogue, power dynamics, and high stakes negotiation that keep the audience invested in the outcome.

Pacing: 8.5

The pacing of the scene is effective in building tension and maintaining audience interest, with well-timed reveals and confrontations.


Technical Aspect

Formatting: 8

The formatting adheres to the standard screenplay format for dialogue-heavy scenes, making it easy to follow and visualize on screen.

Structure: 8.5

The scene follows the expected structure for a dialogue-heavy interaction in a film industry setting, with clear character motivations and conflict driving the narrative forward.


Critique
  • The dialogue between Siegel and Mendez effectively establishes the tension and urgency of their situation, but it could benefit from more subtext. While Siegel's quips about Klein being a 'prick' add humor, they also risk undermining the gravity of their mission. Consider incorporating more serious undertones in their banter to reflect the high stakes involved.
  • Klein's character comes off as dismissive and somewhat condescending, which is effective in showcasing the challenges Mendez and Siegel face in securing funding. However, his motivations could be clearer. Why is he so adamant about rejecting Siegel? Adding a line or two that hints at his own struggles or the competitive nature of the industry could deepen his character and make the stakes feel more personal.
  • The scene's pacing is uneven. The initial banter flows well, but the transition to the more serious negotiation feels abrupt. Consider adding a moment of silence or a visual cue that emphasizes the shift in tone, allowing the audience to absorb the gravity of the situation before diving into the negotiation.
  • The use of humor is a double-edged sword in this scene. While it lightens the mood, it can also detract from the tension surrounding the hostage situation. Striking a better balance between humor and seriousness will enhance the emotional impact of the scene.
  • The visual elements, such as the movie posters and memorabilia in Klein's office, are a nice touch, but they could be used more effectively to reflect the characters' emotional states. For instance, a poster of a failed film could symbolize Klein's own fears about the industry, paralleling the stakes of Mendez and Siegel's mission.
Suggestions
  • Incorporate more subtext in the dialogue to reflect the underlying tension of the situation. For example, Siegel could express concern about the mission's feasibility while maintaining a humorous tone.
  • Clarify Klein's motivations by adding a line that hints at his own struggles or the competitive nature of the film industry, making his rejection feel more personal and relatable.
  • Smooth the pacing by adding a moment of silence or a visual cue that emphasizes the shift from humor to serious negotiation, allowing the audience to absorb the gravity of the situation.
  • Aim for a better balance between humor and seriousness to enhance the emotional impact of the scene. Consider reducing the humor slightly to maintain tension.
  • Utilize the visual elements in Klein's office to reflect the characters' emotional states more effectively, perhaps by including a poster that symbolizes the risks they face in their mission.



Scene 22 - Tacos and Tensions
112 EXT. STREET - A FEW MINUTES LATER 112

MENDEZ
You know Warren Beatty?

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.’
Genres: ["Drama","Thriller"]

Summary On the Warner Bros. lot, Mendez and Siegel share tacos while reflecting on their troubled relationships with their children, revealing personal regrets. Mendez discusses his son and hints at a divorce, while Siegel admits to only speaking to his daughters once a year. The scene shifts to O'Donnell reading about heightened airport security, adding urgency to Mendez's ARGO project. As Mendez critiques a movie poster, the team focuses on creating a convincing facade for their operation, balancing personal reflections with professional pressures.
Strengths
  • Engaging dialogue
  • Tension and urgency
  • Complex character dynamics
  • Innovative concept
Weaknesses
  • Limited character development in this specific scene
  • Some transitions could be smoother

Ratings
Overall

Overall: 8.5

The scene effectively sets up the complex dynamics of the characters involved, introduces the high-stakes mission, and creates a sense of tension and urgency. The dialogue is engaging, and the scene transitions smoothly between different locations and conversations.


Story Content

Concept: 8

The concept of using a fake movie as a cover for a covert operation is innovative and adds depth to the narrative. The scene effectively introduces this concept and sets up the challenges the characters will face.

Plot: 8.5

The plot is engaging and moves the story forward by introducing key elements of the mission and the personal struggles of the characters. The scene sets up conflicts and tensions that will drive the narrative forward.

Originality: 8

The scene offers a fresh perspective on the challenges of balancing work and family life in the film industry. The characters' actions and dialogue feel authentic and relatable, adding to the originality of the scene.


Character Development

Characters: 8

The characters are well-developed, with their personal struggles and motivations clearly portrayed. The scene sets up potential character arcs and establishes the relationships between the key players.

Character Changes: 7

While there are hints of potential character changes, such as Mendez's personal struggles and Siegel's reflections on fatherhood, the scene primarily focuses on setting up these changes for future development.

Internal Goal: 8

The protagonist's internal goal is to come to terms with his past mistakes as a father and find redemption. This reflects his deeper need for forgiveness and reconciliation with his family.

External Goal: 7

The protagonist's external goal is to successfully execute a plan to rescue hostages, which requires careful planning and deception. This reflects the immediate challenge he is facing in his professional life.


Scene Elements

Conflict Level: 8

The scene contains multiple layers of conflict, including personal struggles, tensions between characters, and the high-stakes mission at hand. These conflicts drive the narrative forward and create a sense of urgency.

Opposition: 7

The opposition in the scene is strong, as the characters face internal and external challenges that test their beliefs and values. The audience is left wondering how the characters will overcome their obstacles.

High Stakes: 9

The scene effectively conveys the high stakes involved in the mission, including the risks to the characters' lives and the potential consequences of failure. The tension and urgency are heightened by the dangerous nature of the operation.

Story Forward: 9

The scene significantly moves the story forward by introducing key plot points, conflicts, and the central mission. It sets up the challenges the characters will face and establishes the stakes of the narrative.

Unpredictability: 6

This scene is unpredictable because it reveals unexpected truths about the characters' pasts and motivations, adding layers of complexity to the narrative. The audience is kept on their toes, unsure of how the characters will navigate their challenges.

Philosophical Conflict: 7

The philosophical conflict revolves around the sacrifices one must make for their work and the impact it has on personal relationships. The protagonist struggles with balancing his duty to his job with his responsibilities as a father.


Audience Engagement

Emotional Impact: 8

The scene evokes a somber and tense emotional impact, as the characters face difficult decisions and the weight of their responsibilities. The personal struggles of the characters add depth and emotional resonance to the scene.

Dialogue: 8.5

The dialogue is sharp, engaging, and reveals important information about the characters and the mission. The conversations feel natural and contribute to the overall tension of the scene.

Engagement: 8

This scene is engaging because it delves into the characters' inner thoughts and emotions, creating a sense of intimacy and vulnerability. The dialogue and interactions between the characters keep the audience invested in their journey.

Pacing: 8

The pacing of the scene is well-executed, balancing moments of introspection with dialogue and action. The rhythm of the scene keeps the audience engaged and invested in the characters' emotional journey.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and concise, following the standard format for a screenplay. The scene transitions smoothly between different locations and characters, maintaining the reader's engagement.

Structure: 8

The scene follows the expected structure for a character-driven drama, with a focus on internal conflicts and emotional depth. The pacing and rhythm of the scene contribute to its effectiveness in conveying the characters' struggles.


Critique
  • The scene effectively captures a moment of vulnerability between Mendez and Siegel, allowing the audience to see the personal stakes involved in their mission. However, the dialogue could benefit from more subtext to deepen the emotional impact. Currently, it feels somewhat on-the-nose, particularly Siegel's admission of being a 'terrible father.' This could be conveyed through more nuanced dialogue or actions that imply regret without stating it outright.
  • The transition between the light-hearted taco conversation and the serious implications of their mission feels abrupt. While the juxtaposition of humor and gravity can be effective, it requires a smoother transition to maintain the scene's flow. The shift from personal anecdotes to the operational details could be better integrated to enhance the narrative coherence.
  • The dialogue between Mendez and Siegel lacks a sense of urgency that reflects the high stakes of their situation. Given the context of their covert operation, the conversation could incorporate more tension or anxiety about the impending risks they face, which would heighten the stakes and engage the audience more effectively.
  • The visual elements in the scene, such as the picnic table and tacos, create a casual atmosphere that contrasts with the serious nature of their discussion. While this can work to highlight the absurdity of their situation, it may also dilute the tension. Consider using more evocative imagery or settings that reflect the gravity of their mission while still allowing for character development.
  • The intercutting with O'Donnell's office reading the classified document feels disjointed. While it serves to remind the audience of the external pressures, it could be more seamlessly integrated into the conversation. For instance, Mendez could react to O'Donnell's information in real-time, allowing the audience to see how the external situation impacts their personal conversation.
Suggestions
  • Revise the dialogue to include more subtext and emotional nuance. Instead of directly stating feelings of regret, consider using metaphors or anecdotes that imply these emotions.
  • Create a smoother transition between the light-hearted taco scene and the serious operational discussions. Perhaps have Mendez reflect on the weight of their mission before diving into the operational details.
  • Infuse the dialogue with a sense of urgency or anxiety about their situation. This could be achieved by having Mendez express concerns about the risks involved or the timeline they are working against.
  • Consider changing the setting to something that reflects the tension of their mission, such as a more enclosed or chaotic environment, to enhance the contrast between their personal lives and the gravity of their work.
  • Integrate O'Donnell's intercut more fluidly into the scene. For example, have Mendez react to O'Donnell's findings during the conversation, allowing the audience to see how the external pressures affect their personal discussions.



Scene 23 - Creative Chaos in the Argo Production Office
118 INT. ARGO PRODUCTION OFFICE - DAY 118

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.


119 OMITTED 119 *


120 OMITTED 120


121 OMITTED 121 *


122 OMITTED 122 *
Genres: ["Drama","Thriller","Sci-Fi"]

Summary In a bustling production office, Mendez collaborates with a publicist to promote 'Argo' as the 'Biggest Canadian production in history,' while Siegel deals with frustrations over ticket availability for the press event. Mendez and Chambers enter a room where comic artist Jack Kirby is working on storyboards. Impressed by Kirby's work, Mendez suggests adjustments for a more Middle-Eastern aesthetic, leading Kirby to sketch a futuristic desert glider. The scene captures the hectic and humorous atmosphere of film production, highlighting the challenges faced by the team.
Strengths
  • Innovative concept
  • Engaging dialogue
  • Tension and humor balance
Weaknesses
  • Limited character development
  • Lack of emotional depth

Ratings
Overall

Overall: 8.5

The scene effectively combines elements of drama, humor, and tension to create a compelling narrative that advances the plot and character development.


Story Content

Concept: 9

The concept of using a fake movie as a cover for a covert operation is innovative and engaging, adding depth to the narrative and highlighting the creativity of the characters.

Plot: 8.5

The plot of the scene is engaging and well-developed, focusing on the planning and execution of a high-stakes mission while advancing the overall story.

Originality: 8

The scene introduces a fresh perspective on the challenges of film production, blending humor with the pressures of meeting creative and commercial expectations. The characters' actions and dialogue feel authentic and relatable, adding depth to the scene.


Character Development

Characters: 8

The characters in the scene are well-defined and contribute to the overall narrative, showcasing their skills, personalities, and motivations.

Character Changes: 8

While there are subtle character changes, particularly in terms of decision-making and teamwork, the focus is more on the execution of the mission rather than individual character arcs.

Internal Goal: 8

The protagonist's internal goal in this scene is to ensure the success of the press event and reading, as well as manage the chaos in the office. This reflects his need for control and competence in his job.

External Goal: 7.5

The protagonist's external goal is to finalize the concept drawings for the film and ensure they align with the vision for the project. This reflects the immediate challenge of meeting production deadlines and creative expectations.


Scene Elements

Conflict Level: 8

The scene contains a moderate level of conflict, primarily stemming from the high-stakes mission and the challenges faced by the characters in executing their plan.

Opposition: 7

The opposition in the scene is strong, with the protagonist facing challenges from external pressures and conflicting priorities. The audience is left uncertain of how he will overcome these obstacles.

High Stakes: 9

The scene conveys the high stakes involved in the characters' mission, emphasizing the risks, challenges, and potential consequences of their actions.

Story Forward: 9

The scene significantly moves the story forward by introducing a key element of the mission - the creation of a fake movie as a cover - and setting the stage for the characters' next steps.

Unpredictability: 7.5

This scene is unpredictable because of the unexpected twists in dialogue and character interactions. The audience is kept on their toes, unsure of how the protagonist will navigate the challenges he faces.

Philosophical Conflict: 7

There is a philosophical conflict between the protagonist's desire for authenticity and creativity in the concept drawings, and the pressure to meet commercial expectations and deadlines. This challenges his values of artistic integrity versus commercial success.


Audience Engagement

Emotional Impact: 8

The scene has a moderate emotional impact, eliciting feelings of tension, hope, and regret as the characters navigate the complexities of their mission.

Dialogue: 8

The dialogue in the scene is engaging and serves to advance the plot, develop the characters, and create tension and humor where needed.

Engagement: 9

This scene is engaging because of its fast-paced dialogue, witty banter, and high-stakes conflict. The audience is drawn into the chaotic world of film production and invested in the protagonist's journey to meet his goals.

Pacing: 8.5

The pacing of the scene contributes to its effectiveness by maintaining a sense of urgency and tension. The rapid-fire dialogue and quick scene transitions keep the audience engaged and invested in the protagonist's goals.


Technical Aspect

Formatting: 8

The formatting of the scene aligns with the expected format for a screenplay, with clear scene descriptions and character actions. The dialogue is well-structured and contributes to the overall flow of the scene.

Structure: 8

The scene follows the expected structure for a fast-paced, dialogue-driven sequence in a film production setting. The pacing and rhythm contribute to the effectiveness of the scene, keeping the audience engaged and invested in the protagonist's goals.


Critique
  • The scene effectively captures the chaotic atmosphere of a production office, which aligns well with the theme of creating a facade for the extraction operation. However, the dialogue could benefit from more distinct character voices to enhance individuality and make the interactions feel more dynamic.
  • While the humor in Siegel's dialogue about ticket sales adds levity, it risks overshadowing the urgency of the situation. Balancing humor with the gravity of the mission could create a more compelling tension.
  • The introduction of Jack Kirby and the concept drawings is a strong visual element, but the transition into this part of the scene feels abrupt. A smoother segue from the phone conversation to the creative process would help maintain narrative flow.
  • Mendez's suggestion to make the vehicles look more Middle-Eastern is a good character moment, showcasing his involvement in the creative process. However, it could be enhanced by providing more context about why this detail is significant to the mission, reinforcing the stakes.
  • The scene lacks a clear emotional arc or conflict. While there is a sense of urgency, the stakes are not explicitly defined, which could leave the audience feeling disconnected from the characters' motivations.
Suggestions
  • Consider giving each character a more unique voice or mannerism to differentiate them in the chaotic environment. This will help the audience engage more with the characters and their roles.
  • Integrate the humor more thoughtfully, ensuring it complements rather than detracts from the tension of the situation. Perhaps Siegel could express his frustration in a way that highlights the absurdity of their circumstances while still acknowledging the seriousness of their mission.
  • Create a more seamless transition into the concept drawing segment by perhaps having Mendez express a specific concern about the visuals before entering the room, which would help tie the two parts of the scene together.
  • Expand on Mendez's suggestion about the vehicles to include a brief explanation of why cultural authenticity is crucial for their cover story, thereby raising the stakes and emphasizing the importance of every detail in their plan.
  • Introduce a minor conflict or challenge within the scene, such as a disagreement over the creative direction or a sudden change in the production schedule, to create a sense of urgency and keep the audience engaged.



Scene 24 - Press Event Shenanigans at the Beverly Hilton
123 EXT./INT. BEVERLY HILTON - LATE DAY 123

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.


124 INT. BEVERLY HILTON - STARDUST LOUNGE - DUSK 124

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.
Genres: ["Drama","Thriller","Comedy"]

Summary At the Beverly Hilton during a press event for 'ARGO,' Mendez, Siegel, and Chambers engage with reporters. Siegel humorously struggles to explain the film's title, leading to a comedic outburst. Mendez discusses the film's shooting location with a Variety reporter, while Siegel reconnects with Nina, an actress from the reading, revealing their past relationship. The scene captures the light-hearted chaos of the event, contrasting the glamorous atmosphere with serious news footage playing on a nearby TV.
Strengths
  • Sharp dialogue
  • Effective blend of tension and humor
  • Engaging concept
Weaknesses
  • Lack of significant emotional impact
  • Limited character development

Ratings
Overall

Overall: 8.5

The scene effectively blends tension, humor, and skepticism to create an engaging and entertaining narrative. The use of contrasting elements adds depth and intrigue to the story.


Story Content

Concept: 8

The concept of blending a covert operation with Hollywood antics is innovative and engaging, providing a unique twist on the typical thriller genre.

Plot: 8.5

The plot is engaging and moves the story forward by introducing the mission to create a fake movie as a cover for the extraction operation.

Originality: 8

The scene introduces unique characters and situations within the familiar Hollywood setting, adding authenticity and depth to the narrative.


Character Development

Characters: 8

The characters are well-developed and their interactions add depth to the scene. The witty banter and conflicting personalities create an interesting dynamic.

Character Changes: 7

While there are no significant character changes in this scene, the interactions between characters reveal more about their personalities and motivations.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate the social interactions and expectations of the Hollywood industry. This reflects his need to blend in and succeed in a high-pressure environment.

External Goal: 7

The protagonist's external goal is to promote the film Argo and manage the press event effectively. This reflects the immediate challenge of presenting a successful image to the public and media.


Scene Elements

Conflict Level: 8

The conflict between the characters, the high-stakes mission, and the skepticism surrounding the fake movie project create a tense and engaging atmosphere.

Opposition: 7

The opposition in the scene is strong, with conflicting personalities and goals creating obstacles for the protagonist to overcome.

High Stakes: 9

The high-stakes nature of the covert operation, the skepticism surrounding the fake movie project, and the tension between characters raise the stakes and add urgency to the scene.

Story Forward: 9

The scene effectively moves the story forward by introducing the mission to create a fake movie and setting up the challenges and conflicts that the characters will face.

Unpredictability: 7

This scene is unpredictable due to the unexpected reactions and conflicts that arise between characters, keeping the audience on their toes.

Philosophical Conflict: 6

There is a philosophical conflict between the protagonist's desire to maintain professionalism and the chaotic and unpredictable nature of the Hollywood industry. This challenges his values of integrity and authenticity.


Audience Engagement

Emotional Impact: 7.5

The scene elicits anxiety, skepticism, and humor from the audience, but the emotional impact is not as pronounced as in more dramatic scenes.

Dialogue: 8.5

The dialogue is sharp, witty, and effectively conveys the tension and humor of the scene. The banter between characters adds depth to their relationships.

Engagement: 8

This scene is engaging because of the dynamic interactions between characters and the high-stakes environment of a press event.

Pacing: 8

The pacing of the scene builds tension and suspense, leading to a climactic moment where the protagonist asserts himself.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for a screenplay, with clear scene headings and descriptions.

Structure: 9

The scene follows the expected structure for a Hollywood industry event, with clear transitions between characters and locations.


Critique
  • The scene effectively captures the chaotic atmosphere of a Hollywood press event, which contrasts sharply with the serious undertones of the ongoing crisis in Iran. This juxtaposition adds depth to the narrative, highlighting the absurdity of the situation.
  • The dialogue is humorous and engaging, particularly Siegel's quip about the title of the film. However, the humor sometimes feels forced, especially when Siegel's frustration with the reporter's questions leads to a crude punchline. This could alienate some viewers who may find it off-putting.
  • The character interactions are lively, but the scene could benefit from clearer stakes. While the humor is entertaining, it may distract from the urgency of the situation. Establishing a stronger connection between the press event and the ongoing crisis could enhance the tension.
  • The visual elements, such as the sci-fi costumes and storyboards, are vivid and help to create a lively atmosphere. However, the scene could use more descriptive language to paint a clearer picture of the setting and the characters' emotions, allowing the audience to feel more immersed in the moment.
  • The transition to the archive footage of Tehran Mary is abrupt and could be smoother. A more gradual shift from the light-hearted press event to the serious news coverage would help maintain narrative flow and emphasize the contrast between the two worlds.
Suggestions
  • Consider refining the humor to ensure it aligns with the overall tone of the film. While comedic moments are valuable, they should not undermine the gravity of the situation.
  • Introduce a subplot or a character's personal stakes related to the press event that ties back to the Iranian crisis. This could create a more compelling narrative thread and enhance emotional engagement.
  • Enhance the visual descriptions of the setting and characters to create a more immersive experience for the audience. This could involve detailing the ambiance of the Stardust Lounge and the reactions of the characters to their surroundings.
  • Smooth out the transition to the archive footage by incorporating a line or two that reflects Mendez's thoughts or feelings as he moves from the press event to the serious news, creating a more cohesive narrative flow.
  • Consider adding a moment of reflection for Mendez after the press event, where he contemplates the absurdity of the Hollywood scene in light of the dire situation in Iran. This could deepen his character and provide a poignant contrast.



Scene 25 - Tension and Uncertainty
126 INT. O’DONNELL’S OFFICE - NIGHT 126

O’Donnell, watching the same footage on the News.


(CONTINUED)
ARGO - Final 50.
126 CONTINUED: 126
TEHRAN MARY (V.O.)
(on TV)
All evidence proves that these
people are spies.

The ARRAY OF VIDEO CAMERAS on tripods recording her.

NINA (V.O.)
(as Serksi)
Our world has changed. *


127 INT. BEVERLY HILTON HOTEL - STARDUST LOUNGE - DUSK 127

The reading of Argo is happening around a table.

PRINCESS ALEPPA
The fire of hope stopped burning
in this galaxy long ago.

A HANDSOME LEAD, ACHILLES CRUX, says his line.

ACHILLES CRUX
Fire the thrusters!! *


128 INT. AROUND THE CANADIAN AMBASSADOR’S RESIDENCE (TEHRAN) 128
- NIGHT

MARK LIJEK
-- fifty-seven -- fifty-eight --

Mark counts out as Lee Schatz does push-ups. Bob Anders
watches a television in the b.g., subtitled in Farsi.

JIMMY CARTER (V.O.)
(on TV)
We will not yield to international
terror or to blackmail.


129-130 OMITTED 129-130


131 INT. MUSHROOM INN (AMERICAN EMBASSY, TEHRAN) - NIGHT 131

Five of the EMBASSY HOSTAGES -- men from their 20s to
their 50s -- are roused from their sleeping mats by
Komiteh. Hoods are put over their heads.

PRINCESS ALEPPA (V.O.)
The old ways are lost, but there
is still hope.


(CONTINUED)
ARGO - Final 51.
131 CONTINUED: 131

TEHRAN MARY (V.O.)
We will begin the trials and will
carry out the sentences.

This MONTAGE: Voice upon voice, image upon image, landing
on television sets.


132 OMITTED 132
Genres: ["Drama","Thriller","Sci-Fi"]

Summary The scene unfolds in O'Donnell's office, where he watches news reports labeling individuals as spies. It transitions to the Stardust Lounge at the Beverly Hilton, where a reading of 'Argo' takes place, featuring Princess Aleppa and Achilles Crux. Meanwhile, at the Canadian Ambassador's residence in Tehran, Mark Lijek and Lee Schatz exercise while Bob Anders watches a broadcast of Jimmy Carter's defiant message against terror. The tension escalates at the Mushroom Inn, where five embassy hostages are abruptly awakened by the Komiteh, who hood them, symbolizing the imminent danger they face. The scene captures the stark contrast between the calm reading and the oppressive atmosphere surrounding the hostages, leaving their fate uncertain.
Strengths
  • Effective tension-building
  • Multi-dimensional storytelling
  • Engaging dialogue
Weaknesses
  • Lack of significant character development
  • Some transitions could be smoother

Ratings
Overall

Overall: 8.5

The scene effectively combines various tones and sentiments to create a tense and engaging atmosphere. The use of different locations and characters adds depth to the storytelling and sets up the groundwork for the upcoming covert operation.


Story Content

Concept: 8

The concept of showcasing the tensions surrounding the hostage crisis and the planning of a covert operation is intriguing and well-executed. The scene effectively sets the stage for the unfolding events.

Plot: 8.5

The plot is advanced significantly in this scene, with the introduction of key elements such as the covert operation plan and the escalating tensions in Tehran. The scene sets up crucial developments for the story.

Originality: 9

The scene presents a fresh approach to the spy genre, focusing on the human elements of survival and hope in a dangerous world. The authenticity of characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters are well-developed in this scene, with each contributing to the overall tension and narrative progression. Their interactions and reactions add depth to the storytelling.

Character Changes: 7

While there are no significant character changes in this scene, the interactions and decisions made by the characters hint at potential developments in their arcs. The groundwork for character growth is laid out.

Internal Goal: 8

The protagonist's internal goal is to navigate the changing world and maintain hope in the face of adversity. This reflects their deeper need for resilience and belief in a better future.

External Goal: 7.5

The protagonist's external goal is to survive and navigate the political turmoil and threats in their environment.


Scene Elements

Conflict Level: 8

The conflict in the scene is multi-layered, involving political tensions, personal dilemmas, and the risks associated with the covert operation. The escalating conflict adds depth to the narrative.

Opposition: 7.5

The opposition in the scene adds to the uncertainty and danger the characters face, creating suspense for the audience.

High Stakes: 9

The stakes are high in this scene, with the characters facing political turmoil, personal risks, and the challenges of executing a covert operation in a volatile environment. The consequences of failure are dire.

Story Forward: 9

The scene significantly moves the story forward by introducing key plot points, setting up the covert operation, and escalating the tensions in Tehran. It paves the way for the upcoming events.

Unpredictability: 8

This scene is unpredictable due to the characters' uncertain fates and the political turmoil they face.

Philosophical Conflict: 8

The philosophical conflict is between the old ways and the new reality, as characters struggle to adapt and find hope in a changing world.


Audience Engagement

Emotional Impact: 7.5

The scene evokes a range of emotions, including tension, anxiety, and hope. The personal struggles of the characters and the high stakes involved contribute to the emotional impact.

Dialogue: 8

The dialogue is engaging and serves the purpose of building tension and showcasing the characters' motivations and conflicts. It effectively conveys the stakes involved in the situation.

Engagement: 9

This scene is engaging because of its intense atmosphere and compelling character dynamics.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, enhancing its impact.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and concise, following the expected format for its genre.

Structure: 8

The scene follows the expected structure for its genre, effectively building tension and suspense.


Critique
  • The scene effectively utilizes a montage format to juxtapose the various locations and characters, creating a sense of urgency and tension. However, the transitions between the different settings could be smoother to enhance the flow of the narrative. The abrupt shifts may confuse the audience, making it difficult to follow the emotional stakes of each character involved.
  • The use of voiceovers from Tehran Mary and Princess Aleppa adds a layer of commentary on the unfolding events, but their lines could be more impactful if they were tied more closely to the visuals. For instance, instead of simply stating that 'these people are spies,' it would be more engaging to show specific actions or reactions from the characters that illustrate this accusation, thereby heightening the stakes.
  • The dialogue from the characters in the reading of 'Argo' feels somewhat disconnected from the main narrative. While it serves to highlight the theme of lost hope, it might benefit from a stronger connection to the characters' current predicaments. Integrating lines that reflect their fears or aspirations in relation to the hostage situation could create a more cohesive emotional experience.
  • The scene lacks a clear emotional anchor. While we see various characters in distressing situations, there is no central character whose perspective we can follow to ground the audience's emotional response. Establishing a focal character, perhaps one of the hostages or Mendez, could help the audience connect more deeply with the unfolding drama.
  • The pacing of the scene feels uneven. The rapid transitions between the different locations and the montage style create a sense of chaos, but this could be counterproductive if the audience is unable to process the information being presented. Slowing down certain moments to allow for character reactions or emotional beats could enhance the overall impact.
Suggestions
  • Consider refining the transitions between scenes to create a more fluid narrative flow. This could involve using visual motifs or thematic elements that connect the different locations and characters more seamlessly.
  • Enhance the voiceover dialogue by incorporating specific visual cues or actions that reflect the accusations being made. This will help ground the audience in the reality of the situation and increase the emotional stakes.
  • Integrate the dialogue from the reading of 'Argo' more closely with the main narrative. Consider having characters express their fears or hopes in relation to the hostage situation, making the reading feel more relevant to the current events.
  • Establish a central character whose perspective can guide the audience through the chaos. This character could serve as an emotional anchor, allowing viewers to connect more deeply with the unfolding drama.
  • Adjust the pacing of the scene to allow for moments of reflection or emotional resonance. Slowing down key moments can help the audience process the gravity of the situation and enhance the overall impact of the scene.



Scene 26 - Mock Execution and Mundane Moments
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...’
Genres: ["Drama","Thriller","Historical"]

Summary In the basement of the American Embassy in Tehran, hostages face a mock execution orchestrated by the armed captor known as Green Jacket, who hints at hope connected to a ship called the Argo. As the guns fail to fire, the hostages react with fear and desperation. Meanwhile, at the Canadian Ambassador's residence, Joe Stafford and Mark Lijek discuss the implications of Khomeini's speech, highlighting the political tension. The scene contrasts the life-threatening situation of the hostages with mundane activities among the houseguests, culminating in Sahar quietly observing the interactions.
Strengths
  • Intense tension
  • Emotional depth
  • Compelling dialogue
Weaknesses
  • Potential for confusion with multiple locations and characters

Ratings
Overall

Overall: 8.5

The scene effectively conveys tension, emotion, and high stakes through its dramatic elements and character interactions.


Story Content

Concept: 8

The concept of a mock execution adds a layer of intensity and fear to the scene, enhancing the overall drama.

Plot: 8.5

The plot progresses significantly with the hostages facing a life-threatening situation and the political tensions escalating.

Originality: 9

The scene presents a unique and fresh take on a hostage situation, incorporating elements of hope and survival amidst danger. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8

The characters show depth and emotion, especially in their reactions to the mock execution and the political developments.

Character Changes: 8

The characters experience a shift in their emotions and perspectives due to the escalating danger and uncertainty.

Internal Goal: 8

The protagonist's internal goal in this scene is likely survival and maintaining hope in a dire situation. The mock execution and the mention of finding hope in her husband aboard the Argo reflect her deeper needs for safety and connection.

External Goal: 7

The protagonist's external goal is to survive the hostage situation and potentially find a way to escape. The immediate challenge they face is the threat of execution by the hostage takers.


Scene Elements

Conflict Level: 9

The conflict is intense and palpable, with the hostages facing a life-threatening situation and the political tensions escalating.

Opposition: 8

The strong opposition in the scene, represented by the hostage takers and the threat of execution, creates a sense of danger and urgency that adds to the suspense.

High Stakes: 9

The high stakes of a mock execution and escalating political tensions heighten the tension and urgency of the scene.

Story Forward: 9

The scene significantly moves the story forward by raising the stakes and deepening the characters' struggles.

Unpredictability: 8

This scene is unpredictable because of the unexpected twist of the mock execution and the characters' reactions, adding a layer of suspense and uncertainty.

Philosophical Conflict: 7

The philosophical conflict in this scene could be the clash between life and death, hope and despair. The protagonist's belief in finding hope in her husband contrasts with the imminent danger of the mock execution.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions of fear, anxiety, and desperation, drawing the audience into the characters' plight.

Dialogue: 8.5

The dialogue is tense, emotional, and impactful, effectively conveying the characters' fears and hopes.

Engagement: 9

This scene is engaging because of its high stakes, emotional intensity, and suspenseful atmosphere that keeps the audience on the edge of their seats.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged and invested in the characters' plight.


Technical Aspect

Formatting: 8

The formatting of the scene aligns with the expected format for a screenplay, effectively conveying the action and dialogue in a clear and engaging manner.

Structure: 8

The scene follows the expected structure for a tense and suspenseful moment in a screenplay, effectively building tension and setting up the conflict.


Critique
  • The scene effectively builds tension through the mock execution, which serves as a powerful reminder of the hostages' precarious situation. However, the transition between the mock execution and the subsequent scenes could be smoother to maintain the emotional weight.
  • The use of voiceover from Princess Aleppa adds a layer of depth, connecting the personal stakes of the characters to the broader political context. However, the dialogue could be more impactful if it were more concise and focused on the emotional resonance of her words.
  • The juxtaposition of the hostages' fear with the mundane activities at the Canadian Ambassador's residence creates a stark contrast that highlights the tension of the situation. However, the pacing feels uneven, as the shift from the intense mock execution to the lighter moments with Lee Schatz and Mark Lijek could be better balanced to maintain the audience's emotional engagement.
  • The dialogue in the Canadian Ambassador's residence, particularly Joe Stafford's realization about Khomeini, is insightful but could benefit from more dramatic weight. It feels somewhat disconnected from the intensity of the previous scene, which may dilute the overall impact.
  • The visual elements, such as the hoods over the hostages' heads and the physicality of their fear, are strong, but the scene could benefit from more sensory details to immerse the audience further into the atmosphere of dread and uncertainty.
Suggestions
  • Consider tightening the voiceover from Princess Aleppa to focus on the emotional stakes rather than broader implications, making it more personal and poignant.
  • Enhance the transition between the mock execution and the subsequent scenes by using a visual or auditory cue that maintains the tension, such as a lingering sound or a close-up shot of the hostages' expressions.
  • Balance the pacing by either extending the tension in the aftermath of the mock execution or by introducing the lighter moments in the Canadian Ambassador's residence more gradually, allowing the audience to process the gravity of the previous scene.
  • Strengthen the dialogue in the Canadian Ambassador's residence by incorporating more emotional reactions from the characters, reflecting their fear and uncertainty in response to the news about Khomeini.
  • Add more sensory details to the scene, such as the sounds of the environment, the physical sensations of fear, or the visual chaos of the surroundings, to create a more immersive experience for the audience.



Scene 27 - Navigating Tensions in Hollywood
135 INT. BEVERLY HILTON HOTEL - NIGHT 135

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.
Genres: ["Drama","Comedy"]

Summary In a tense scene set at the Beverly Hilton Hotel, Chambers celebrates the completion of his screenplay, receiving applause. Meanwhile, Mendez grapples with frustration and concern over the risky production of 'Argo: A Cosmic Conflagration.' O'Donnell dismisses Mendez's worries, insisting the film will proceed. At the Argo production office, Siegel shares his industry experiences while pouring whiskey for himself, Mendez, and Chambers, leading to a toast of 'Argo fuck yourself.' The scene concludes with Mendez leaving, still anxious about the challenges ahead.
Strengths
  • Strong character development
  • Engaging dialogue
  • Effective blend of tension and humor
Weaknesses
  • Some dialogue may be too on-the-nose
  • Lack of visual action

Ratings
Overall

Overall: 8.5

The scene effectively combines tension, humor, and reflection, providing insight into the characters' personalities and the gravity of the situation.


Story Content

Concept: 8

The concept of using a fake movie as a cover for a covert operation is intriguing and adds depth to the plot.

Plot: 8.5

The plot advances significantly in this scene, setting up the challenges and conflicts that the characters will face in the upcoming operation.

Originality: 9

The scene introduces fresh elements such as the film industry setting, the moral dilemma faced by the protagonist, and the witty banter between characters. The authenticity of the dialogue and actions adds to the originality.


Character Development

Characters: 9

The characters are well-developed, with distinct personalities and motivations that drive the scene forward.

Character Changes: 9

The characters undergo subtle changes in their perspectives and relationships, setting the stage for further development.

Internal Goal: 8

The protagonist's internal goal in this scene is to understand why a certain action was taken and to come to terms with the consequences of that action. This reflects his need for clarity and his fear of the potential danger he and others may face.

External Goal: 7.5

The protagonist's external goal is to navigate the challenges of the film industry and protect his team from potential harm. This reflects the immediate circumstances and obstacles he is facing in his professional life.


Scene Elements

Conflict Level: 8.5

There is a high level of conflict in the scene, both internally within the characters and externally in the covert operation they are planning.

Opposition: 8

The opposition in the scene is strong, with conflicting viewpoints and challenges that create uncertainty for the protagonist. The audience is left wondering how he will navigate the obstacles.

High Stakes: 9

The stakes are high in the scene, with the characters facing life-threatening risks and moral dilemmas in their covert operation.

Story Forward: 9

The scene significantly moves the story forward by introducing key plot points, conflicts, and character dynamics.

Unpredictability: 7.5

This scene is unpredictable due to the shifting dynamics between characters and the unexpected turns in the dialogue. The audience is kept on their toes.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the protagonist's moral dilemma of whether to proceed with a risky mission for the greater good or prioritize the safety of his team. This challenges his beliefs about duty and sacrifice.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension to humor to reflection, engaging the audience on multiple levels.

Dialogue: 8.5

The dialogue is sharp, witty, and reveals important information about the characters and the plot.

Engagement: 9

This scene is engaging due to its blend of humor, tension, and character dynamics. The dialogue and actions keep the audience invested in the unfolding conflicts.

Pacing: 8.5

The pacing of the scene is effective in building tension and maintaining audience interest. The rhythm of the dialogue and actions enhances the overall impact.


Technical Aspect

Formatting: 8

The scene adheres to the expected formatting for its genre, with clear scene headings, action lines, and dialogue formatting.

Structure: 8

The scene follows a clear structure with distinct locations and character interactions. It maintains a cohesive narrative flow and pacing.


Critique
  • The scene effectively captures the tension and stakes involved in the production of 'Argo,' particularly through Mendez's frustration with the publicity surrounding the film. However, the transition from the applause at the press event to Mendez's reaction feels abrupt. A smoother transition could enhance the emotional impact of Mendez's concerns about the film's portrayal of the operation.
  • The dialogue between Mendez and O'Donnell is functional but lacks emotional depth. While it conveys the urgency of the situation, it could benefit from more subtext or personal stakes for Mendez. This would help the audience connect with his character on a deeper level, understanding not just the professional implications but also the personal risks involved.
  • The humor in Siegel's dialogue adds a light-hearted touch to an otherwise tense narrative, but it risks undermining the gravity of the situation. Balancing humor with the seriousness of the stakes is crucial; consider how the comedic elements can serve to highlight the tension rather than distract from it.
  • The visual elements, such as Mendez lying on his bed with the phone and the ad in Variety, are effective in establishing the setting and mood. However, more descriptive language could enhance the imagery, allowing the audience to visualize the scene more vividly. For instance, describing the clutter in Mendez's hotel room or the expressions on the characters' faces could add depth.
  • The ending of the scene, with Mendez's line about the 'pricks upstairs,' feels somewhat clichéd. While it fits Siegel's character, it could be more original or nuanced to leave a stronger impression. Consider exploring a more unique way for Mendez to express his frustration that aligns with his character's journey.
Suggestions
  • Consider adding a brief moment of reflection for Mendez after the applause, allowing him to process the implications of the film's production and how it relates to the real-life stakes of the hostages.
  • Enhance the dialogue between Mendez and O'Donnell by incorporating more emotional weight, perhaps by having Mendez express personal fears or doubts about the operation's success and the safety of the hostages.
  • Maintain the humor but ensure it serves to heighten the tension rather than diminish it. Perhaps Siegel could make a joke that reflects the absurdity of the situation while still acknowledging the seriousness of their mission.
  • Use more descriptive language to paint a vivid picture of the hotel room and the characters' emotions. This could involve sensory details that immerse the audience in the scene.
  • Revise Mendez's final line to be more unique or reflective of his character's journey, perhaps by incorporating a metaphor or a more personal expression of his frustration with the situation.



Scene 28 - The Absurd Proposal
142 EXT. STATE DEPARTMENT - DAY 142

Mendez approaches the iconic building.


143 INT. STATE DEPARTMENT LOBBY - DAY 143

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.
Genres: ["Drama","Thriller"]

Summary Mendez arrives at the State Department, using O'Donnell's name to secure a meeting with CIA Director Turner and Secretary of State Vance. In a tense yet darkly humorous discussion, Mendez presents a CIA-funded movie concept as a cover for a rescue operation. Despite initial skepticism, Turner ultimately acknowledges the plan as the best available option, leading to the government's official sanctioning of the project.
Strengths
  • Tension-filled dialogue
  • Strong character dynamics
  • Effective plot progression
Weaknesses
  • Limited emotional impact
  • Lack of significant character changes

Ratings
Overall

Overall: 8.5

The scene effectively conveys the seriousness and tension of the situation, with strong dialogue and character dynamics. However, there are moments of skepticism and uncertainty that could be further developed to enhance the overall impact.


Story Content

Concept: 9

The concept of using a fake movie as a cover for a covert operation is intriguing and adds a layer of complexity to the plot. The discussion of the plan and the government's involvement in sanctioning the movie provide depth to the scene.

Plot: 8.5

The plot is advanced significantly in this scene, as the characters discuss and debate the feasibility of the fake movie cover. The scene sets up the government's involvement in the operation and raises the stakes for the characters.

Originality: 9

The scene introduces a fresh approach to the spy genre by incorporating Hollywood and deception as central elements. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 8

The characters are well-developed, with distinct personalities and motivations. The interactions between Mendez, O'Donnell, Turner, and Vance add depth to the scene and highlight the tension and skepticism surrounding the plan.

Character Changes: 7

While there are no significant character changes in this scene, the interactions and discussions between the characters hint at potential shifts in their perspectives and motivations as the plot progresses.

Internal Goal: 8

Mendez's internal goal is to convince the CIA Director and Secretary of State of the viability of the plan to use a fake movie as a cover for rescuing hostages in Iran. This reflects his desire to prove his worth and expertise in a high-stakes situation.

External Goal: 7.5

Mendez's external goal is to gain approval and support for the operation from the government officials. This reflects the immediate challenge of securing resources and authorization for the mission.


Scene Elements

Conflict Level: 8.5

The conflict in the scene arises from the characters' differing opinions on the feasibility of the plan. The tension and skepticism create a sense of conflict that drives the scene forward.

Opposition: 7.5

The opposition in the scene comes from the skepticism and reluctance of the government officials, creating a sense of uncertainty and challenge for the protagonist.

High Stakes: 9

The stakes are high in this scene, as the characters grapple with the decision to use a fake movie cover for a covert operation. The government's sanctioning of the plan raises the stakes and adds urgency to the situation.

Story Forward: 9

The scene significantly moves the story forward by introducing the government's involvement in the operation and setting up the use of a fake movie cover. The discussions and debates propel the plot towards the next stage of the operation.

Unpredictability: 8

This scene is unpredictable because of the unexpected use of Hollywood as a cover for a covert operation, challenging audience expectations.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the idea of using deception and Hollywood as tools for a serious political operation. This challenges traditional notions of diplomacy and national security.


Audience Engagement

Emotional Impact: 7.5

The scene elicits a moderate emotional impact, primarily through the tense and serious tone of the discussions. The skepticism and uncertainty of the characters add depth to the emotional resonance of the scene.

Dialogue: 8.5

The dialogue is sharp and engaging, effectively conveying the tension and skepticism of the characters. The discussions about the feasibility of the plan are well-written and add depth to the scene.

Engagement: 9

This scene is engaging because of the dynamic interactions between characters, the high stakes of the mission, and the blend of humor and tension.

Pacing: 8.5

The pacing of the scene builds tension effectively, leading to a climactic moment of decision and revelation.


Technical Aspect

Formatting: 8

The formatting adheres to industry standards for screenplay format, making it easy to follow and visualize the scene.

Structure: 8

The scene follows the expected structure for a political thriller, with escalating tension and conflict leading to a pivotal decision.


Critique
  • The scene effectively captures the tension and absurdity of the situation, showcasing the contrast between the serious nature of the hostage crisis and the ridiculousness of the CIA's plan to use a science fiction movie as a cover. However, the dialogue could benefit from more distinct character voices to enhance the individuality of Mendez, O'Donnell, Turner, and Vance. Each character should have a unique way of speaking that reflects their personality and position.
  • The humor introduced through O'Donnell's comment about Vance and Turner being like 'those two old fucks on ‘The Muppets’' is a nice touch, but it could be expanded upon. More comedic banter or light-hearted exchanges could help to break the tension and provide a moment of levity in an otherwise serious context. This would also serve to deepen the camaraderie between Mendez and O'Donnell.
  • The stakes of the meeting are somewhat unclear. While the audience understands the gravity of the situation, the scene could benefit from a clearer articulation of what is at risk if the plan fails. Adding a line or two that emphasizes the potential consequences for the hostages could heighten the tension and urgency of the scene.
  • The transition from the lobby to the meeting room feels a bit abrupt. A brief moment of reflection or a visual cue that emphasizes the weight of the moment could enhance the emotional impact. For example, a close-up of Mendez's face as he prepares to present his plan could convey his anxiety and determination.
  • The dialogue regarding the plausibility of the plan is engaging, but it could be more dynamic. Consider incorporating interruptions or overlapping dialogue to reflect the chaotic nature of the discussion. This would create a more realistic and engaging conversation, allowing the characters' personalities to shine through.
Suggestions
  • Enhance character differentiation by giving each character a distinct voice and manner of speaking. This will help the audience connect with them on a deeper level.
  • Expand on the humor in the scene by including more light-hearted exchanges between Mendez and O'Donnell, which can serve to strengthen their relationship and provide comic relief.
  • Clarify the stakes of the meeting by adding dialogue that emphasizes the potential consequences for the hostages if the plan fails, thereby increasing the tension.
  • Include a moment of reflection or a visual cue before the transition to the meeting room to emphasize the weight of the moment and Mendez's emotional state.
  • Incorporate interruptions or overlapping dialogue during the discussion about the plan's plausibility to create a more dynamic and engaging conversation.



Scene 29 - The Weight of Departure
146 INT. MENDEZ’S APARTMENT - BEDROOM - NIGHT 146

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.


154 INT. DULLES AIRPORT - NIGHT 154

Mendez hangs up the airport pay phone.

CUT TO:
Genres: ["Drama","Thriller"]

Summary Mendez prepares for a perilous mission, packing his passport and wedding band while reflecting on the risks involved. In a car with O'Donnell, they share a moment of camaraderie, with O'Donnell warning Mendez about the agency's lack of support if he is detained. Mendez uses dark humor to cope with the gravity of his situation. Meanwhile, in the Argo production office, Siegel watches a somber news broadcast as Chambers receives a call from Mendez, confirming the operation's green light. The scene captures Mendez's internal conflict and the tension surrounding his dangerous undertaking.
Strengths
  • Authentic dialogue
  • Strong emotional impact
  • Character development
Weaknesses
  • Limited external conflict
  • Some repetitive dialogue

Ratings
Overall

Overall: 8.5

The scene effectively conveys the tension and emotional weight of the characters, setting up the high stakes and challenges they are about to face. The dialogue and interactions feel authentic and engaging.


Story Content

Concept: 8

The concept of the scene revolves around the characters' emotional struggles and the impending mission, effectively setting up the central conflict and themes of the story.

Plot: 8

The plot progresses by showing the characters' preparations and emotional states before a critical mission, adding depth to their motivations and relationships.

Originality: 9

The scene offers a fresh take on the spy thriller genre by focusing on the personal and emotional stakes of the characters involved. The authenticity of the dialogue and actions adds to the originality of the scene.


Character Development

Characters: 9

The characters are well-developed, with Mendez portrayed as conflicted and determined, while Siegel adds a cynical and humorous perspective to the scene.

Character Changes: 8

Mendez undergoes a significant emotional change as he prepares for the mission, showing vulnerability and determination, while Siegel's cynicism remains consistent.

Internal Goal: 8

Mendez's internal goal in this scene is to maintain his composure and resolve in the face of imminent danger and uncertainty. It reflects his deeper need for validation, acceptance, and redemption.

External Goal: 9

Mendez's external goal is to successfully execute the plan to rescue the hostages in Iran and ensure their safe return to the United States. It reflects the immediate circumstances and challenges he's facing as a CIA operative.


Scene Elements

Conflict Level: 7

The conflict in the scene is primarily internal, focusing on the characters' emotional turmoil and the high stakes of their mission.

Opposition: 8

The opposition in the scene is strong, with characters facing internal and external conflicts that challenge their beliefs, values, and loyalties. The uncertainty of the outcome adds to the tension and suspense.

High Stakes: 9

The scene conveys the high stakes of the characters' mission and the personal risks they face, heightening the tension and drama.

Story Forward: 8

The scene moves the story forward by setting up the characters' motivations and emotional states before a critical mission, adding depth to the narrative.

Unpredictability: 8

This scene is unpredictable because of the shifting dynamics between characters, unexpected plot developments, and the sense of danger and uncertainty that permeates the narrative.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is the clash between personal loyalty and professional duty. Mendez must balance his commitment to his family, particularly his wife Christine, with his responsibilities as a covert operative working for the CIA.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, drawing the audience into the characters' struggles and building tension for the upcoming mission.

Dialogue: 8.5

The dialogue is engaging and reveals the characters' inner thoughts and emotions, adding depth to their interactions and motivations.

Engagement: 9

This scene is engaging because of its fast-paced dialogue, high stakes, and emotional intensity. The tension between characters and the sense of urgency keep the audience invested in the outcome.

Pacing: 9

The pacing of the scene is well-executed, with a balance of action, dialogue, and character moments that maintain momentum and build tension effectively.


Technical Aspect

Formatting: 9

The formatting of the scene adheres to industry standards, with proper scene headings, action lines, and dialogue formatting that enhance readability and clarity.

Structure: 9

The scene follows the expected structure for its genre, with clear transitions between locations and a focus on character interactions and dialogue to drive the narrative forward.


Critique
  • The scene effectively captures the tension and gravity of Mendez's situation as he prepares for a dangerous mission. The emotional weight of packing his passport and wedding band adds depth to his character, showcasing his personal sacrifices. However, the dialogue between Mendez and O'Donnell feels somewhat clichéd and could benefit from more originality to enhance the emotional impact.
  • The use of dark humor in Mendez's line about prison is a nice touch, but it could be more nuanced. The humor feels a bit forced and could be more subtle to maintain the tension of the moment. Additionally, O'Donnell's response could be more layered, perhaps reflecting his own fears or experiences to create a deeper connection between the characters.
  • The transition from Mendez's personal moment to the Argo production office is abrupt. While it serves to juxtapose the seriousness of Mendez's mission with the ongoing production, a smoother transition could enhance the flow of the narrative. Consider adding a brief moment of reflection or a visual cue that connects the two locations more seamlessly.
  • The dialogue in the Argo production office, while capturing the mood of the time, could be more dynamic. Siegel's line about America feels a bit on-the-nose and could be rephrased to convey the same sentiment in a more creative way. This would help maintain the audience's engagement and avoid feeling like exposition.
  • The scene ends with a strong line from Mendez, but it could be more impactful if it were tied back to his personal stakes. Perhaps a brief moment of hesitation or a look back at his apartment before he leaves could emphasize the weight of his decision and create a more poignant conclusion.
Suggestions
  • Revise the dialogue between Mendez and O'Donnell to make it feel more authentic and less clichéd. Consider adding personal anecdotes or reflections that reveal their characters more deeply.
  • Incorporate a smoother transition between Mendez's packing scene and the Argo production office. This could involve a visual cue or a brief moment of introspection from Mendez as he leaves his apartment.
  • Enhance the dialogue in the Argo production office to make it more dynamic and engaging. Avoid on-the-nose statements and instead focus on subtext and character-driven dialogue.
  • Consider adding a moment of hesitation or reflection for Mendez before he leaves for the airport, reinforcing the emotional stakes of his mission and creating a more impactful ending.
  • Explore the use of visual storytelling to complement the dialogue, such as close-ups on Mendez's expressions or the items he packs, to convey his emotional state without relying solely on words.



Scene 30 - Tensions and Postcards
155 INT. DULLES AIRPORT - LATER 155

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.
Genres: ["Drama","Thriller"]

Summary In Dulles Airport, a character writes a birthday postcard to 'the buddy-man' before heading to a Lufthansa gate. The scene shifts to the Canadian Ambassador's residence, where houseguests Bob Anders, Mark Lijek, Joe Stafford, and Cora Lijek engage in a tense argument about safety rules. Bob expresses frustration over stepping outside, while Mark defends Cora, who confronts Bob about his actions. The atmosphere is charged with conflict until Ken enters, oblivious to the tension.
Strengths
  • Effective blend of tension and humor
  • Strong character development
  • Smooth transitions between locations
  • Engaging dialogue
Weaknesses
  • Limited character changes within the scene
  • Dialogue could be more impactful

Ratings
Overall

Overall: 8.5

The scene effectively sets up the high stakes of the mission while providing insight into the characters' personal lives and relationships. The mix of tension, humor, and character dynamics keeps the audience engaged.


Story Content

Concept: 8

The concept of preparing for a covert operation through personal interactions and tense moments is engaging and sets the stage for the upcoming mission. The scene effectively blends character development with plot progression.

Plot: 8.5

The plot advances significantly in this scene, with key information about the mission and the characters' motivations revealed. The tension and conflicts introduced set the stage for the upcoming challenges.

Originality: 8

The scene presents a fresh approach to the political thriller genre, with authentic character interactions and a focus on the personal dynamics within a larger political conflict.


Character Development

Characters: 8

The characters are well-developed, each with their own struggles and relationships that add depth to the scene. The interactions between the characters reveal their personalities and motivations effectively.

Character Changes: 7

While there are subtle changes in the characters' dynamics and emotions, the scene focuses more on setting up the mission and establishing the characters' motivations. The groundwork is laid for potential character development in future scenes.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate the complex web of political and personal relationships in order to achieve his mission.

External Goal: 7

The protagonist's external goal is to successfully carry out his mission to rescue the hostages in Iran.


Scene Elements

Conflict Level: 8

The scene is filled with internal and external conflicts, from personal tensions to the looming danger of the covert operation. The conflicts drive the narrative forward and create a sense of urgency.

Opposition: 7

The opposition in the scene is strong, with conflicting goals and tense interactions between characters.

High Stakes: 9

The high stakes of the covert operation are clearly established, with the characters facing personal risks and the looming danger of the mission. The scene conveys the urgency and importance of the mission effectively.

Story Forward: 9

The scene significantly moves the story forward by introducing key plot points, setting up the mission, and deepening the characters' relationships. The audience gains crucial insights into the mission's challenges and the characters' personal struggles.

Unpredictability: 7

This scene is unpredictable due to the shifting power dynamics and unexpected character interactions.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the tension between personal loyalty and professional duty, as well as the clash of different value systems in a high-stakes political environment.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension and anxiety to humor and regret. The characters' struggles and the high stakes of the mission create an emotional impact that resonates with the audience.

Dialogue: 7.5

The dialogue is realistic and serves to deepen the characters' relationships and convey important information about the mission. The mix of humor and tension in the conversations adds to the scene's complexity.

Engagement: 9

This scene is engaging because of its tense interactions, high stakes, and sharp dialogue.

Pacing: 8

The pacing of the scene effectively builds tension and maintains the audience's interest.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay, with clear scene descriptions and dialogue formatting.

Structure: 8

The scene follows the expected structure for a political thriller, with a focus on character dynamics and tension-building.


Critique
  • The scene at Dulles Airport serves as a brief moment of calm before the storm, but it lacks emotional depth. The postcard writing could be an opportunity to explore Mendez's feelings about the situation, his family, or the gravity of the mission ahead. Instead, it feels somewhat detached and doesn't fully engage the audience's empathy.
  • The dialogue in the subsequent scene at the Canadian Ambassador's residence is effective in showcasing the tension among the houseguests, but it could benefit from more subtext. The characters are arguing about rules, but the stakes of their situation could be emphasized further to heighten the tension. The audience should feel the weight of their predicament more acutely.
  • The transition between the two scenes feels abrupt. The postcard moment could serve as a thematic bridge, reflecting Mendez's longing for normalcy amidst chaos. However, the shift to the argument among the houseguests feels jarring and could be smoothed out with a more gradual transition or a connecting line that ties Mendez's moment to the houseguests' tension.
  • The character dynamics are established, but they could be deepened. For instance, Bob Anders's frustration could be tied to a personal backstory or a specific fear about their situation, making his outburst more relatable. Similarly, Cora Lijek's role as the 'hall monitor' could be expanded to show her motivations or fears, adding layers to her character.
  • The scene ends with Ken Taylor entering cheerfully, which contrasts sharply with the tension in the room. While this can be effective for comedic relief, it may undermine the gravity of the previous argument. A more subtle entrance or a moment of realization from Taylor about the tension could maintain the scene's emotional weight.
Suggestions
  • Consider adding a voiceover or internal monologue for Mendez while he writes the postcard, allowing the audience to connect with his emotional state and the weight of his mission.
  • Enhance the dialogue among the houseguests by incorporating more personal stakes or backstory, which would make their arguments feel more impactful and relatable.
  • Create a smoother transition between Mendez's postcard moment and the houseguests' argument by including a line that reflects Mendez's thoughts on the situation, linking his desire for normalcy to their current chaos.
  • Explore the characters' relationships further by adding moments of vulnerability or shared history, which would deepen the audience's investment in their fates.
  • Reconsider Ken Taylor's entrance to maintain the tension. Perhaps he could enter with a more serious demeanor, acknowledging the gravity of the situation before shifting the mood, or he could be oblivious but gradually realize the tension in the room.



Scene 31 - Whispers of Tension
164A EXT. BLUE MOSQUE - MORNING 164A

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"]

Summary In a morning visit to the Blue Mosque, Tony Mendez experiences the call to prayer amidst a mix of tourists and locals. He then ascends to the upper level of the Hagia Sophia, where he meets British spy Peter Nicholls. They discuss the deteriorating political situation in Iran, with Nicholls providing Mendez with crucial slips detailing new airport procedures that heighten the risks of travel to Iran. Their conversation reflects on their shared past and the gravity of the current climate, culminating in a tense yet understanding exchange as they walk away from the historic mosaic.
Strengths
  • Detailed exposition
  • Engaging dialogue
  • Tense atmosphere
Weaknesses
  • Limited character development
  • Lack of action

Ratings
Overall

Overall: 8.5

The scene effectively sets the tone for the thriller genre with its tense and suspenseful atmosphere. It provides important information while maintaining a serious and concerned sentiment, keeping the audience engaged.


Story Content

Concept: 8

The concept of espionage and covert operations is effectively portrayed in the scene, highlighting the complexities and risks involved in such missions.

Plot: 8.5

The plot is advanced significantly in this scene, introducing new challenges and obstacles for the characters while moving the story forward at a compelling pace.

Originality: 9

The scene introduces a fresh perspective on espionage and political intrigue, with authentic character interactions and a unique setting.


Character Development

Characters: 8

The characters are well-developed, with distinct personalities and motivations that drive their actions in the scene.

Character Changes: 7

While there are no significant character changes in this scene, the interactions and revelations contribute to the development of the characters' relationships and motivations.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate a complex political situation and maintain his cover as a spy. This reflects his deeper need for security and success in his mission.

External Goal: 7

The protagonist's external goal is to gather information and navigate the political landscape of Iran. This reflects the immediate challenges he faces in his mission.


Scene Elements

Conflict Level: 7

There is a moderate level of conflict in the scene, primarily stemming from the high stakes and risks associated with the mission.

Opposition: 7

The opposition in the scene adds complexity and uncertainty to the protagonist's mission, creating suspense for the audience.

High Stakes: 8

The scene effectively conveys the high stakes involved in the mission, highlighting the risks and dangers faced by the characters in their pursuit of success.

Story Forward: 9

The scene significantly moves the story forward by introducing key information and challenges that will impact the characters' decisions and actions in the future.

Unpredictability: 8

This scene is unpredictable due to the shifting power dynamics and moral dilemmas faced by the characters.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the ethical implications of espionage and the moral ambiguity of the protagonist's actions. This challenges the protagonist's beliefs and values as a spy.


Audience Engagement

Emotional Impact: 7.5

The scene has a moderate emotional impact, eliciting concern and tension from the audience as the characters navigate dangerous territory.

Dialogue: 8.5

The dialogue is informative and engaging, providing key information about the mission while showcasing the relationships between the characters.

Engagement: 9

This scene is engaging due to its blend of suspense, character dynamics, and historical context.

Pacing: 8

The pacing of the scene builds tension and maintains the audience's interest through strategic dialogue and scene transitions.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene transitions and character actions.

Structure: 8

The scene follows a clear structure that builds tension and advances the plot effectively.


Critique
  • The scene effectively establishes a sense of place and atmosphere with the contrasting settings of the Blue Mosque and Hagia Sophia, which are rich in historical and cultural significance. However, the dialogue could be more engaging; it feels somewhat expository and lacks emotional depth. The characters' interactions could benefit from more subtext to convey their shared history and the gravity of their situation.
  • The introduction of Peter Nicholls as a British spy is intriguing, but his character could be fleshed out further. As it stands, he feels somewhat one-dimensional. Adding a personal anecdote or a hint of his motivations could create a more compelling dynamic between him and Mendez.
  • The dialogue about the slips of paper and the verification process is informative but could be more dramatic. The stakes of the situation should be emphasized more clearly to heighten tension. Instead of merely stating facts, consider incorporating a sense of urgency or danger that reflects the precariousness of their mission.
  • The visual elements, such as the beautiful ceiling and the mosaic, are well-described, but they could be tied more closely to the characters' emotional states. For instance, reflecting on the history of the Hagia Sophia could parallel Mendez's own struggles and the weight of the past on their current mission.
  • The transition between the two locations (Blue Mosque to Hagia Sophia) could be smoother. A brief moment of reflection or a visual cue that connects the two settings would enhance the flow of the scene.
Suggestions
  • Enhance the dialogue between Mendez and Nicholls by incorporating more personal stakes or shared experiences that reveal their camaraderie and the weight of their mission.
  • Consider adding a moment of tension or conflict in their conversation that reflects the urgency of their situation, perhaps by having Nicholls express concern about the risks involved in Mendez's plan.
  • Use the historical and cultural significance of the Hagia Sophia to draw parallels with Mendez's internal conflict, perhaps through a line of dialogue or a moment of introspection that connects the past with the present.
  • Introduce a visual motif that ties the two locations together, such as a recurring symbol or theme that reflects the characters' struggles and the broader political context.
  • Revise the exposition about the slips of paper to include a sense of urgency or danger, perhaps by having Mendez react more strongly to the implications of the verification process.



Scene 32 - Navigating Challenges
166 INT. HAGIA SOPHIA - CONTINUOUS ACTION 166

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. *


167 OMITTED 167 *


168 OMITTED 168 *


169 OMITTED 169 *
Genres: ["Drama","Thriller"]

Summary In this scene set in the Hagia Sophia, Nicholls and Mendez discuss the critical need for a film permit from the Ministry of Culture and Islamic Guidance, highlighting the difficulties of persuading the foreign service team to support Mendez. As they navigate personal struggles, Nicholls reveals his recent breakup with June, while Mendez shares a brief update about his relationship with Christine. Meanwhile, Lester is seen working late at a producer's office, engaging in a light-hearted exchange with a producer about stamina and age, before gazing at the silent phone in the 'Argo' office, hinting at a sense of anticipation.
Strengths
  • Emotional depth
  • Character development
  • Tension-building
Weaknesses
  • Limited external action
  • Slow pacing in some parts

Ratings
Overall

Overall: 8.5

The scene effectively conveys the emotional weight of the characters' personal lives and the gravity of the mission, setting a somber and reflective tone.


Story Content

Concept: 8

The concept of personal sacrifice and difficult choices in the face of a dangerous mission is well-developed and adds depth to the characters and the overall plot.

Plot: 8

The plot progresses as Mendez receives crucial information and makes decisions that will impact the mission, moving the story forward while adding layers to the characters.

Originality: 9

The scene introduces fresh conflicts and dilemmas, blending personal drama with political intrigue. The characters' actions and dialogue feel authentic and engaging, adding depth to the narrative.


Character Development

Characters: 9

The characters' inner struggles and personal sacrifices are effectively portrayed, adding complexity and depth to their personalities.

Character Changes: 8

Mendez experiences a moment of reflection and makes a significant decision, showcasing growth and internal conflict.

Internal Goal: 8

The protagonist's internal goal is to navigate personal relationships and professional responsibilities amidst a high-stakes mission. This reflects his struggle to balance his personal life with his duty.

External Goal: 7.5

The protagonist's external goal is to secure a film permit in Iran for their mission. This reflects the immediate challenge they face in executing their plan.


Scene Elements

Conflict Level: 7

The conflict is more internal and emotional in this scene, focusing on personal struggles and sacrifices rather than external action.

Opposition: 7.5

The opposition in the scene is strong, with conflicting goals and motivations creating tension and conflict. The audience is left uncertain of how the characters will overcome their obstacles.

High Stakes: 8

The stakes are high as Mendez navigates personal struggles and makes decisions that will affect the success of the mission.

Story Forward: 8

The scene moves the story forward by revealing crucial information and decisions that will impact the mission's outcome.

Unpredictability: 8

This scene is unpredictable because of the characters' conflicting motivations and the uncertain outcome of their mission. The audience is kept on edge, unsure of how events will unfold.

Philosophical Conflict: 8

The philosophical conflict revolves around the protagonist's loyalty to his job and his personal relationships. This challenges his values and priorities, forcing him to make difficult decisions.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions of regret, hope, and resignation, drawing the audience into the characters' inner turmoil.

Dialogue: 7.5

The dialogue is meaningful and reflective, capturing the characters' emotions and inner thoughts with subtlety and depth.

Engagement: 9

This scene is engaging because of its blend of personal drama and political intrigue. The tension between characters and the high-stakes mission keep the audience invested in the outcome.

Pacing: 8

The pacing of the scene is well-executed, balancing dialogue and action to maintain tension and momentum. It effectively builds towards a climactic moment, keeping the audience engaged.


Technical Aspect

Formatting: 8

The scene's formatting is clear and concise, following industry standards for screenplay format. It enhances the readability and flow of the scene.

Structure: 8

The scene follows a clear structure, moving smoothly between dialogue and action. It effectively builds tension and suspense, keeping the audience engaged.


Critique
  • The dialogue between Nicholls and Mendez effectively conveys the tension and stakes of the situation, particularly with Nicholls' dark humor about the potential consequences of Mendez's mission. However, the humor may come off as too flippant given the gravity of the context, which could undermine the emotional weight of the scene.
  • The transition from the serious discussion about the film permit to the personal exchange about relationships feels somewhat abrupt. While it adds depth to the characters, it may benefit from a smoother segue that maintains the tension of the previous conversation.
  • Mendez's line about his relationship with Christine feels somewhat vague and lacks emotional resonance. Given the stakes of the mission, a more poignant reflection on his relationship could enhance the audience's connection to his character.
  • The scene introduces a secondary location (the producers' building) that feels disconnected from the main narrative thread. While it serves to show the parallel world of film production, it may dilute the focus on Mendez's mission. The juxtaposition could be more effective if it tied back to the main plot or character development.
  • The visual elements of the Hagia Sophia are not fully utilized in the scene. Describing the surroundings in more detail could enhance the atmosphere and provide a richer backdrop for the dialogue, emphasizing the historical significance of the setting in contrast to the characters' personal struggles.
Suggestions
  • Consider revising Nicholls' humor to strike a better balance between levity and the seriousness of the situation. This could involve making his comments more subtly ironic rather than overtly flippant.
  • Add a transitional line or action that bridges the conversation about the film permit and the personal discussion about relationships, maintaining the tension while allowing for character development.
  • Deepen Mendez's reflection on his relationship with Christine by incorporating specific memories or feelings that highlight what he stands to lose, making his character more relatable and the stakes more personal.
  • Reassess the inclusion of the producers' building scene. If it serves to illustrate the film industry, consider integrating it more closely with Mendez's mission or character arc, perhaps by showing how the film's success or failure impacts the escape plan.
  • Enhance the visual description of the Hagia Sophia to create a more immersive experience for the audience. This could involve detailing the architecture, the atmosphere, and how these elements reflect the characters' emotional states.



Scene 33 - Entering the Storm: Mendez in Tehran
170 INT. BRITISH AIRWAYS DC-10 - MORNING 170

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"]

Summary Mendez arrives in Tehran amidst the chaos of the Iranian Revolution, forced to surrender his alcohol upon entering Iranian airspace. At Mehrabad Airport, he witnesses the distress of a woman separated from her husband by the Revolutionary Guard, highlighting the oppressive atmosphere. As he navigates the bustling terminal and the violent streets, he arrives at the Ministry of Culture and Islamic Guidance, where he meets Mehdi Behrouz, who questions his intentions regarding his film project. The scene captures the tension between Mendez's mission and the dangers surrounding him, ending with uncertainty as Behrouz takes Mendez's script for review.
Strengths
  • Effective setting establishment
  • Tension-building
  • Informative dialogue
Weaknesses
  • Limited character development
  • Lack of action or suspense sequences

Ratings
Overall

Overall: 8.5

The scene effectively establishes the setting, tone, and stakes of the story, creating a sense of tension and danger. The dialogue is informative and adds depth to the political and cultural context of the narrative.


Story Content

Concept: 8

The concept of the scene revolves around introducing the audience to the volatile situation in Tehran during the Iranian Revolution, highlighting the challenges and risks faced by the characters. The scene effectively sets up the central conflict of the story.

Plot: 8

The plot of the scene focuses on Mendez's arrival in Tehran and his initial interactions with Behrouz, setting the stage for the rescue operation. The scene moves the story forward by establishing the location, characters, and stakes.

Originality: 9

The scene is original in its portrayal of the Iranian Revolution and the clash of cultures between the Western film crew and Iranian officials. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters in the scene, particularly Mendez and Behrouz, are well-defined and contribute to the overall tension and conflict. Their interactions reveal their contrasting perspectives and motivations, adding depth to the narrative.

Character Changes: 7

While there are no significant character changes in this scene, the interactions between Mendez and Behrouz hint at the potential development of their characters as the story progresses.

Internal Goal: 8

Mendez's internal goal in this scene is to navigate the dangerous and unpredictable situation in Tehran while maintaining his composure and completing his mission.

External Goal: 7

Mendez's external goal is to secure permission to film at the bazaar and the palace in Tehran for his cover mission.


Scene Elements

Conflict Level: 9

The scene is filled with conflict, both external (political unrest, executions) and internal (Mendez navigating the dangerous environment). The tension and uncertainty create a sense of urgency and danger.

Opposition: 8

The opposition in the scene is strong, with Behrouz presenting a formidable challenge to Mendez's mission.

High Stakes: 9

The scene conveys the high stakes involved in the rescue mission, with the presence of executions, armed guards, and political unrest creating a sense of danger and urgency.

Story Forward: 8

The scene moves the story forward by establishing the location, introducing key characters, and setting up the central conflict of the rescue operation. It lays the groundwork for the events to come.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics and the uncertain outcome of Mendez's negotiation with Behrouz.

Philosophical Conflict: 7

The philosophical conflict in this scene is between Mendez's Western perspective on filmmaking and Behrouz's view of the role of art in the context of the Iranian Revolution. Behrouz sees the film crew's request as exoticizing and potentially disrespectful to Iranian culture.


Audience Engagement

Emotional Impact: 8

The scene evokes fear, tension, and confusion, eliciting an emotional response from the audience. The high stakes and dangerous setting contribute to the emotional impact of the scene.

Dialogue: 8.5

The dialogue in the scene effectively conveys information about the political and cultural context of Tehran during the Iranian Revolution. The conversations between Mendez and Behrouz provide insight into their characters and the challenges they face.

Engagement: 9

This scene is engaging because of the high stakes, cultural clash, and power dynamics between the characters.

Pacing: 8

The pacing of the scene effectively builds tension and maintains the audience's interest through dialogue and action.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay, with clear scene headings, action lines, and dialogue formatting.

Structure: 8

The scene follows the expected structure for a tense negotiation scene in a political thriller, with clear character motivations and escalating conflict.


Critique
  • The scene effectively establishes the tension and danger surrounding Mendez's mission as he enters Iran, but it could benefit from deeper character introspection. Mendez's internal thoughts or feelings about the situation could enhance the audience's connection to his character and the stakes involved.
  • The contrast between the chaotic environment of the airport and Mendez's calm demeanor is compelling, but the scene could use more sensory details to immerse the audience in the atmosphere. Describing the sounds, smells, and sights in more vivid detail would heighten the tension and urgency.
  • The dialogue with Mehdi Behrouz feels somewhat expository and could be more dynamic. Instead of simply stating facts about the film and the political climate, consider incorporating subtext or conflict in their exchange to create a more engaging interaction.
  • The use of archive footage is a strong visual choice, but it could be better integrated into the narrative. Instead of a straightforward transition, consider using the footage to reflect Mendez's emotional state or to juxtapose his mission against the backdrop of the chaos in Tehran.
  • The pacing of the scene feels uneven, particularly in the transition from the airport to the taxi. A smoother transition could maintain the tension and urgency, perhaps by showing Mendez's immediate reactions to the environment as he moves through it.
Suggestions
  • Incorporate Mendez's internal monologue or reflections to provide insight into his emotional state and the gravity of his mission.
  • Enhance sensory details throughout the scene to create a more immersive experience for the audience, focusing on the sights, sounds, and smells of the airport and Tehran.
  • Revise the dialogue between Mendez and Behrouz to include more subtext or conflict, making their interaction feel more dynamic and engaging.
  • Consider using the archive footage to reflect Mendez's emotional journey or to create a more profound contrast between his mission and the chaos surrounding him.
  • Smooth out the pacing by ensuring transitions between locations feel more fluid, possibly by showing Mendez's immediate reactions to the environment as he navigates through it.



Scene 34 - Urgent Alliances
177 EXT. CANADIAN EMBASSY - DAY 177

A TAXI pulls away.

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.

TAYLOR
I was expecting more of a G-Man
look.

MENDEZ
You’re thinking of FBI, sir.

They get into the car.


178 INT. TAYLOR’S CAR - OUTSIDE EMBASSY - CONTINUOUS ACTION 178

Taylor gives Tony SIX BLANK CANADIAN PASSPORTS.

TAYLOR
These are blank, y’know. The
stamps?

MENDEZ
I’ll take care of that.

TAYLOR
How long?

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"]

Summary Mendez arrives at the Canadian Embassy and meets Ambassador Ken Taylor, who provides him with six blank Canadian passports. They discuss the urgent need for cover stories for the individuals they are trying to help, while Taylor warns Mendez about a potential security threat from a housekeeper who may have discovered their identities. The tension escalates as they hear a crowd outside, indicating a demonstration, heightening the stakes of their mission.
Strengths
  • Building tension
  • Establishing urgency
  • Setting up key plot elements
Weaknesses
  • Limited emotional depth
  • Lack of character development

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and sets up the urgency of Mendez's mission. It introduces key elements such as the blank passports, the potential threat from the housekeeper, and the chaotic atmosphere outside. The dialogue is concise and serves to move the plot forward while establishing the risks involved.


Story Content

Concept: 8

The concept of Mendez's undercover mission is compelling and drives the narrative forward. The scene effectively conveys the risks and challenges faced by the characters, setting up the central conflict of the story.

Plot: 8.5

The plot is advanced significantly in this scene, as Mendez receives the passports and learns about the potential danger from the housekeeper. The scene sets up key elements that will impact the story's development, making it a crucial moment in the narrative.

Originality: 8

The scene introduces a fresh approach to the spy genre by focusing on the intricate details of passport preparation and the tension of potential betrayal. The authenticity of the characters' actions and dialogue adds depth to the narrative.


Character Development

Characters: 8

The characters of Mendez and Taylor are well-defined in this scene, with Mendez showcasing determination and quick thinking, while Taylor exudes a sense of caution and experience. Their interaction adds depth to their personalities and sets up their dynamic for future interactions.

Character Changes: 7

Mendez undergoes a subtle change in this scene, as he must quickly adapt to the new information about the potential threat and adjust his plans accordingly. His decision-making process and quick thinking showcase his ability to handle high-pressure situations.

Internal Goal: 8

The protagonist's internal goal is to successfully prepare the blank Canadian passports with cover stories and ensure the safety of the individuals involved in the operation. This reflects Mendez's desire to protect and rescue the stranded Americans, showcasing his bravery and resourcefulness.

External Goal: 7.5

The protagonist's external goal is to fly out with the prepared passports and ensure the safe escape of the stranded Americans. This goal reflects the immediate challenge of navigating a dangerous situation and executing a risky plan under time pressure.


Scene Elements

Conflict Level: 8

The level of conflict in the scene is high, as Mendez must navigate potential threats and make quick decisions to ensure the success of his mission. The tension between the characters and the external dangers add to the sense of conflict.

Opposition: 7.5

The opposition in the scene is strong, with the potential betrayal from the housekeeper adding a layer of complexity and uncertainty to the protagonist's mission. The audience is left on edge, unsure of who can be trusted.

High Stakes: 9

The stakes are high in this scene, as Mendez must navigate potential threats and make critical decisions to ensure the success of his mission. The safety of the hostages and the risks involved add to the sense of urgency and danger.

Story Forward: 9

The scene significantly moves the story forward by introducing key elements that will impact the narrative. It sets up the central conflict and establishes the mission's objectives, laying the groundwork for the events to come.

Unpredictability: 8

This scene is unpredictable because of the sudden revelation of a potential betrayal and the uncertainty surrounding the housekeeper's loyalty. The audience is left unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict revolves around trust and deception, as the protagonist must navigate potential betrayal from a housekeeper and the uncertainty of who can be trusted in a high-stakes situation. This challenges Mendez's beliefs in loyalty and the importance of trust in espionage operations.


Audience Engagement

Emotional Impact: 7

The scene has a moderate emotional impact, as the audience is drawn into the tension and uncertainty of Mendez's mission. The potential danger and the stakes involved create a sense of unease and concern for the characters.

Dialogue: 8

The dialogue in the scene is concise and serves to move the plot forward. It effectively conveys information about the mission and the potential threat, while also establishing the characters' motivations and concerns.

Engagement: 9

This scene is engaging because of its tense atmosphere, escalating stakes, and the subtle hints of danger and betrayal. The dialogue and character interactions keep the audience invested in the unfolding events.

Pacing: 8.5

The pacing of the scene effectively builds tension and suspense, with a gradual escalation of events leading to a climactic revelation. The rhythm of the dialogue and action keeps the audience engaged.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings and concise action descriptions.

Structure: 8

The scene follows the expected structure for a suspenseful espionage genre, with a clear setup of goals and obstacles leading to a climactic revelation.


Critique
  • The scene effectively establishes a sense of urgency and tension with the introduction of the crowd noise outside the embassy, which serves as a constant reminder of the danger surrounding the characters. However, the dialogue could be more dynamic to reflect the high stakes of the situation. Currently, it feels somewhat flat and lacks emotional weight.
  • The interaction between Mendez and Taylor is functional but could benefit from deeper character development. Adding subtext or personal stakes for Mendez could enhance the audience's connection to him. For instance, a brief mention of his personal feelings about the mission or the risks involved could add depth.
  • The use of the blank Canadian passports as a plot device is effective, but the dialogue surrounding them could be more engaging. Instead of simply stating the facts, consider incorporating a moment of tension or doubt about the passports' effectiveness, which would heighten the stakes.
  • The scene transitions smoothly from the exterior to the interior of the car, but the visual descriptions could be more vivid. Describing the surroundings or the atmosphere inside the car could help immerse the audience further into the scene.
  • The dialogue about the housekeeper who may have discovered the identities of the houseguests introduces an interesting conflict, but it feels somewhat rushed. Expanding on this point could create more tension and suspense, making the audience more invested in the outcome.
Suggestions
  • Consider adding a moment of hesitation or concern from Mendez when he receives the passports, reflecting the gravity of the situation and his awareness of the risks involved.
  • Incorporate more subtext in the dialogue between Mendez and Taylor. For example, they could exchange knowing glances or subtle body language that indicates their shared understanding of the danger they face.
  • Enhance the description of the environment outside the embassy to create a more vivid sense of place. This could include sensory details like the smell of smoke or the sight of protestors, which would heighten the tension.
  • Introduce a brief flashback or internal monologue for Mendez that reflects on his past experiences or personal stakes in the mission, adding emotional depth to his character.
  • Expand on the implications of the housekeeper's potential knowledge. Perhaps include a moment where Taylor expresses his fears or doubts about the situation, which would add layers to his character and the urgency of their mission.



Scene 35 - Tension in Tehran
179A INT. CIA - O’DONNELL’S OFFICE - NIGHT 179A

O’DONNELL
He got to the embassy.

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.
Genres: ["Drama","Thriller"]

Summary In a tense scene, CIA officials O'Donnell and Pender grapple with a media leak revealing the presence of a group at the embassy, prompting urgent measures to suppress the story. Meanwhile, at the Canadian ambassador's residence in Tehran, Ken Taylor and Mendez reassure six anxious houseguests about their escape plan. However, skepticism arises, particularly from Joe Stafford, who questions Mendez's identity and intentions, highlighting the danger they face as the situation escalates.
Strengths
  • Tension-building
  • Character development
  • Emotional depth
Weaknesses
  • Limited action
  • Heavy dialogue

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and establishes the precarious nature of the mission. The dialogue is engaging, and the emotional impact is palpable, drawing the audience into the characters' fears and doubts.


Story Content

Concept: 8

The concept of the scene, focusing on the meeting between Mendez and the houseguests, is crucial in setting up the central conflict of the story and highlighting the risks involved in the rescue operation.

Plot: 8.5

The plot of the scene is engaging and moves the story forward by establishing the challenges and obstacles the characters must overcome. It sets up the mission and creates anticipation for the outcome.

Originality: 8

The scene presents a fresh approach to the spy thriller genre by focusing on the interpersonal dynamics and emotional stakes of the characters involved. The authenticity of the dialogue and the complex moral dilemmas add originality to the scene.


Character Development

Characters: 8

The characters in the scene are well-developed, each with their own doubts and fears, adding depth to the interactions and highlighting the personal stakes involved in the mission.

Character Changes: 8

The characters undergo subtle changes in their perspectives and attitudes during the scene, as they grapple with the risks and uncertainties of the mission. Their interactions reveal their vulnerabilities and fears, adding depth to their arcs.

Internal Goal: 8

The protagonist's internal goal is to gain the trust and cooperation of the houseguests in order to successfully execute the operation. This reflects his need for validation, competence, and the desire to prove himself in a challenging situation.

External Goal: 9

The protagonist's external goal is to extract the houseguests from Tehran safely and without detection. This reflects the immediate challenge of navigating a dangerous political situation and ensuring the success of the mission.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with the characters facing internal doubts and external threats. The tension between trust and skepticism adds depth to the interactions and raises the stakes for the mission.

Opposition: 8

The opposition in the scene is strong, with the houseguests' skepticism and fear posing a significant challenge to the protagonist's mission, creating uncertainty and tension for the audience.

High Stakes: 9

The stakes in the scene are high, with the characters' lives on the line and the success of the mission hanging in the balance. The risks and dangers they face add intensity to the scene and create a sense of urgency.

Story Forward: 9

The scene effectively moves the story forward by setting up the central conflict and establishing the mission's challenges. It creates anticipation for the resolution of the operation and sets the stage for the characters' journey.

Unpredictability: 8

This scene is unpredictable because of the shifting alliances, the characters' conflicting motivations, and the uncertain outcome of the mission, keeping the audience on edge.

Philosophical Conflict: 7

The philosophical conflict revolves around the trust and skepticism between the houseguests and the protagonist. The houseguests are wary of putting their lives in the hands of a stranger, while the protagonist must convince them of his capabilities and trustworthiness.


Audience Engagement

Emotional Impact: 8.5

The scene has a strong emotional impact, eliciting feelings of anxiety, concern, and fear from the audience. The characters' vulnerabilities and the high stakes of the situation resonate with viewers, creating a sense of urgency and tension.

Dialogue: 8.5

The dialogue in the scene is impactful, conveying the characters' emotions and motivations effectively. It adds to the tension and suspense of the scene, drawing the audience into the characters' dilemmas.

Engagement: 9

This scene is engaging because of the high stakes, the intense character dynamics, and the sense of urgency and danger that keeps the audience invested in the outcome.

Pacing: 9

The pacing of the scene is effective in building tension and suspense, with a balance of dialogue, action, and character moments that keep the audience engaged and invested in the story.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for a screenplay, with clear scene headings, character names, and dialogue formatting that enhances readability and visual storytelling.

Structure: 9

The scene follows the expected structure for a suspenseful thriller, with a clear setup of the conflict, character interactions, and escalating tension leading to a cliffhanger moment.


Critique
  • The scene effectively builds tension by highlighting the urgency of the situation through O'Donnell and Pender's dialogue. However, the stakes could be elevated further by incorporating more emotional weight or personal stakes for the characters involved, particularly for Pender, who is visibly distressed about the situation.
  • The dialogue is functional but lacks a distinct voice for each character. Pender's lines, for instance, could be more emotionally charged to reflect his anxiety about the potential fallout from the media leak. This would help differentiate him from O'Donnell and make the scene more engaging.
  • The transition from the CIA office to the Canadian Ambassador's residence feels abrupt. A brief moment of reflection or a visual cue could help bridge the two locations, emphasizing the gravity of the situation as Mendez prepares to meet the houseguests.
  • The introduction of the houseguests is somewhat flat. Instead of just stating that they are looking at Mendez like 'kids waiting to be told the lesson plan,' consider adding specific actions or expressions that convey their fear and skepticism more vividly. This would enhance the emotional stakes and make the audience more invested in their plight.
  • The dialogue about the absurdity of the cover story is a strong moment, but it could benefit from more specificity. Instead of just stating that it's 'theater of the absurd,' perhaps one of the characters could reference a specific absurdity in the situation, making it more relatable and impactful.
  • The scene ends on a somewhat ambiguous note with Mendez's admission that this would be a first for him. While this adds tension, it might be more effective to conclude with a stronger emotional beat, such as a moment of solidarity or resolve among the houseguests, to leave the audience with a sense of hope or determination.
Suggestions
  • Enhance character differentiation by giving each character a unique way of speaking or reacting to the situation, particularly in high-stress moments.
  • Incorporate more visual storytelling elements to convey the atmosphere and emotional stakes, such as close-ups of the characters' faces to capture their fear or determination.
  • Consider adding a moment of reflection for Mendez before he meets the houseguests, perhaps showing him grappling with the weight of the responsibility he carries.
  • Use specific references or anecdotes in the dialogue to ground the absurdity of the situation, making it more relatable and impactful for the audience.
  • End the scene with a stronger emotional connection among the characters, perhaps through a shared moment of resolve or a rallying cry that emphasizes their unity in the face of danger.



Scene 36 - The Urgency of Escape
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.’

INTERCUT WITH:
Genres: ["Drama","Thriller"]

Summary At the Canadian Ambassador's residence, Mendez and Ken Taylor discuss the imminent closure of the embassy due to safety concerns for the houseguests. Inside, Joe Stafford and Bob Anders debate the viability of escaping with fake passports, with Stafford expressing doubt. Mendez emphasizes the need for immediate action and prepares the houseguests by providing them with new identities. The tension escalates as they confront the risks involved, while Mendez later sets up a phone scrambler in a hotel room to coordinate the escape plan.
Strengths
  • Effective tension-building
  • Clear setup of escape plan
  • Strong character dynamics
Weaknesses
  • Limited character development
  • Some dialogue could be more impactful

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and sets up the stakes for the upcoming escape plan. The focus on the cover identities adds depth to the characters and emphasizes the dangerous situation they are in.


Story Content

Concept: 8

The concept of preparing cover identities for the houseguests adds depth to the plot and characters, highlighting the risks and challenges they face.

Plot: 8.5

The plot is advanced significantly in this scene as the characters prepare for their escape, setting up the high stakes and potential dangers they will encounter.

Originality: 8

The scene presents a fresh approach to the rescue mission genre by highlighting the moral dilemmas and personal sacrifices of the characters. The authenticity of the dialogue adds depth to the characters' actions.


Character Development

Characters: 8

The characters are well-developed in this scene, with their reactions to the cover identities reflecting their individual personalities and the risks they are willing to take.

Character Changes: 7

While there are no significant character changes in this scene, the characters' reactions to the cover identities reveal more about their personalities and motivations.

Internal Goal: 8

The protagonist's internal goal is to successfully execute a risky plan to rescue American diplomats from Iran. This reflects his desire to prove his capabilities and make a difference in a high-stakes situation.

External Goal: 9

The protagonist's external goal is to coordinate the rescue mission and ensure the safety of the American diplomats. This reflects the immediate challenge of navigating a dangerous political landscape.


Scene Elements

Conflict Level: 8

The conflict in the scene is high, as the characters face the imminent threat of being discovered and the potential consequences of their actions.

Opposition: 8

The opposition in the scene is strong, with characters facing internal and external conflicts that challenge their beliefs and decisions, adding complexity to the narrative.

High Stakes: 9

The stakes are high in this scene, as the characters prepare to assume false identities and attempt to escape a dangerous situation, risking their lives in the process.

Story Forward: 9

The scene significantly moves the story forward by setting up the escape plan and highlighting the risks and challenges the characters will face.

Unpredictability: 7

This scene is unpredictable because of the characters' conflicting opinions and the uncertain outcome of the rescue mission, keeping the audience on edge.

Philosophical Conflict: 7

The philosophical conflict revolves around the characters' beliefs about risk-taking and sacrifice for a greater cause. Some characters are hesitant while others are willing to take bold actions, challenging each other's values and priorities.


Audience Engagement

Emotional Impact: 8

The scene has a strong emotional impact, as the characters grapple with the risks and uncertainties of their situation, creating a sense of tension and apprehension.

Dialogue: 7.5

The dialogue effectively conveys the tension and uncertainty of the situation, with the characters expressing their concerns and doubts about the escape plan.

Engagement: 9

This scene is engaging because of its fast-paced dialogue, high stakes, and moral dilemmas that keep the audience invested in the characters' fates.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged in the characters' decisions and actions.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings and descriptions of character actions.

Structure: 8

The scene follows a clear structure with distinct locations and character interactions, effectively building tension and suspense.


Critique
  • The scene effectively builds tension by showcasing the urgency of the situation and the conflicting emotions among the characters. Mendez's uncertainty about the escape plan contrasts well with the skepticism of the houseguests, particularly Joe Stafford, which adds depth to their characters and highlights the stakes involved.
  • The dialogue is sharp and reflects the characters' personalities and their varying degrees of trust in Mendez. However, some lines could be tightened for clarity and impact. For instance, Joe's dialogue could be more concise to maintain the scene's pacing.
  • The transition between the outdoor and indoor settings is somewhat abrupt. While it serves to emphasize the contrast between the safety of the ambassador's residence and the danger outside, a smoother transition could enhance the flow of the scene.
  • The emotional stakes are high, but the scene could benefit from more visual cues to enhance the tension. For example, incorporating more sensory details about the environment, such as the sounds of the crowd outside or the atmosphere inside the residence, could immerse the audience further into the scene.
  • The moment where Mendez hands out the envelopes is pivotal, but it lacks a strong visual or emotional anchor. A brief moment of silence or a close-up on the envelopes could heighten the significance of this action and the weight of the identities being assumed.
Suggestions
  • Consider tightening Joe Stafford's dialogue to make his skepticism more impactful and concise. This will help maintain the scene's pacing and keep the audience engaged.
  • Enhance the transition between the outdoor and indoor settings by adding a brief moment that highlights the contrast, such as a sound cue or a visual description of the chaos outside before cutting to the calm inside.
  • Incorporate more sensory details to create a richer atmosphere. Describe the sounds of the crowd, the tension in the air, or the expressions on the characters' faces to draw the audience deeper into the scene.
  • Add a visual or emotional anchor when Mendez hands out the envelopes. A close-up shot or a moment of silence could emphasize the gravity of the situation and the identities being assumed by the houseguests.
  • Consider including a moment of hesitation or doubt from the houseguests as they receive their envelopes. This could add depth to their characters and further illustrate the weight of the decision they are making.



Scene 37 - Tensions in the Dark
195 INT. O’DONNELL’S OFFICE - NIGHT 195

O’Donnell on the phone.

O’DONNELL
They called your bluff.

MENDEZ
Or maybe they’re cooperating.

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.
Genres: ["Drama","Thriller"]

Summary In a tense night scene, O'Donnell anxiously discusses the perilous situation of seven Americans in Iran over the phone, fearing a potential riot. Mendez offers a more optimistic view, but O'Donnell remains skeptical about their safety. Meanwhile, at the Canadian Ambassador's residence, Mark Lijek studies documents while Joe Stafford translates alarming statements from Iranian State Television, reflecting on his wife's earlier warnings and their precarious fate. The conflict between O'Donnell and Mendez highlights the urgency of their escape, culminating in Joe's chilling realization that they might not survive in Iran.
Strengths
  • Emotional depth of characters
  • Tension and suspense building
  • Realistic portrayal of danger
Weaknesses
  • Some characters' reactions may feel repetitive

Ratings
Overall

Overall: 8.5

The scene effectively conveys the high stakes and emotional turmoil faced by the characters, creating a sense of tension and urgency.


Story Content

Concept: 8

The concept of impending danger and the characters' internal conflicts are well-developed, adding depth to the narrative.

Plot: 8

The plot progresses by highlighting the characters' emotional states and the escalating risks they face, driving the story forward.

Originality: 8

The scene introduces fresh situations and conflicts within a familiar genre, adding authenticity to the characters' actions and dialogue.


Character Development

Characters: 9

The characters are well-developed, each displaying unique fears and doubts that add complexity to the scene.

Character Changes: 8

The characters undergo emotional changes, revealing their vulnerabilities and fears in the face of danger.

Internal Goal: 8

Mendez's internal goal in this scene is to navigate a difficult situation and protect his team. This reflects his deeper need for safety, security, and loyalty to his colleagues.

External Goal: 7

Mendez's external goal is to make a decision about whether to proceed with a risky operation. This reflects the immediate circumstances of political tension and potential danger.


Scene Elements

Conflict Level: 9

The conflict is high as the characters face the real possibility of danger and must make difficult decisions to ensure their survival.

Opposition: 7

The opposition in the scene is strong, with characters facing difficult choices and conflicting priorities that create obstacles to their goals.

High Stakes: 9

The stakes are high as the characters face the threat of capture and must make critical decisions to ensure their safety.

Story Forward: 8

The scene moves the story forward by heightening the tension and setting the stage for the characters' escape plan.

Unpredictability: 7

This scene is unpredictable because of the characters' shifting allegiances, moral dilemmas, and unexpected plot twists that keep the audience guessing.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is between the characters' sense of duty and their personal safety. Mendez and O'Donnell must balance their loyalty to their country with the well-being of their team members.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, evoking fear, tension, and empathy for the characters' plight.

Dialogue: 8.5

The dialogue effectively conveys the characters' emotions and internal conflicts, adding depth to their interactions.

Engagement: 9

This scene is engaging because of the high stakes, emotional conflicts, and suspenseful decision-making that keeps the audience invested in the characters' fates.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with a balance of dialogue and action that keeps the story moving forward.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to industry standards, with proper scene headings, dialogue formatting, and action descriptions.

Structure: 8

The structure of the scene follows the expected format for its genre, with clear transitions between locations and a focus on character interactions.


Critique
  • The scene effectively builds tension through the dialogue between O'Donnell and Mendez, highlighting the stakes of the situation. However, the transition between the two locations (O'Donnell's office and the Canadian Ambassador's residence) could be smoother to maintain the flow of the narrative.
  • Mendez's escalating frustration is palpable, but it could be enhanced by incorporating more physical actions or expressions to complement the dialogue. This would help convey his emotional state more vividly to the audience.
  • The dialogue is strong, but it could benefit from more subtext. For instance, when Mendez mentions the potential for a riot, it would be impactful to include a line that hints at his personal stakes or fears, deepening the emotional resonance.
  • The introduction of Joe Stafford's backstory adds depth to his character, but it feels slightly abrupt. A more gradual reveal of his internal conflict regarding his wife's pleas could create a stronger emotional impact.
  • The scene's pacing is somewhat uneven. The dialogue between O'Donnell and Mendez is quick and urgent, while the transition to the Canadian Ambassador's residence slows down significantly. Balancing the pacing between these two sections could enhance the overall tension.
Suggestions
  • Consider adding a brief moment of silence or a visual cue after O'Donnell's line about the potential for a riot, allowing the weight of the situation to sink in before transitioning to the next location.
  • Incorporate more physicality into Mendez's character during his phone call, such as pacing or fidgeting, to visually represent his anxiety and urgency.
  • Add a line or two of subtext in Mendez's dialogue that reveals his personal stakes in the mission, perhaps referencing his family or his own fears about the situation.
  • Gradually reveal Joe Stafford's backstory by having him reflect on his wife's pleas earlier in the scene, perhaps through a flashback or a more extended dialogue exchange with Mark Lijek.
  • Adjust the pacing by intercutting between O'Donnell's office and the Canadian Ambassador's residence more frequently, creating a rhythm that maintains tension while allowing for character development.



Scene 38 - Tensions Rise at the Komiteh Headquarters
197 INT. KOMITEH HEADQUARTERS (AMIR ABAD DISTRICT) - DAY 197

The feeling here is dangerous. Young men carrying
automatic weapons casually.

Behrouz stands next to ALI KHALKALI, 30s, a Revolutionary
Committee security official. There are RECONSTRUCTED
EMBASSY PICTURES ON THE WALL.

We see the FAMOUS PICTURES OF THE HOSTAGES BEING MARCHED
DOWN THE STEPS.


197A INT. KOMITEH HEADQUARTERS STAIRWAY - CONTINUOUS ACTION 197A

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.

CORA LIJEK (V.O.)
This isn’t what we agreed to. *


199 INT. CANADIAN AMBASSADOR’S RESIDENCE - KEN’S OFFICE - 199
MORNING

The Houseguests are gathered in the office. Cora hands
the telefax to Bob Anders. Joe Stafford, looking on.

CORA LIJEK
You said ‘a day to learn your
covers then straight to the
airport.’ You said that.

BOB ANDERS
They suspect something?


(CONTINUED)
ARGO - Final 77.
199 CONTINUED: 199

MENDEZ
What I know is we need to act like
a movie crew. We go to the bazaar
today, we fly out tomorrow.

Silent assent among the group. Then Joe Stafford,
sitting with his wife, speaks up --

JOE STAFFORD
We won’t do it.

MARK LIJEK
He told them there were six of us.
They’re expecting six. *

JOE STAFFORD
(to Mendez)
You are about to show the only
card we’re holding. Which is that
they don’t know we’re here.

MENDEZ
I’m asking you to trust me.

JOE STAFFORD
I don’t trust you.

BOB ANDERS
(fed up, to Joe)
What’s the alternative? This is
the ball game, Joe. What world
are you living in?

JOE STAFFORD
The one where they’re hanging
people from construction cranes,
Bob.

Joe takes Kathy’s hand and goes, leaving Mendez with the
others. After a moment --

MARK LIJEK
(to Mendez)
So we’ll see you at two?
Genres: ["Drama","Thriller"]

Summary In a tense atmosphere at the Komiteh Headquarters, Behrouz and security official Ali Khalkali receive the Argo script from a young Komiteh member. Meanwhile, at the Sheraton balcony, Tony reviews a storyboard while Cora Lijek expresses her concerns about the plan's alignment with their agreement. At the Canadian Ambassador's residence, a heated discussion unfolds as Cora hands a telefax to Bob Anders, leading to Joe Stafford's distrust of Mendez's plan to pose as a movie crew. Despite the risks, Mark Lijek advocates for proceeding with the plan, culminating in a confirmation of a meeting with Mendez.
Strengths
  • Intense emotional conflict
  • Realistic portrayal of high-stakes decision-making
  • Strong character dynamics
Weaknesses
  • Some characters' motivations could be further explored

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and conflict through the characters' emotional turmoil and the weight of the decision they face. The dialogue is impactful and drives the plot forward significantly.


Story Content

Concept: 8

The concept of trust, fear, and desperation in a high-stakes situation is effectively portrayed in the scene. The decision-making process and the consequences of the characters' choices are central themes.

Plot: 8.5

The plot is advanced significantly in this scene as the characters grapple with a crucial decision that will impact their fate. The tension and conflict drive the narrative forward.

Originality: 9

The scene introduces a fresh approach to a familiar rescue mission narrative by focusing on the internal conflicts and philosophical dilemmas faced by the characters. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8.5

The characters are well-developed, each with distinct personalities and motivations that drive their actions and decisions. The conflict between them adds depth to the scene.

Character Changes: 8

The characters undergo internal changes as they confront their fears, doubts, and trust issues. Their decisions in this scene will likely shape their arcs moving forward.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain trust and unity among the group of houseguests and convince them to follow his plan. This reflects his deeper need for cooperation and loyalty in a high-stakes situation.

External Goal: 9

The protagonist's external goal is to convince the houseguests to act like a movie crew, go to the bazaar, and fly out the next day as part of the rescue plan. This goal reflects the immediate circumstances and challenges they are facing in trying to escape safely.


Scene Elements

Conflict Level: 9

The conflict in the scene is high, with characters at odds over a life-changing decision. The tension and emotional turmoil create a sense of urgency and suspense.

Opposition: 8

The opposition in the scene is strong, with conflicting viewpoints and decisions among the characters that create obstacles and challenges for the protagonist.

High Stakes: 9

The stakes are incredibly high in this scene, as the characters must decide whether to trust Mendez's plan for escape, knowing that their lives are on the line.

Story Forward: 9

The scene propels the story forward by setting up a crucial decision point for the characters and foreshadowing the risks and challenges they will face in the escape plan.

Unpredictability: 8

This scene is unpredictable because of the conflicting viewpoints and decisions of the characters, creating uncertainty about the outcome of the rescue plan.

Philosophical Conflict: 8

The philosophical conflict in this scene is between Joe Stafford's cautious and fearful approach to the situation, and Mendez's bold and risky plan. This challenges the protagonist's beliefs about trust, risk-taking, and the value of unity in a crisis.


Audience Engagement

Emotional Impact: 9

The scene has a significant emotional impact, evoking fear, tension, and empathy for the characters' plight. The raw emotions and high stakes resonate with the audience.

Dialogue: 8

The dialogue is intense and impactful, revealing the characters' emotions, doubts, and convictions. It effectively conveys the stakes of the situation and the internal struggles of the characters.

Engagement: 9

This scene is engaging because of its high stakes, conflicting character motivations, and suspenseful dialogue that keeps the audience invested in the outcome.

Pacing: 9

The pacing of the scene effectively builds suspense and tension, keeping the audience engaged and invested in the characters' decisions and actions.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear scene headings, action descriptions, and dialogue formatting.

Structure: 9

The scene follows the expected structure for its genre, effectively building tension and conflict through dialogue and action sequences.


Critique
  • The scene effectively builds tension through the dialogue and the stakes involved, particularly with Joe Stafford's vocal distrust of Mendez. However, the emotional stakes could be heightened further by incorporating more internal conflict or backstory for Joe, which would help the audience empathize with his fear and skepticism.
  • The setting transitions from the Komiteh Headquarters to the Sheraton Balcony and then to the Canadian Ambassador's residence, which can be confusing for the audience. Clearer visual transitions or establishing shots could help ground the viewer in each location and maintain clarity.
  • The dialogue is sharp and reflects the urgency of the situation, but it could benefit from more subtext. For instance, Joe's distrust could be layered with hints of personal stakes or past experiences that inform his current fears, making his objections more compelling.
  • The pacing of the scene feels slightly rushed, particularly in the transition from the Komiteh Headquarters to the discussions among the houseguests. Allowing for more pauses or reactions could enhance the tension and give the audience time to absorb the gravity of the situation.
  • The use of the phrase 'the only card we’re holding' is a strong metaphor, but it could be expanded upon. Exploring what that card represents for each character could deepen the emotional resonance of the scene.
Suggestions
  • Consider adding a brief flashback or internal monologue for Joe Stafford that reveals his past experiences or fears, which would provide context for his distrust and enhance audience empathy.
  • Incorporate clearer visual transitions between locations to help the audience follow the narrative flow. This could be achieved through establishing shots or visual cues that signify a change in setting.
  • Enhance the dialogue with subtext by allowing characters to express their fears or doubts indirectly, which can create a richer emotional landscape and make the conflict feel more layered.
  • Slow down the pacing in certain moments to allow for character reactions and emotional beats. This could involve adding pauses after significant lines or actions to let the tension build.
  • Expand on the metaphor of 'the only card we’re holding' by having characters reflect on what that means for them personally, which could add depth to their motivations and fears.



Scene 39 - Disguises and Dread
200 INT. CARPET FACTORY - MORNING 200

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

KATHY STAFFORD
(to Joe)
Somebody knows.
Genres: ["Drama","Thriller"]

Summary In a carpet factory, a Komiteh Boss oversees child weavers while, at the Canadian Ambassador's residence, houseguests prepare to disguise themselves. Tensions rise as Pat Taylor receives a distressing phone call, suggesting their presence is known. Amidst the anxiety, Cora Lijek humorously dyes her hair, and light-hearted banter attempts to ease the mood. The scene concludes with a sense of uncertainty as Kathy and Joe Stafford share a moment of concern after the alarming news.
Strengths
  • Building tension
  • Effective character development
  • Setting up high stakes
Weaknesses
  • Dialogue could be more impactful in certain moments

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and sets up the stakes for the upcoming escape plan, keeping the audience engaged with the characters' fears and uncertainties.


Story Content

Concept: 8

The concept of preparing to escape under the threat of discovery is well-developed and drives the tension in the scene.

Plot: 8.5

The plot progresses as the characters prepare to escape, setting up the next crucial phase of the story.

Originality: 8

The scene introduces a fresh take on the spy genre by focusing on the personal struggles and emotions of the characters.


Character Development

Characters: 8

The characters' fears and doubts are effectively portrayed, adding depth to their personalities and motivations.

Character Changes: 7

The characters experience heightened anxiety and uncertainty, but there is room for further development in future scenes.

Internal Goal: 8

The protagonist's internal goal is to maintain composure and hide their anxiety while preparing for a dangerous mission.

External Goal: 9

The protagonist's external goal is to disguise themselves effectively and prepare for a scout.


Scene Elements

Conflict Level: 8

The conflict arises from the characters' internal fears and the external threat of discovery, creating a tense atmosphere.

Opposition: 8

The opposition in the scene adds complexity and uncertainty to the characters' situation.

High Stakes: 9

The high stakes are evident as the characters prepare to escape under the threat of discovery, adding urgency and tension to the scene.

Story Forward: 8

The scene moves the story forward by setting up the escape plan and increasing the stakes for the characters.

Unpredictability: 8

The scene is unpredictable due to the unexpected phone call and the characters' reactions.

Philosophical Conflict: 7

The philosophical conflict revolves around the tension between maintaining a facade and revealing one's true identity in a dangerous situation.


Audience Engagement

Emotional Impact: 8

The scene evokes fear and tension in the audience, drawing them into the characters' precarious situation.

Dialogue: 7.5

The dialogue conveys the characters' concerns and the sense of impending danger, but could have been more impactful in certain moments.

Engagement: 9

This scene is engaging due to its suspenseful atmosphere and emotional depth.

Pacing: 9

The pacing effectively builds tension and suspense, keeping the audience engaged.


Technical Aspect

Formatting: 9

The formatting adheres to the expected standards for the genre, enhancing the readability and impact of the scene.

Structure: 9

The scene follows a structured format that effectively builds tension and suspense.


Critique
  • The scene effectively juxtaposes the tension of the Komiteh Boss inspecting the carpet factory with the houseguests' preparations for disguise, creating a palpable sense of danger. However, the transition between these two settings could be more fluid to enhance the narrative flow. The abrupt shift from the factory to the ambassador's residence may disorient the audience.
  • The dialogue among the houseguests is light-hearted, which contrasts with the serious undertones of their situation. While humor can be a coping mechanism, it might undermine the urgency of their predicament. Consider adjusting the tone of the dialogue to reflect the gravity of their circumstances more consistently.
  • Pat Taylor's phone call introduces a moment of tension, but the scene could benefit from a clearer indication of what the call entails. The audience is left in suspense without enough context about who is calling or the implications of the conversation. This could be an opportunity to heighten the stakes further.
  • The visual elements, such as the maple leaf lapel pin and hair dye, are effective symbols of disguise and transformation. However, the scene could delve deeper into the emotional weight of these actions. How do the characters feel about altering their identities? Adding internal thoughts or reactions could enhance the emotional depth.
  • The scene ends on a note of anxiety with Kathy's line about someone knowing their whereabouts. While this is effective, it could be strengthened by showing more of the characters' reactions to this news. A brief moment of panic or a shared look of concern could amplify the tension and set the stage for the next scene.
Suggestions
  • Consider adding a brief moment of reflection or internal dialogue from the houseguests as they prepare, allowing the audience to connect with their emotional state and the weight of their situation.
  • Enhance the transition between the carpet factory and the ambassador's residence by using a visual or auditory cue, such as a sound of a phone ringing that overlaps the scenes, to create a more seamless narrative flow.
  • Clarify the content of Pat's phone call by including a line or two that hints at the nature of the call, perhaps indicating that it is a warning or a threat, to raise the stakes and tension.
  • Incorporate more physical reactions from the characters in response to the phone call, such as a change in posture or facial expressions, to visually convey their anxiety and fear.
  • Consider adjusting the dialogue to maintain a consistent tone of urgency and tension, perhaps by reducing the humor and focusing more on the characters' fears and doubts about their escape plan.



Scene 40 - Escape from Tehran
202 INT. SHERATON ROOM - DAY 202

Tony getting dressed. Thinking.

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.

Kathy looks at her husband.

JOE STAFFORD
Sean Bissett, associate producer.

MENDEZ
Let’s make a movie.
ARGO - Final 81.
Genres: ["Drama","Thriller"]

Summary Tony Mendez prepares for a high-stakes escape mission in Tehran, reassuring the Houseguests at the Canadian Ambassador's residence. As they drive through the city, they encounter a chaotic demonstration, heightening the tension. Mendez encourages the group to introduce their fake identities, solidifying their cover story. The scene captures the anxiety of the characters as they navigate danger and prepare for their escape.
Strengths
  • Tension-building
  • Character dynamics
  • Pacing
Weaknesses
  • Some characters' skepticism may be repetitive

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and sets the stage for a crucial moment in the plot. The dialogue and character interactions create a sense of urgency and danger, keeping the audience engaged.


Story Content

Concept: 8

The concept of using a movie crew as a cover for the escape plan is innovative and adds a layer of complexity to the plot. The idea of blending in with the surroundings adds depth to the characters' actions.

Plot: 8.5

The plot progresses significantly as the characters prepare to execute the escape plan. The scene moves the story forward by introducing the high stakes and the risks involved in the operation.

Originality: 9

The scene introduces a fresh approach to the rescue mission genre by focusing on the characters' internal struggles and the political tensions of the setting. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8

The characters' reactions and interactions reveal their fears, doubts, and determination, adding depth to their personalities. Each character's role in the escape plan is clearly defined.

Character Changes: 8

The characters undergo a subtle change as they prepare to execute the escape plan. Their willingness to trust Mendez and take a leap of faith reflects a shift in their mindset.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain his composure and confidence in front of the houseguests, despite the dangerous circumstances they are facing. This reflects his deeper need to protect and reassure the people under his care.

External Goal: 7

The protagonist's external goal in this scene is to navigate through the streets of Tehran and reach their destination safely, despite the obstacles and demonstrations they encounter. This reflects the immediate challenge of getting the houseguests out of Iran.


Scene Elements

Conflict Level: 8

The conflict in the scene arises from the characters' internal struggles, doubts about the plan, and the external danger they face in Tehran. The tension between trust and skepticism adds to the conflict.

Opposition: 8

The opposition in the scene is strong, with the characters facing multiple obstacles and dangers that challenge their mission. The uncertainty of the outcome adds to the tension and suspense.

High Stakes: 9

The high stakes are evident in the characters' desperate situation, the risks they take to escape, and the danger lurking in Tehran. The consequences of failure are dire, adding tension to the scene.

Story Forward: 9

The scene significantly moves the story forward by setting up the escape plan and introducing the risks and challenges the characters will face. It propels the narrative towards a crucial turning point.

Unpredictability: 8

This scene is unpredictable because of the unexpected obstacles and dangers the characters face, as well as the uncertain outcome of their mission. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene is between the characters' desire for safety and freedom, and the political tensions and dangers present in Tehran. This challenges the protagonist's beliefs in his ability to protect and rescue the houseguests.


Audience Engagement

Emotional Impact: 8.5

The scene evokes fear, hope, and determination in the characters and the audience. The emotional impact is heightened by the characters' vulnerability and the high stakes of the situation.

Dialogue: 8

The dialogue effectively conveys the characters' emotions, concerns, and motivations. The exchanges between Mendez and the houseguests create tension and suspense.

Engagement: 9

This scene is engaging because of the high stakes, suspenseful atmosphere, and well-developed characters. The tension and urgency keep the audience invested in the outcome.

Pacing: 9

The pacing of the scene contributes to its effectiveness by building suspense and maintaining a sense of urgency. The rhythm of the dialogue and action keeps the audience engaged and invested in the characters' journey.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings and action descriptions. The dialogue is formatted correctly and enhances the flow of the scene.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene effectively builds tension by placing the characters in a precarious situation, driving through a demonstration that symbolizes the chaos outside. However, the transition from the previous scene to this one could be smoother. The abrupt shift from Kathy's ominous statement to Mendez's confident demeanor feels jarring. A brief moment of reflection or a visual cue could help bridge this emotional gap.
  • The dialogue is functional but lacks depth. While the characters introduce themselves with their fake identities, the exchanges feel somewhat mechanical. This is a critical moment where the stakes are high, and the characters should express more anxiety or urgency about their situation. Adding emotional weight to their introductions could enhance the tension.
  • The visual elements are strong, particularly the description of the demonstration and the characters' reactions. However, the scene could benefit from more sensory details to immerse the audience further. For example, describing the sounds of the demonstration or the expressions on the characters' faces could heighten the emotional impact.
  • Mendez's character is portrayed as confident and in control, but this could be contrasted with moments of vulnerability or doubt. Showing a flicker of concern or fear in his demeanor could make him more relatable and add complexity to his character.
  • The pacing of the scene is generally good, but the transition from the car rental to the Canadian Ambassador's residence feels rushed. Taking a moment to explore Mendez's thoughts or feelings as he drives could provide insight into his character and the gravity of the situation.
Suggestions
  • Consider adding a brief moment of reflection for Mendez after Kathy's statement to create a smoother emotional transition into the next scene.
  • Enhance the dialogue during the introductions by incorporating more emotional responses from the characters, reflecting their anxiety and fear about the escape plan.
  • Include more sensory details to immerse the audience in the scene, such as the sounds of the demonstration or the atmosphere inside the minivan.
  • Introduce moments of vulnerability for Mendez to add depth to his character, making him more relatable and complex.
  • Slow down the pacing slightly during the transition from the car rental to the Canadian Ambassador's residence to allow for character development and emotional exploration.



Scene 41 - Cultural Misunderstandings in the Tehran Bazaar
208 EXT. STREET NEAR THE BAZAAR - DAY 208

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"]

Summary In a bustling Tehran Bazaar, Reza greets Mendez and leads him and the Houseguests through the vibrant marketplace. Miscommunication arises when Reza mistakenly believes the film is a comedy about a foreign bride, a notion Bob Anders quickly corrects. Mendez checks on cameraman Lee, who humorously struggles with his equipment. The scene captures the lively atmosphere of the bazaar, culminating in a tense moment as a Revolutionary Guard photographer takes portraits of the Houseguests.
Strengths
  • Tension-building
  • Suspenseful atmosphere
  • Character interactions
Weaknesses
  • Limited character development in the bazaar setting

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and suspense through the setting of the Tehran Bazaar, the interactions with the characters, and the looming threat of being discovered. The use of the freeze frame and black and white photograph adds a creative touch to the storytelling.


Story Content

Concept: 8.5

The concept of the scene, focusing on the undercover operation in a bustling bazaar, is engaging and adds depth to the overall plot. It effectively conveys the risks and challenges faced by the characters in a hostile environment.

Plot: 8

The plot of the scene revolves around the characters navigating through the Tehran Bazaar while undercover, setting the stage for the upcoming escape plan. It moves the story forward by increasing the stakes and highlighting the dangers faced by the houseguests.

Originality: 8

The scene introduces a unique setting and cultural elements, and the dialogue between Reza and Bob Anders adds authenticity to the characters' interactions.


Character Development

Characters: 8

The characters in the scene, particularly Mendez and the houseguests, show resilience and determination in the face of danger. Their interactions and reactions add depth to their personalities and motivations.

Character Changes: 7

While there are subtle shifts in the characters' attitudes and behaviors, the scene primarily focuses on their survival instincts and determination to escape. The characters show resilience and adaptability in the face of adversity.

Internal Goal: 7

Reza's internal goal is to impress Mendez and the group of Houseguests with his knowledge and understanding of film.

External Goal: 6

Reza's external goal is to guide Mendez and the group through the Tehran Bazaar safely.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with the characters facing imminent danger and the constant threat of being discovered. The tension between the characters and their surroundings adds to the overall suspense.

Opposition: 7

The opposition in the scene comes from Reza's disappointment with Bob Anders' response, adding a layer of conflict to the interaction.

High Stakes: 9

The stakes in the scene are high, with the characters risking their lives to escape from Iran. The looming threat of being discovered and the tense atmosphere of the bazaar heighten the sense of danger and urgency.

Story Forward: 8

The scene moves the story forward by setting the stage for the upcoming escape plan and increasing the stakes for the characters. It introduces new challenges and obstacles that drive the narrative towards a critical turning point.

Unpredictability: 6

The scene is somewhat predictable in terms of character interactions and plot progression.

Philosophical Conflict: 6

There is a philosophical conflict between Reza's view of foreign bride films and Bob Anders' dismissal of the idea. This challenges Reza's beliefs about what makes a good film.


Audience Engagement

Emotional Impact: 8

The scene has a strong emotional impact, evoking feelings of anxiety, fear, and uncertainty as the characters navigate through the crowded bazaar. The sense of danger and vulnerability heightens the emotional intensity.

Dialogue: 7.5

The dialogue in the scene effectively conveys the tension and unease of the situation, with subtle exchanges adding to the overall atmosphere. The conversations between the characters reveal their fears and doubts.

Engagement: 7

This scene is engaging because of the dynamic setting, character interactions, and the hint of tension with the Revolutionary Guard photographer.

Pacing: 8

The pacing of the scene is well-balanced, with a mix of dialogue and action that keeps the story moving forward.


Technical Aspect

Formatting: 8

The scene follows standard formatting for a screenplay, with clear scene headings and character actions.

Structure: 8

The scene follows a clear structure with a setup of the location, introduction of characters, and dialogue that advances the plot.


Critique
  • The scene effectively captures the bustling atmosphere of the Tehran Bazaar, providing a vivid backdrop that enhances the tension of the characters' situation. However, the description could benefit from more sensory details to immerse the audience further in the environment, such as sounds, smells, and the emotional reactions of the characters to their surroundings.
  • The dialogue between Reza and Bob Anders feels somewhat flat and lacks depth. While it serves the purpose of establishing the misunderstanding about the film's premise, it could be more engaging. Adding subtext or humor could make the interaction more memorable and showcase the cultural differences more effectively.
  • The moment where Mendez corrects Lee Schatz about the viewfinder is a nice touch that adds a bit of levity to the scene, but it could be expanded to show more of Mendez's leadership style. Perhaps including a brief moment of camaraderie or a light-hearted exchange could help to build the group dynamic and provide a contrast to the tension of their mission.
  • The introduction of the Revolutionary Guard photographer adds an element of danger, but the scene could heighten this tension by showing the characters' reactions to being photographed. This could serve to illustrate their anxiety and the stakes of their situation more vividly.
  • The freeze-frame moment with the handshake between Mendez and Reza is visually striking, but it may disrupt the flow of the narrative. Consider whether this moment is necessary or if it could be integrated more seamlessly into the action to maintain pacing.
Suggestions
  • Enhance the sensory details in the bazaar scene by incorporating descriptions of sounds, smells, and the emotional atmosphere to create a more immersive experience for the audience.
  • Revise the dialogue between Reza and Bob Anders to include more subtext or humor, making it more engaging and reflective of cultural misunderstandings.
  • Expand the interaction between Mendez and Lee Schatz to showcase Mendez's leadership style and build camaraderie among the group, adding depth to their relationships.
  • Show the characters' reactions to the Revolutionary Guard photographer taking their pictures to heighten the tension and illustrate the stakes of their situation more effectively.
  • Consider integrating the freeze-frame moment more fluidly into the scene to maintain narrative pacing and avoid disrupting the flow of action.



Scene 42 - Tensions Rise in Tehran
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"]

Summary The scene unfolds with Ali Khalkali arriving at the Canadian Ambassador's residence in Tehran, where he questions Sahar about the guests. Meanwhile, in the bustling Tehran Bazaar, Reza guides Mendez and the Houseguests through a hostile environment, culminating in a confrontation when Kathy takes a photograph that angers a shopkeeper. As tensions escalate with a gathering crowd, the atmosphere remains charged and foreboding, reflecting the dangers of the revolutionary context.
Strengths
  • Effective portrayal of tension and conflict
  • Authentic cultural representation
  • Engaging character interactions
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 8.5

The scene effectively conveys the rising tension and conflict in a foreign setting, keeping the audience engaged and setting the stage for further developments.


Story Content

Concept: 8

The concept of cultural clash and escalating tension in a foreign environment is effectively portrayed, adding depth to the storyline and highlighting the challenges faced by the characters.

Plot: 8

The plot progresses as the tension rises, setting the stage for further developments and highlighting the risks and obstacles the characters must overcome. The scene contributes to the overall narrative arc.

Originality: 9

The scene presents a fresh perspective on the Iranian Revolution and diplomatic tensions, with authentic character actions and dialogue that feel true to the setting and time period.


Character Development

Characters: 8.5

The characters' reactions and interactions in the face of escalating conflict are well-portrayed, adding depth to their personalities and highlighting their resilience in challenging situations.

Character Changes: 7

While there are no significant character changes in this scene, the escalating conflict sets the stage for potential growth and development as the characters navigate the challenges ahead.

Internal Goal: 8

Sahar's internal goal is to navigate the dangerous political landscape and protect the guests of the ambassador. This reflects her deeper desire for safety and security amidst the chaos of the revolution.

External Goal: 7.5

The protagonist's external goal is to maintain diplomatic relations and ensure the safety of the guests in the face of escalating tensions and hostility from the locals.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and escalating, with the cultural clash and resistance from the locals adding to the high stakes faced by the characters.

Opposition: 8

The opposition in the scene is strong, with escalating tensions and conflict that pose significant challenges for the protagonist and raise the stakes.

High Stakes: 9

The high stakes are evident in the escalating tension and potential danger faced by the characters, adding urgency and suspense to the scene.

Story Forward: 8

The scene moves the story forward by introducing new obstacles and challenges for the characters, setting the stage for further developments and raising the stakes in the narrative.

Unpredictability: 8.5

This scene is unpredictable due to the escalating tensions and unexpected actions of the characters, keeping the audience guessing about the outcome.

Philosophical Conflict: 8

The philosophical conflict revolves around the clash of cultures and ideologies between the Iranians and the Americans, as seen in the anti-American sentiments expressed by the locals.


Audience Engagement

Emotional Impact: 7.5

The scene evokes a sense of tension and unease, drawing the audience into the characters' plight and setting the stage for emotional engagement as the narrative unfolds.

Dialogue: 7.5

The dialogue effectively conveys the cultural differences and tensions between the characters, enhancing the authenticity of the scene and driving the conflict forward.

Engagement: 9

This scene is engaging because of its high stakes, political intrigue, and escalating conflict that keeps the audience on the edge of their seats.

Pacing: 8.5

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged and invested in the characters' fates.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a screenplay, with clear scene headings and descriptions that enhance the visual storytelling.

Structure: 8

The scene follows the expected structure for a political thriller, building tension and conflict through character interactions and escalating stakes.


Critique
  • The scene effectively builds tension by juxtaposing the calmness of the Canadian Ambassador's residence with the escalating hostility in the Tehran Bazaar. This contrast heightens the stakes for the characters, making the audience acutely aware of the danger they face.
  • The dialogue is mostly functional, but it could benefit from more emotional depth. For instance, Sahar's responses could reflect her internal conflict or fear about the situation, adding layers to her character and making her interactions more impactful.
  • The use of Farsi adds authenticity to the scene, but it may alienate some viewers who do not understand the language. Including brief translations or subtitles could help maintain engagement without losing the cultural context.
  • The physical actions of the characters, such as Kathy holding out the Polaroid, are clear, but the emotional reactions could be more pronounced. For example, Kathy's fear or frustration could be emphasized through her body language or facial expressions, enhancing the tension of the moment.
  • The scene transitions between the Canadian Ambassador's residence and the bazaar, which is effective in maintaining a sense of urgency. However, the pacing could be improved by tightening the dialogue and actions to create a more frenetic atmosphere as the situation escalates.
Suggestions
  • Consider adding internal monologues or thoughts from Sahar to provide insight into her feelings about the revolutionary officials and the potential danger to the Houseguests.
  • Incorporate more sensory details to immerse the audience in the bazaar's atmosphere, such as the sounds of shouting, the smell of spices, or the visual chaos of the crowd, to enhance the tension.
  • Introduce a moment of hesitation or fear from Kathy before she takes the photograph, which could foreshadow the conflict that arises and make her character more relatable.
  • Add a line of dialogue from Mendez that acknowledges the rising tension in the bazaar, reinforcing his role as a leader and caretaker of the Houseguests while also heightening the stakes.
  • Consider using a visual motif, such as the Polaroid camera, to symbolize the precariousness of their situation. This could be referenced in dialogue or through character actions to create a thematic connection throughout the scene.



Scene 43 - Tensions in the Tehran Bazaar
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.
Genres: ["Drama","Thriller"]

Summary In the crowded Tehran Bazaar, Kathy feels overwhelmed as an angry local confronts her, while Cora Lijek tries to ease the tension by mentioning Canada. Lee Schatz discreetly warns Mendez about accusations of being CIA agents. At the Canadian Ambassador's residence, Khalikali questions Sahar about their loyalty, but she remains composed. The Houseguests, shaken by the hostility they faced, express concern about their safety. Mendez reassures Ken Taylor that they held up under pressure, as the scene concludes with the evening call to prayer echoing through the city.
Strengths
  • Effective tension-building
  • Authentic character reactions
  • Compelling conflict escalation
Weaknesses
  • Potential lack of character development in the midst of heightened tension

Ratings
Overall

Overall: 8.5

The scene effectively conveys the high stakes and imminent danger faced by the characters, creating a palpable sense of tension and fear. The contrasting tones of anxiety and calmness add depth to the scene.


Story Content

Concept: 8

The concept of showcasing the Houseguests' precarious situation in a hostile environment, juxtaposed with Sahar's strategic maneuvering, is compelling and adds depth to the overall narrative.

Plot: 8.5

The plot progression in the scene is crucial as it highlights the escalating conflict and imminent danger faced by the characters. The tension builds effectively, driving the narrative forward.

Originality: 9

The scene presents a fresh approach to the spy thriller genre by focusing on the emotional and psychological aspects of espionage. The authenticity of the characters' actions and dialogue adds depth to the narrative.


Character Development

Characters: 8

The characters' reactions and interactions in the scene are well-developed, showcasing their vulnerabilities, fears, and strategic thinking. Each character's role adds to the overall tension and conflict.

Character Changes: 8

While there are subtle shifts in the characters' emotions and strategies, the scene primarily focuses on their immediate reactions to the escalating conflict and danger.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain composure and hide her fear while facing a potentially dangerous situation. This reflects her deeper need for survival and the desire to protect herself and those around her.

External Goal: 7.5

The protagonist's external goal is to navigate the tense situation at the Canadian Ambassador's Residence and ensure the safety of herself and the Houseguests. This goal reflects the immediate challenge of dealing with suspicious individuals and potential threats.


Scene Elements

Conflict Level: 9

The level of conflict in the scene is high, with the Houseguests facing hostility in the Tehran Bazaar and Sahar navigating a tense interaction with revolutionary officials. The stakes are raised, creating a sense of urgency.

Opposition: 8

The opposition in the scene is strong, with characters facing internal and external threats that challenge their goals and beliefs.

High Stakes: 9

The stakes in the scene are extremely high, with the characters facing imminent danger, potential exposure, and the need to execute a risky escape plan. The sense of urgency and peril is palpable.

Story Forward: 9

The scene significantly moves the story forward by raising the stakes, escalating the conflict, and setting the stage for the characters' escape plan. It propels the narrative towards a critical turning point.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics, hidden agendas, and ambiguous character motivations.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the themes of loyalty, deception, and survival. The protagonist must navigate the complex web of allegiances and risks in order to protect herself and her mission.


Audience Engagement

Emotional Impact: 8.5

The scene evokes a strong emotional response from the audience, eliciting feelings of fear, tension, and empathy for the characters facing imminent danger. The emotional impact adds depth to the narrative.

Dialogue: 7.5

The dialogue effectively conveys the characters' emotions, fears, and strategic intentions. It adds depth to the scene and enhances the overall tension and conflict.

Engagement: 9

This scene is engaging because of its high stakes, complex character dynamics, and suspenseful atmosphere.

Pacing: 8.5

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged and invested in the outcome.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and concise, following industry standards for screenplay format.

Structure: 8

The scene follows the expected structure for a tense and suspenseful sequence in a spy thriller, building tension and conflict effectively.


Critique
  • The scene effectively builds tension through the claustrophobic atmosphere of the Tehran Bazaar, showcasing the danger the characters face. However, the dialogue could be more dynamic; the exchanges feel somewhat flat and could benefit from more emotional weight or urgency to reflect the high stakes of the situation.
  • The use of Farsi dialogue adds authenticity, but it may alienate viewers who do not understand the language. Consider providing subtitles or context to ensure the audience remains engaged and understands the implications of the conversation.
  • The character of Sahar is portrayed as strong and composed, which is commendable. However, her emotional shift after closing the door could be more pronounced. This moment is crucial for conveying the stakes and her internal conflict, and it could be enhanced with more descriptive action or internal monologue.
  • The transition between the bazaar and the ambassador's residence feels abrupt. A smoother transition could help maintain the tension and flow of the narrative. Perhaps a brief moment of reflection or dialogue could bridge these two locations more effectively.
  • The montage at the end serves as a powerful visual cue, but it could be more impactful if it tied back to the characters' emotional states. Consider incorporating visual motifs or symbols that resonate with the characters' experiences to deepen the audience's connection to their plight.
Suggestions
  • Revise the dialogue to include more emotional stakes, perhaps by having characters express their fears or doubts more explicitly, which would heighten the tension.
  • Add subtitles for the Farsi dialogue to ensure all viewers can follow the conversation and understand its significance.
  • Enhance Sahar's emotional moment after closing the door by adding a brief internal monologue or physical reaction that conveys her fear and the gravity of the situation.
  • Create a more seamless transition between the bazaar and the ambassador's residence by including a moment of reflection or dialogue that highlights the characters' feelings about their precarious situation.
  • Consider incorporating visual elements in the montage that reflect the characters' emotional states, such as close-ups of their faces or symbolic imagery that resonates with their experiences.



Scene 44 - Under Pressure: The Interrogation
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

MENDEZ
Let’s go again.
Genres: ["Drama","Thriller"]

Summary In a tense interrogation at the Canadian Ambassador's residence, Mendez quizzes the Houseguests on their personal details to ensure they can convincingly pose as Canadians. Bob Anders struggles with his answers, while Cora Lijek impressively recalls the last three Canadian prime ministers. Joe Stafford falters when asked for his middle name, raising Mendez's suspicions about his identity. The atmosphere is filled with anxiety as Mendez emphasizes the importance of knowing their backstories to avoid panic. The scene ends with Mendez instructing them to try again, highlighting the ongoing tension and urgency of their situation.
Strengths
  • Intense atmosphere
  • Character development under pressure
  • Plot progression
Weaknesses
  • Some characters' reactions may feel predictable

Ratings
Overall

Overall: 8.5

The scene effectively conveys the high stakes and tension faced by the characters, while also providing crucial information for the plot.


Story Content

Concept: 8

The concept of preparing the houseguests for their escape through interrogation adds depth to the plot and character development.

Plot: 8.5

The plot progresses significantly as the houseguests are drilled on their cover stories, setting the stage for the upcoming escape.

Originality: 9

The scene introduces a fresh take on interrogation scenes by blending suspense with character development, making the situation feel authentic and engaging.


Character Development

Characters: 8

The characters are tested under pressure, revealing their vulnerabilities and strengths, adding layers to their personalities.

Character Changes: 7

The characters undergo a subtle shift as they are pushed to their limits during the interrogation, revealing more about their personalities.

Internal Goal: 8

The protagonist's internal goal is to maintain composure and knowledge under pressure, reflecting his need to protect the Houseguests and his own credibility.

External Goal: 7

The protagonist's external goal is to extract information from the Houseguests to ensure their safety and successful escape from Iran.


Scene Elements

Conflict Level: 8

The conflict between the characters' fears and the necessity of maintaining cover identities creates a tense atmosphere.

Opposition: 8

The opposition in the scene is strong, creating conflict and uncertainty that drive the characters' actions and decisions.

High Stakes: 9

The high stakes of the interrogation, where the characters' lives are on the line, heighten the tension and urgency of the scene.

Story Forward: 9

The scene significantly moves the story forward by preparing the houseguests for their escape and setting the stage for the next crucial steps.

Unpredictability: 8

This scene is unpredictable due to the characters' conflicting motivations and the uncertain outcome of the interrogation.

Philosophical Conflict: 7

The philosophical conflict is between truth and survival. The characters must balance revealing information to survive while also maintaining their integrity.


Audience Engagement

Emotional Impact: 8

The scene evokes feelings of anxiety and tension as the characters face the reality of their dangerous situation.

Dialogue: 8

The dialogue is tense and instructional, reflecting the high stakes of the situation and the need for the characters to be prepared.

Engagement: 9

This scene is engaging because of its high stakes, sharp dialogue, and character dynamics that keep the audience invested in the outcome.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged and invested in the characters' fates.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for its genre, enhancing the readability and flow of the scene.

Structure: 8

The scene follows a structured format for its genre, effectively building tension and revealing character dynamics.


Critique
  • The scene effectively builds tension through Mendez's interrogation of the Houseguests, showcasing the high stakes of their situation. However, the pacing feels slightly uneven; while the tension is palpable, the dialogue could benefit from more variation in rhythm to maintain engagement.
  • Mendez's character is well-defined as a leader under pressure, but the scene could delve deeper into the emotional states of the Houseguests. For instance, Bob Anders's struggle with his answers could be expanded to show his internal conflict, making the stakes feel even more personal.
  • The dialogue is functional but lacks a certain depth that could enhance character development. For example, Joe Stafford's frustration could be expressed through more nuanced dialogue or actions, rather than simply stating his defeat. This would allow the audience to empathize more with his plight.
  • The use of humor, such as Mendez's quip about the pronunciation of 'Toronto,' is a nice touch, but it could be more strategically placed to break the tension without undermining the seriousness of the situation. Balancing humor with the gravity of the moment is crucial.
  • The scene ends abruptly after Mendez's instruction to 'go again,' which feels somewhat anticlimactic. A stronger closing line or moment could leave the audience with a lingering sense of urgency or dread, enhancing the overall impact.
Suggestions
  • Consider adding more internal monologue or visual cues to express the Houseguests' anxiety and fear, particularly in Bob Anders and Joe Stafford's reactions. This could help the audience connect more deeply with their characters.
  • Incorporate more varied pacing in the dialogue to create a rhythm that reflects the tension of the scene. Short, clipped exchanges can heighten urgency, while longer, more reflective moments can deepen emotional resonance.
  • Enhance the stakes by including a brief flashback or memory that highlights the consequences of failure for the characters, particularly for Joe Stafford. This could serve to heighten the emotional stakes and make the audience more invested in their success.
  • Introduce a moment of levity or camaraderie among the Houseguests before the interrogation begins to contrast with the tension that follows. This could make the stakes feel more significant when they are put under pressure.
  • Revise the ending to include a more impactful line or moment that encapsulates the gravity of their situation, perhaps a shared look of determination among the Houseguests or a reminder of what is at stake if they fail.



Scene 45 - Urgent Decisions
224C INT. CIA - THE PIT - AFTERNOON 224C

O’Donnell, walking toward his office. It’s the first
time today Malinov has seen him.

MALINOV
(good news)
They made it through the location
scout.

O’Donnell ignores him. He goes straight to his office.
Looking like he’s seen a ghost.


224D EXT. CANADIAN AMBASSADOR’S RESIDENCE - VERANDA - NIGHT 224D

Mendez, finishing a cigarette outside. We might hear the
distant sound of a phone ringing.

Ken Taylor emerges. Waits a beat.

TAYLOR
Kevin.


224E INT. CANADIAN AMBASSADOR’S RESIDENCE - KEN TAYLOR’S 224E
OFFICE - CROSS-CUTTING - NIGHT

Mendez picks up the complicated-looking satellite phone
in Ken Taylor’s home office. As soon as he does --

O’DONNELL
Go to black on green.

Jack’s calling him here, so he knows something’s wrong.

MENDEZ
What is it?

O’DONNELL
Go to black on green.

Mendez turns knobs on the satellite phone.


224F INT. O’DONNELL’S OFFICE - CROSS-CUTTING - AFTERNOON 224F

We see Jack is on a GREEN PHONE.



(CONTINUED)
ARGO - Final 90.
224F CONTINUED: 224F

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.

TIME CUT TO:
Genres: ["Drama","Thriller"]

Summary In a tense scene, O'Donnell arrives at the CIA office to inform Mendez that a military rescue operation for the hostages is being called off due to a change in strategy. Mendez, deeply concerned for the safety of the six Americans, struggles with the decision to abandon the mission. As he processes the shocking news, Cora Lijek enters, suggesting they are ready to try again, but Mendez advises her to rest, highlighting the emotional weight of the situation.
Strengths
  • Intense emotional impact
  • Compelling character development
  • High stakes and tension
Weaknesses
  • Potential lack of resolution or closure in the scene

Ratings
Overall

Overall: 9.2

The scene is intense, emotionally charged, and pivotal to the plot. It effectively conveys the internal struggle of the protagonist and sets up a major turning point in the story.


Story Content

Concept: 9

The concept of the scene, focusing on the moral dilemma faced by the protagonist and the sudden shift in the mission's direction, is compelling and adds depth to the overall story.

Plot: 9

The plot is significantly advanced in this scene, with a major revelation that changes the direction of the story and raises the stakes for the characters involved.

Originality: 9

The scene presents a fresh approach to the rescue mission genre by focusing on the moral complexities and political implications of the operation. The characters' actions and dialogue feel authentic and realistic.


Character Development

Characters: 9

The characters, especially Mendez, are well-developed in this scene, showcasing their internal conflicts and moral dilemmas. The interactions between the characters add depth to their personalities and motivations.

Character Changes: 8

Mendez undergoes a significant internal change in this scene, grappling with the moral implications of the new information he receives. His perspective and priorities shift, setting up potential character growth in future scenes.

Internal Goal: 9

The protagonist's internal goal is to protect the hostages and ensure their safety. This reflects his sense of duty and responsibility as a CIA agent.

External Goal: 8

The protagonist's external goal is to execute a plan to rescue the hostages from Iran. This goal is directly related to the immediate circumstances and challenges they are facing.


Scene Elements

Conflict Level: 9

The conflict in the scene is high, both internally within the characters and externally in the situation they find themselves in. The moral dilemma and the stakes involved create intense drama.

Opposition: 8

The opposition in the scene is strong, creating conflict and uncertainty for the characters.

High Stakes: 9

The stakes are raised significantly in this scene, as the characters face the possibility of dire consequences and must make difficult decisions that could impact their lives and the mission.

Story Forward: 9

The scene propels the story forward by introducing a major plot development that alters the characters' goals and motivations. It sets the stage for the next phase of the narrative.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists and moral dilemmas faced by the characters.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the morality of sacrificing the hostages for political reasons. The protagonist's beliefs in duty and responsibility are challenged by the orders he receives.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, eliciting feelings of tension, sadness, and concern for the characters' fates. The devastating news and the characters' reactions evoke strong emotions in the audience.

Dialogue: 9

The dialogue is impactful and serves to heighten the tension and emotional intensity of the scene. It effectively conveys the characters' emotions and conflicting viewpoints.

Engagement: 9

This scene is engaging because of its intense emotional moments, suspenseful dialogue, and high-stakes conflict.

Pacing: 9

The pacing of the scene is well-executed, building tension and suspense effectively.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and easy to follow, enhancing the reader's understanding of the action and dialogue.

Structure: 8

The scene follows the expected structure for its genre, building tension and conflict effectively.


Critique
  • The scene effectively builds tension through the use of cross-cutting between O'Donnell's office and Mendez's location, creating a sense of urgency and impending danger. However, the emotional weight of Mendez's situation could be enhanced by incorporating more internal conflict or visual cues that reflect his distress, rather than relying solely on dialogue.
  • O'Donnell's dialogue is clear and conveys the gravity of the situation, but it could benefit from more emotional depth. As he delivers the news about the military operation, adding a moment of hesitation or a personal reflection could make his character more relatable and the stakes feel higher.
  • The transition between scenes could be smoother. The abrupt cut to Mendez sitting at Taylor's desk feels jarring. A more gradual transition, perhaps through a visual cue or a brief moment of silence, could enhance the emotional impact of Mendez's realization of the situation.
  • Cora Lijek's entrance is a good moment of contrast, but her line about being ready to try again feels somewhat disconnected from the gravity of Mendez's situation. It might be more effective if she expresses concern or confusion about the news, which would highlight the tension between her optimism and Mendez's despair.
  • The use of the satellite phone as a plot device is effective, but the technical jargon ('Go to black on green') may alienate some viewers. Simplifying this language or providing a brief explanation could help maintain engagement without losing authenticity.
Suggestions
  • Consider adding a visual element that reflects Mendez's emotional state, such as a close-up of his face showing the weight of the news or a physical action that conveys his shock, like gripping the desk tightly.
  • Enhance O'Donnell's character by including a moment of vulnerability or personal stakes in the situation, which could make his decision to follow orders more impactful.
  • Smooth the transition between scenes by incorporating a brief moment of silence or a visual cue that signifies the passage of time, allowing the audience to absorb the weight of the conversation.
  • Revise Cora's dialogue to reflect a more nuanced understanding of the situation, perhaps by expressing concern for the hostages or questioning Mendez's plan, which would create a stronger emotional contrast.
  • Simplify the technical language used in the phone conversation to ensure clarity for all viewers, possibly by having O'Donnell explain the significance of the terms in a more relatable way.



Scene 46 - A Toast to Tension
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.
Genres: ["Drama","Thriller"]

Summary At the Canadian Ambassador's residence, the atmosphere is a mix of lightheartedness and underlying tension as the Houseguests prepare for a critical situation. Bob Anders attempts to lighten the mood with jokes about liquor, while Taylor delivers a serious warning to Mendez about the need to burn passports to avoid panic. Mendez, feeling the weight of the moment, discreetly takes a bottle of whiskey. The scene shifts to Mendez driving through Tehran, passing a burning van, and later drinking alone in his hotel room, reflecting on the gravity of their circumstances.
Strengths
  • Tension-building
  • Emotional depth
  • Dramatic twist
Weaknesses
  • Limited external conflict
  • Some dialogue could be more impactful

Ratings
Overall

Overall: 8.5

The scene effectively conveys the emotional weight of the characters' situation, setting up a sense of urgency and impending danger. The decision to burn the passports adds a dramatic twist and raises the stakes for the escape.


Story Content

Concept: 8

The concept of burning the passports as a means of maintaining secrecy and protecting the characters is a strong dramatic choice that adds complexity to the escape plan. It raises the stakes and highlights the risks involved in their mission.

Plot: 8.5

The plot of the scene revolves around the characters' preparations for departure and the decision to burn the passports, which adds a significant twist to the narrative. It moves the story forward by increasing the tension and setting up the climax of the escape plan.

Originality: 9

The scene introduces fresh moral dilemmas and complex character relationships, adding authenticity to the story. The dialogue feels natural and realistic, enhancing the emotional impact of the scene.


Character Development

Characters: 8

The characters are well-developed, each facing their own challenges and making sacrifices for the greater good. Their interactions and reactions to the situation add depth to the scene and enhance the emotional impact.

Character Changes: 7

The characters undergo subtle changes in the scene, as they confront the reality of their situation and make decisions that will impact their future. The moment of burning the passports marks a significant shift in their journey.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain composure and make difficult decisions under pressure. This reflects his need for control and his fear of failure in a high-stakes situation.

External Goal: 7

The protagonist's external goal is to successfully extract the Houseguests from Tehran without alerting the authorities. This reflects the immediate challenge of navigating a dangerous political situation.


Scene Elements

Conflict Level: 7

The conflict in the scene is primarily internal, as the characters grapple with the decision to burn the passports and the implications of their actions. There is a sense of tension and uncertainty as they prepare to leave.

Opposition: 7

The opposition in the scene is strong, with characters facing internal and external conflicts that challenge their beliefs and decisions. The audience is left uncertain about the characters' fates.

High Stakes: 8

The stakes are high in the scene, as the characters face the threat of capture and execution if their identities are revealed. The decision to burn the passports adds a sense of danger and urgency to their escape plan.

Story Forward: 8

The scene moves the story forward by setting up the climax of the escape plan and increasing the tension and stakes for the characters. It advances the narrative by highlighting the risks and sacrifices involved in their mission.

Unpredictability: 7

This scene is unpredictable because of the characters' conflicting goals and the uncertain outcome of their decisions. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene is between the protagonist's duty to protect the Houseguests and the ethical dilemma of withholding information from them for their safety. This challenges the protagonist's beliefs about honesty and transparency.


Audience Engagement

Emotional Impact: 8

The scene has a strong emotional impact, as the characters face difficult decisions and sacrifices. The sense of urgency and danger adds to the emotional intensity, creating a poignant moment of reflection and resolve.

Dialogue: 7.5

The dialogue in the scene is focused on conveying information and emotions, with moments of tension and reflection. The conversations between the characters reveal their thoughts and feelings, adding to the overall atmosphere of the scene.

Engagement: 9

This scene is engaging because of its tense atmosphere, complex character dynamics, and moral dilemmas. The audience is drawn into the characters' emotional struggles and the high-stakes situation.

Pacing: 8

The pacing of the scene is well-executed, with a balance of tension-building moments and character development. The rhythm of the scene enhances the emotional impact and narrative progression.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene descriptions and character actions. The formatting enhances the readability and impact of the scene.

Structure: 8

The scene follows a clear structure with well-defined character arcs and narrative progression. The pacing and rhythm contribute to the tension and emotional depth of the scene.


Critique
  • The scene effectively shifts the mood among the Houseguests from tense to lighter, which is a welcome contrast given the high stakes of their situation. However, the transition feels somewhat abrupt. The dialogue could benefit from more subtlety to reflect the underlying tension despite the lighter mood, as the characters are still in a precarious situation.
  • Bob Anders' line about a 'scorched earth policy' is humorous but may come off as flippant given the gravity of their circumstances. This could undermine the tension that should still be present. It might be more effective if the humor was more understated or if it was followed by a moment of reflection on the seriousness of their situation.
  • Mendez's reaction to Taylor's news about burning the passports is crucial, but it lacks emotional depth. The scene could explore Mendez's internal conflict more, perhaps through a brief moment of hesitation or a visual cue that indicates his stress about the decision.
  • The introduction of the Macallan whiskey bottle serves as a symbol of Mendez's stress and coping mechanism, but it could be more explicitly tied to his emotional state. A brief moment of contemplation before he takes the drink could enhance the audience's understanding of his character's turmoil.
  • The pacing of the scene feels uneven. The transition from the lighter mood to Mendez's solitary moment in the Sheraton room could be smoother. A more gradual build-up to Mendez's isolation would enhance the emotional impact of the scene.
Suggestions
  • Consider adding a moment where the characters acknowledge the absurdity of their situation, perhaps through a shared laugh that quickly turns into a moment of silence, reinforcing the tension beneath the humor.
  • Enhance Mendez's internal conflict by including a visual cue or a brief flashback that highlights the stakes involved in burning the passports, making his decision feel more weighty.
  • Introduce a moment where Mendez interacts with the Houseguests before he isolates himself, perhaps sharing a toast or a brief conversation that highlights their camaraderie, which would make his later solitude more poignant.
  • Incorporate a line or two that reflects the characters' awareness of the danger they are in, even in lighter moments, to maintain a consistent tone throughout the scene.
  • Consider using the music playing in the background as a narrative device to reflect the mood shifts in the scene, perhaps starting with something upbeat and transitioning to a more somber tune as Mendez leaves.



Scene 47 - Dawn of Tension
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.
Genres: ["Drama","Thriller"]

Summary At dawn in the Canadian Ambassador's residence, Lee Schatz prepares the Argo script while Cora Lijek supports her husband. Kathy Stafford anxiously worries about someone's lateness. On a Sheraton balcony, Tony Mendez contemplates the gravity of destroying Canadian passports. Meanwhile, O'Donnell rushes to secure tickets for the operation but faces bureaucratic resistance from Alan Sosa, who informs him that approval from the Executive Branch is needed. The scene is filled with urgency and tension as O'Donnell is left frustrated, highlighting the high stakes of the mission.
Strengths
  • Intense emotional conflict
  • High stakes
  • Well-developed characters
Weaknesses
  • Some dialogue could be more nuanced

Ratings
Overall

Overall: 8.5

The scene is well-crafted, with a high level of tension and urgency that keeps the audience engaged. The decision-making process and the consequences of the choice add depth to the narrative.


Story Content

Concept: 8

The concept of the scene revolves around a pivotal decision that will impact the fate of the characters involved. It explores themes of responsibility, loyalty, and sacrifice.

Plot: 8.5

The plot of the scene advances the overall narrative by introducing a critical turning point and raising the stakes for the characters. It adds complexity to the story and sets up future conflicts.

Originality: 9

The scene introduces fresh perspectives on espionage and diplomacy, focusing on the human elements of decision-making and leadership in high-pressure situations. The characters' actions and dialogue feel authentic and emotionally resonant.


Character Development

Characters: 8

The characters in the scene are well-developed, with clear motivations and internal conflicts. Their interactions and reactions contribute to the tension and drama of the moment.

Character Changes: 8

The scene marks a significant moment of character development for Tony Mendez, as he wrestles with his sense of responsibility and loyalty. His decision will likely have lasting consequences on his arc.

Internal Goal: 8

The protagonist's internal goal in this scene is to make a difficult decision that will impact the lives of others. This reflects his sense of responsibility and leadership in a crisis situation.

External Goal: 7

The protagonist's external goal is to confirm tickets for a covert operation out of Tehran. This reflects the immediate challenge of navigating bureaucratic obstacles and securing necessary resources for the mission.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and internal, as Tony Mendez grapples with conflicting orders and personal convictions. The stakes are high, adding to the dramatic tension.

Opposition: 8

The opposition in the scene is strong, with bureaucratic obstacles, conflicting agendas, and personal stakes creating tension and conflict. The audience is left uncertain about the characters' fates and the outcome of their decisions.

High Stakes: 9

The stakes in the scene are incredibly high, as the characters face life-or-death consequences based on the decision that is made. The tension is palpable, adding to the sense of urgency.

Story Forward: 9

The scene propels the story forward by introducing a critical dilemma that will impact the trajectory of the narrative. It sets the stage for future developments and conflicts.

Unpredictability: 8

This scene is unpredictable because of the characters' conflicting motivations, unexpected decisions, and shifting power dynamics. The audience is kept on edge, unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the tension between individual responsibility and bureaucratic protocol. The protagonist must balance his personal sense of duty with the constraints of official procedures.


Audience Engagement

Emotional Impact: 8.5

The scene evokes a strong emotional response from the audience, as they empathize with the characters' struggles and feel the weight of the decision hanging in the balance.

Dialogue: 7.5

The dialogue in the scene is concise and impactful, conveying the characters' emotions and the weight of the decision they face. It effectively drives the narrative forward.

Engagement: 9

This scene is engaging because of its high stakes, moral dilemmas, and emotional depth. The characters' decisions and conflicts draw the audience in, creating suspense and investment in the outcome.

Pacing: 9

The pacing of the scene contributes to its effectiveness by maintaining a sense of urgency and tension throughout. The rhythm of the dialogue and action keeps the audience engaged and invested in the characters' dilemmas.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings, concise action lines, and impactful dialogue. The formatting enhances the readability and impact of the scene.

Structure: 8

The scene follows a traditional structure for a suspenseful thriller, building tension through escalating conflicts and decisions. The pacing and rhythm of the scene contribute to its effectiveness in conveying the characters' dilemmas and motivations.


Critique
  • The scene effectively builds tension by juxtaposing the mundane act of packing with the high-stakes situation of the characters. However, the transition between the Canadian Ambassador's residence and the Sheraton balcony could be smoother to maintain the flow of the narrative.
  • The emotional weight of the scene is palpable, particularly in Tony's moment of contemplation with the passports. However, the scene could benefit from more internal dialogue or visual cues to deepen the audience's understanding of his emotional state as he prepares to destroy the passports.
  • The dialogue in O'Donnell's office feels somewhat abrupt and lacks the emotional resonance that could enhance the stakes of the situation. Adding a moment of hesitation or reflection from O'Donnell before he rushes out could provide more depth to his character and the urgency of the situation.
  • The pacing of the scene is uneven, particularly with the quick cuts between locations. While this can create a sense of urgency, it may also disorient the audience. Consider allowing for slightly longer beats in key moments to let the tension build more organically.
  • The use of the call-to-prayer as a backdrop is a strong choice, but it could be more effectively integrated into the characters' actions and emotions. For instance, having the call-to-prayer coincide with a moment of decision or realization could heighten the dramatic impact.
Suggestions
  • Consider adding a brief internal monologue for Tony as he prepares to destroy the passports, allowing the audience to connect more deeply with his internal conflict and the gravity of the situation.
  • Smooth out the transitions between the different locations by using visual or auditory cues that link the scenes, such as the sound of the call-to-prayer fading in and out as the scene shifts.
  • Enhance O'Donnell's dialogue with a moment of reflection or frustration before he rushes out, which could help to establish his character's emotional state and the stakes involved in the operation.
  • Allow for longer pauses in key moments to build tension, particularly during Tony's contemplation and O'Donnell's decision-making process, to give the audience time to absorb the weight of the situation.
  • Consider using more visual storytelling elements, such as close-ups on characters' faces during moments of tension, to convey their emotional states without relying solely on dialogue.



Scene 48 - Dawn of Urgency
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.
Genres: ["Drama","Thriller"]

Summary At dawn in the Canadian Ambassador's residence, Pat Taylor bids farewell to Ken Taylor and the Houseguests as they prepare to leave. Mendez urgently instructs them to depart immediately, while Ken watches a military policeman destroy his office, symbolizing the chaos surrounding their escape. Outside, O'Donnell confronts Engell, demanding action to ensure the Houseguests are not abandoned, but Engell remains dismissive. The scene captures the tension and urgency of the situation as Mendez reassures the Houseguests about their passports, setting the stage for their critical escape.
Strengths
  • Tension-building
  • Character development
  • Emotional impact
  • Urgency
Weaknesses
  • Potential for confusion with multiple characters and locations

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and conveys the urgency of the situation while also providing insight into the emotional state of the characters. The high stakes and risks involved add depth to the plot.


Story Content

Concept: 8

The concept of planning and executing an escape under high stakes is compelling and drives the narrative forward. The scene effectively captures the essence of the characters' dilemma and the risks they face.

Plot: 8.5

The plot is advanced significantly in this scene as the characters prepare for the escape, facing challenges and making crucial decisions. The tension and urgency propel the story towards its climax.

Originality: 8

The scene presents a fresh approach to the diplomatic extraction genre by focusing on the personal and political conflicts of the characters. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8

The characters are well-developed in this scene, with their emotions and motivations clearly portrayed. The conflicts and dynamics between them add depth to the narrative.

Character Changes: 8

Several characters undergo changes in this scene, as they confront their fears, make tough choices, and prepare for the escape. These changes contribute to their development and the overall narrative.

Internal Goal: 8

The protagonist's internal goal is to ensure the safety and successful departure of the Houseguests from the Canadian Ambassador's residence.

External Goal: 9

The protagonist's external goal is to navigate the political and logistical challenges of the situation to successfully extract the Houseguests from Iran.


Scene Elements

Conflict Level: 8

The conflict in the scene is high, with the characters facing imminent danger and making critical decisions to ensure their survival. The tension and stakes are palpable throughout.

Opposition: 8

The opposition in the scene is strong, with characters facing political and logistical challenges that add to the suspense and uncertainty of the mission.

High Stakes: 9

The stakes are extremely high in this scene, as the characters face the imminent threat of capture and execution. The tension and urgency are heightened by the life-or-death consequences.

Story Forward: 9

The scene moves the story forward at a rapid pace, setting up the climax and resolving key plot points. The preparations for the escape drive the narrative towards its resolution.

Unpredictability: 8

This scene is unpredictable because of the unexpected challenges and obstacles the characters face in their mission.

Philosophical Conflict: 7

The philosophical conflict in this scene is the clash between personal values and political responsibilities. The characters must balance their duty to protect the Houseguests with the larger political implications of their actions.


Audience Engagement

Emotional Impact: 8.5

The scene has a significant emotional impact, as the characters grapple with fear, uncertainty, and the weight of their decisions. The audience is drawn into their emotional turmoil.

Dialogue: 7.5

The dialogue effectively conveys the characters' emotions, concerns, and the urgency of the situation. It adds to the tension and helps drive the scene forward.

Engagement: 9

This scene is engaging because of the high stakes, urgent dialogue, and the characters' determination to succeed.

Pacing: 9

The pacing of the scene effectively builds tension and maintains the urgency of the situation, keeping the audience engaged.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear scene descriptions and dialogue formatting.

Structure: 9

The scene follows the expected structure for its genre, effectively building tension and setting up the next plot points.


Critique
  • The scene effectively builds tension as it transitions from the Canadian Ambassador's residence to the urgency of the escape plan. However, the pacing feels uneven; the emotional weight of the Houseguests' departure could be enhanced by lingering on their farewells and the gravity of the situation.
  • The dialogue is functional but lacks emotional depth. While Pat Taylor's goodbye is a nice touch, it could be more poignant to reflect the stakes involved. Adding more personal touches or memories shared between the characters could heighten the emotional impact.
  • The visual transitions between the Canadian Ambassador's residence and the minivan are somewhat abrupt. A smoother transition could help maintain the tension and urgency of the escape. Consider using a visual motif or sound cue to bridge these moments more effectively.
  • The introduction of Ken Taylor and the Houseguests is somewhat rushed. A brief moment of reflection or a shared glance among the characters could help establish their emotional state and the weight of the moment before they leave.
  • The scene lacks a clear emotional arc. While there is urgency, the characters' emotional responses to the situation could be more pronounced. This would help the audience connect with their plight and feel the stakes of the escape.
Suggestions
  • Consider adding a moment of hesitation or reflection for the characters as they say goodbye, allowing the audience to feel the weight of their situation.
  • Enhance the dialogue to include more personal stakes or memories shared between the characters, which would deepen the emotional resonance of their farewells.
  • Use a visual or auditory cue to create a smoother transition between the Canadian Ambassador's residence and the minivan, maintaining the tension throughout the scene.
  • Introduce a brief moment of connection among the Houseguests before they leave, such as a shared look or a silent acknowledgment of their situation, to establish their emotional state.
  • Ensure that the characters' emotional responses are more pronounced throughout the scene, allowing the audience to connect with their fear and urgency as they prepare to escape.



Scene 49 - Urgent Pursuit
247 INT. CIA (LANGLEY) - THE PIT - NIGHT (A MOMENT LATER) 247
(PRESENT)

O’Donnell, charging in --

O’DONNELL
Where’s the Director?

MALINOV
He’s on the plane.

O’DONNELL
Find White House Chief of Staff.

MALINOV
How would I find him?

O’DONNELL
We’re a fucking SPY AGENCY! FIND
HIM!


248 FLASHBACK - INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 248

MENDEZ
The second checkpoint --


249 INT. CIA - THE PIT - NIGHT (PRESENT) 249

MALINOV
Jordan’s in the West Wing. He’s
not taking calls.

A beat on O’Donnell.

O’DONNELL
Where are his kids?

LAMONT
WHAT?

O’DONNELL
Where do his kids go to school?


250 FLASHBACK - INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 250

He gives out yellow immigration forms to the Houseguests.
(CONTINUED)
ARGO - Final 98.
250 CONTINUED: 250

MENDEZ
The second is immigration. You’ll
hand them these. They say you
landed two days ago.


251 INT. MINIVAN - MORNING (PRESENT) 251

Cora Lijek fingers her yellow immigration form in one
hand, holds Mark’s hand with the other.

MENDEZ (V.O.)
These guys are bureaucrats left
over from the shah. They can’t be
bothered to second-guess you.


252 INT. CIA - THE PIT - NIGHT 252

Malinov slams a phone down.

MALINOV
Pace Academy in Buckhead, Georgia!

O’Donnell dials a number.

O’DONNELL
Yes, it’s Mr. Murphy calling from
Pace Academy for Mr. Jordan... I’m
afraid it IS an emergency...


253 INT. WHITE HOUSE OPERATOR ROOM - NIGHT 253

WHITE HOUSE OPERATOR
Hold just a moment.

She plugs a wire into an old-fashioned Ma Bell
switchboard.

MENDEZ (V.O.)
Third checkpoint is the trap.


254 INT. MINIVAN - MORNING 254

The van pulls up to the airport. We see THRONGS of
people trying to get in -- so they can get out.

Tony pulls the car to a semi-open place and tries not to
run anyone over.
ARGO - Final 99.


255 FLASHBACK - INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 255

MENDEZ
It’s manned by Revolutionaries.
Most of them were educated in the
U.S. or Europe.

BOB ANDERS
Or Canada?

MENDEZ
They know how many ‘T’s are in
Toronto.
Genres: ["Drama","Thriller"]

Summary In a tense scene set in the CIA's operations center, The Pit, O'Donnell urgently seeks the whereabouts of the White House Chief of Staff, Jordan. After learning that Jordan is unreachable in the West Wing, O'Donnell pushes to find his children, leading to the discovery that they attend Pace Academy in Georgia. As O'Donnell makes an emergency call to the school, flashbacks reveal critical instructions from Mendez regarding the ongoing crisis, heightening the urgency of the situation.
Strengths
  • Intense tension
  • Strong character development
  • High emotional impact
Weaknesses
  • Some dialogue may feel slightly forced or expository

Ratings
Overall

Overall: 8.5

The scene effectively conveys the urgency and high stakes of the situation, keeping the audience engaged with the characters' dilemmas and the impending danger. The tension is well-built, and the scene sets up crucial decisions that will impact the story's outcome.


Story Content

Concept: 8

The concept of the scene revolves around the characters facing a critical moment where they must make life-changing decisions. The tension and urgency drive the narrative forward, setting up the stakes for the upcoming events.

Plot: 8.5

The plot of the scene is crucial as it sets up the decision-making process that will impact the characters' fates. The escalating tension and high stakes drive the plot forward, leading to a pivotal moment in the story.

Originality: 9

The scene introduces a fresh perspective on the spy agency genre by focusing on the internal workings and decision-making processes within the CIA. The characters' actions and dialogue feel authentic and realistic.


Character Development

Characters: 8

The characters are well-developed in this scene, showcasing their stress, determination, and conflicting emotions. Each character's reactions and decisions contribute to the overall tension and urgency of the situation.

Character Changes: 8

The characters undergo significant emotional changes in this scene, as they are forced to confront their fears, make tough decisions, and show resilience in the face of danger. These changes contribute to their development and the overall tension of the scene.

Internal Goal: 8

The protagonist's internal goal is to locate the Director and the White House Chief of Staff, showcasing their determination, leadership, and sense of responsibility.

External Goal: 7

The protagonist's external goal is to handle a critical situation involving national security and political figures, reflecting the immediate challenges they face in their role.


Scene Elements

Conflict Level: 8

The conflict in the scene is intense, with the characters facing external threats and internal dilemmas. The conflicting goals and high stakes create a sense of urgency and tension that drives the narrative forward.

Opposition: 8

The opposition in the scene is strong, with the protagonist facing multiple challenges and obstacles that keep the audience guessing about the outcome.

High Stakes: 9

The stakes are extremely high in this scene, as the characters are facing imminent danger and must make life-or-death decisions. The risk of capture and execution adds a sense of urgency and importance to their actions.

Story Forward: 9

The scene effectively moves the story forward by setting up crucial decisions and actions that will impact the characters' fates. The escalating tension and high stakes propel the narrative towards a critical turning point.

Unpredictability: 7

This scene is unpredictable because of the unexpected twists and turns in the characters' decisions and the escalating tension.

Philosophical Conflict: 6

The philosophical conflict revolves around the protagonist's belief in the capabilities of a spy agency to solve complex problems versus the challenges and limitations they encounter in real-time situations.


Audience Engagement

Emotional Impact: 8.5

The scene has a high emotional impact, as the characters' stress, fear, and determination are palpable. The audience is emotionally invested in the characters' plight and the outcome of their decisions.

Dialogue: 7.5

The dialogue in the scene effectively conveys the characters' emotions, dilemmas, and the urgency of the situation. The interactions between the characters reveal their personalities and motivations, adding depth to the scene.

Engagement: 9

This scene is engaging because of its fast-paced action, high stakes, and intense dialogue that keeps the audience on the edge of their seats.

Pacing: 9

The pacing of the scene is expertly crafted to build tension and maintain the audience's interest, with quick cuts and intense dialogue driving the action forward.


Technical Aspect

Formatting: 8

The formatting adheres to the standard screenplay format, making it easy to follow the action and dialogue.

Structure: 8

The scene follows the expected structure for a high-stakes, fast-paced thriller, with quick cuts between different locations and characters.


Critique
  • The scene effectively builds tension by juxtaposing the urgency of O'Donnell's search for the White House Chief of Staff with the flashbacks that provide context for the current situation. However, the transitions between the present and flashbacks could be smoother to maintain clarity for the audience.
  • O'Donnell's character is portrayed as assertive and determined, which is effective in conveying the high stakes of the situation. However, his dialogue could benefit from more variation in tone to avoid sounding overly aggressive. A mix of urgency and desperation could enhance the emotional weight of his quest.
  • The use of flashbacks is a strong narrative device, but the dialogue in the flashbacks could be more tightly integrated with the present action. For instance, Mendez's lines could be more directly related to O'Donnell's current predicament, creating a stronger thematic connection between the two timelines.
  • The scene lacks a clear emotional arc for O'Donnell. While he is driven and focused, the audience does not see any vulnerability or internal conflict, which could make him a more relatable character. Adding a moment of doubt or reflection could deepen his character development.
  • The pacing of the scene is generally good, but the transition from the frantic energy of O'Donnell's search to the calmness of the flashbacks feels abrupt. A more gradual shift could help maintain the tension throughout the scene.
Suggestions
  • Consider adding a moment where O'Donnell expresses his frustration or fear about the consequences of failing to locate the Chief of Staff, which would add depth to his character and heighten the stakes.
  • Enhance the transitions between the present and flashbacks by using visual cues or sound design that links the two timelines, making it clearer to the audience when they are shifting between the two.
  • Incorporate more dialogue in the flashbacks that directly relates to O'Donnell's current situation, perhaps by having Mendez's instructions echo O'Donnell's current challenges, reinforcing the urgency of the mission.
  • Introduce a moment of vulnerability for O'Donnell, such as a brief hesitation or a personal reflection on the lives at stake, to create a more complex emotional landscape for the character.
  • Ensure that the dialogue in the flashbacks is concise and impactful, focusing on key phrases that resonate with the present action, thereby enhancing the overall narrative cohesion.



Scene 50 - Race Against Time
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.)

O’DONNELL
Copy D.S.! Confirm the tickets!
GO!


259 INT. SWISSAIR COUNTER (MEHRABAD) - MORNING 259

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"]

Summary In a tense night at the White House, Chief of Staff Jordan receives urgent news about the Tehran Houseguest operation, which is set to proceed without presidential approval. He quickly contacts CIA agent Jack O'Donnell, who warns that the operation is at risk of being compromised. Meanwhile, at the Komiteh HQ, Khalkali and his team are searching for photographs of American hostages, while at Mehrabad Airport, Kathy Stafford nervously navigates a passport checkpoint. The scene culminates with Khalkali discovering a photograph that could threaten the hostages' safety, intensifying the urgency of the situation.
Strengths
  • Intense tension
  • High stakes
  • Compelling conflict
  • Authentic character reactions
Weaknesses
  • Potential confusion with multiple locations and characters

Ratings
Overall

Overall: 9.2

The scene effectively conveys the escalating tension and urgency of the situation, keeping the audience on the edge of their seats with the imminent threat of capture and the conflicting orders from different authorities.


Story Content

Concept: 9

The concept of a high-stakes rescue operation with conflicting orders and last-minute obstacles is compelling and keeps the audience engaged. The scene effectively conveys the risks and challenges faced by the characters.

Plot: 9.2

The plot of the scene is crucial in advancing the story towards its climax, with the characters facing a critical moment that will determine their fate. The conflicting orders and imminent threat of capture add depth to the narrative.

Originality: 9

The scene introduces a fresh perspective on covert operations and political tensions, blending real-world events with fictionalized elements to create a compelling narrative. The authenticity of the characters' actions and dialogue adds depth to the story.


Character Development

Characters: 9

The characters are well-developed and their reactions to the escalating situation feel authentic and relatable. The audience can empathize with their fear, concern, and determination to survive.

Character Changes: 9

Several characters undergo significant changes in the scene, as they are forced to confront their fears, make tough decisions, and adapt to rapidly changing circumstances. These changes drive the character arcs forward.

Internal Goal: 8

Jordan's internal goal in this scene is to prevent the capture of the Tehran Houseguests and ensure the success of the operation without the President's approval. This reflects his desire to protect innocent lives and maintain control in a high-pressure situation.

External Goal: 9

Jordan's external goal is to coordinate the Tehran Houseguest operation and ensure the safe extraction of the individuals involved. This reflects the immediate challenge of navigating political obstacles and executing a covert mission.


Scene Elements

Conflict Level: 9.5

The conflict in the scene is intense and multi-layered, with external threats, conflicting orders, and internal struggles adding to the tension. The characters are faced with impossible choices that raise the stakes.

Opposition: 8

The opposition in the scene is strong, with obstacles and challenges that test the characters' abilities and decisions. The audience is kept on their toes, unsure of how the characters will overcome the obstacles they face.

High Stakes: 10

The stakes in the scene are extremely high, with the characters' lives on the line and the risk of capture looming large. The conflicting orders and last-minute obstacles raise the stakes even further, adding to the tension.

Story Forward: 9

The scene effectively moves the story forward towards its climax, setting up the final act of the operation and raising the stakes for the characters. It propels the narrative towards a resolution.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists and turns in the operation, as well as the characters' unpredictable actions and decisions. The audience is kept on edge, unsure of how events will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the ethical dilemma of taking action without official approval and the consequences of potentially endangering lives for the greater good. This challenges Jordan's beliefs in following protocol and highlights the moral complexities of his decisions.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact on the audience, eliciting fear, concern, and empathy for the characters as they face life-threatening danger. The emotional intensity adds depth to the narrative.

Dialogue: 8.5

The dialogue effectively conveys the characters' emotions, motivations, and the urgency of the situation. It adds depth to the scene and enhances the tension.

Engagement: 9

This scene is engaging because of its high stakes, fast-paced action, and complex character dynamics. The audience is drawn into the tension and suspense of the operation, keeping them invested in the outcome.

Pacing: 9

The pacing of the scene contributes to its effectiveness by maintaining a sense of urgency and tension, keeping the audience engaged and invested in the outcome. The rhythm of the scene enhances the impact of key moments and developments.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear scene headings, dialogue formatting, and action descriptions. The formatting enhances the readability and impact of the scene.

Structure: 9

The scene follows the expected structure for its genre, building tension through escalating conflicts and maintaining a clear narrative flow. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene effectively builds tension by juxtaposing the urgency of the Tehran Houseguest operation with the bureaucratic obstacles faced by the characters. However, the transition between the various locations could be smoother to maintain the flow of the narrative.
  • Jordan's character is introduced in a somewhat passive manner, as he is depicted with his feet up on the desk, which may undermine the urgency of the situation. A more active portrayal could enhance his role as a decision-maker in a crisis.
  • The dialogue between Jordan and O'Donnell is functional but lacks emotional depth. Adding more urgency or personal stakes for Jordan could make the conversation feel more impactful and heighten the tension.
  • The scene shifts between multiple locations (the White House, Komiteh HQ, CIA's Pit, and Mehrabad Airport) which can be disorienting for the audience. Clearer visual or auditory cues could help the audience follow the transitions more easily.
  • The use of quick cuts between the Komiteh HQ and the CIA's Pit is effective in building suspense, but the pacing could be improved by allowing for a moment of reflection or reaction from the characters after receiving critical information.
Suggestions
  • Consider giving Jordan a more active role in the scene by having him engage more with his staffers or express his concerns about the operation, which would help to establish his character as a decisive leader.
  • Enhance the dialogue between Jordan and O'Donnell by incorporating personal stakes or emotional weight, such as Jordan reflecting on the lives at risk or his own feelings about the operation's urgency.
  • Use visual transitions, such as a clock ticking or a countdown timer, to emphasize the urgency of the situation as the scene shifts between locations, helping to maintain tension throughout.
  • Incorporate a brief moment of silence or a reaction shot after critical information is revealed, allowing the audience to absorb the gravity of the situation before moving on to the next location.
  • Consider adding a line or two of dialogue from the Komiteh members that hints at their awareness of the Houseguests, which would raise the stakes and create a sense of impending danger.



Scene 51 - Tension at the Checkpoint
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"]

Summary In a tense scene, Mark Lijek's photograph is scrutinized by Khalkali at the Komiteh HQ, indicating he is a person of interest. Meanwhile, Bob Anders faces questioning at Mehrabad Airport but successfully convinces an immigration officer of his legitimacy by presenting a letter from the Minister of Culture. As Anders and his group pass through, the Komiteh sets up a new checkpoint, directing Mendez and the Houseguests into a screened-off area, heightening the suspense of their precarious situation.
Strengths
  • Building tension
  • Confrontational interactions
  • High-stakes situation
Weaknesses
  • Limited character development
  • Focused dialogue

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and suspense, showcasing the imminent danger faced by the Houseguests. The high-stakes situation and the confrontational tone create a sense of urgency and keep the audience engaged.


Story Content

Concept: 8

The concept of the scene revolves around the critical checkpoint confrontation, highlighting the risks and challenges faced by the Houseguests in maintaining their cover identities. The scene effectively conveys the escalating danger and the need for quick thinking.

Plot: 8.5

The plot is advanced significantly in this scene as the Houseguests encounter a major obstacle that threatens their mission. The tension and conflict at the checkpoint drive the narrative forward, setting up a crucial moment in the story.

Originality: 9

The scene demonstrates a high level of originality through its unique setting in Iran, the portrayal of political tensions, and the characters' complex interactions in a high-stakes situation. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8

The characters' reactions and responses to the checkpoint confrontation reveal their strengths and vulnerabilities, adding depth to their portrayals. The scene allows for subtle character development through their interactions under pressure.

Character Changes: 7

While there are subtle character developments in the scene, such as showcasing the characters' reactions under pressure, there are no significant changes in their arcs at this point.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate the complex and dangerous political situation in Iran while trying to secure the safety of the Houseguests and successfully execute the rescue mission. This reflects his deeper desire to protect and save lives, as well as his fear of failure and the consequences of being caught.

External Goal: 9

The protagonist's external goal in this scene is to pass through the airport security checkpoints without raising suspicion and successfully board the flight to Zurich with the Houseguests. This reflects the immediate challenge of evading detection and ensuring the safety of the group.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and palpable, as the Houseguests face the threat of exposure and capture at the checkpoint. The escalating tension and confrontational interactions heighten the conflict to a critical level.

Opposition: 8

The opposition in the scene is strong, with the characters facing obstacles and challenges that create suspense and uncertainty, adding to the tension and high stakes of the rescue mission.

High Stakes: 9

The stakes are extremely high in this scene, as the Houseguests face the imminent threat of exposure and capture by the Komiteh at the airport checkpoint. The outcome of this confrontation could determine the success or failure of their mission.

Story Forward: 9

The scene significantly moves the story forward by presenting a critical obstacle for the Houseguests to overcome. The checkpoint confrontation adds a new layer of complexity to their mission and sets up further challenges.

Unpredictability: 8

This scene is unpredictable because of the unexpected obstacles and challenges the characters face, keeping the audience on edge and unsure of the outcome of the rescue mission.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is the clash between the values of freedom and oppression, as represented by the oppressive Iranian regime and the characters' quest for liberty and safety. This challenges the protagonist's beliefs in democracy and human rights, highlighting the moral dilemmas he faces in a hostile environment.


Audience Engagement

Emotional Impact: 8

The scene evokes a strong emotional response from the audience, eliciting feelings of anxiety and suspense as the Houseguests navigate the checkpoint confrontation. The high-stakes situation adds to the emotional impact of the scene.

Dialogue: 7.5

The dialogue in the scene is focused on conveying essential information and responses to the checkpoint officials. While not overly verbose, the dialogue effectively conveys the tension and urgency of the situation.

Engagement: 9

This scene is engaging because of its high stakes, suspenseful atmosphere, and the characters' compelling actions and dialogue that keep the audience invested in the outcome of the rescue mission.

Pacing: 8

The pacing of the scene contributes to its effectiveness by maintaining a sense of urgency and tension, keeping the audience engaged and invested in the characters' actions and the outcome of the rescue mission.


Technical Aspect

Formatting: 8

The formatting of the scene follows the expected format for its genre, with clear scene headings, dialogue formatting, and action descriptions that enhance the readability and flow of the screenplay.

Structure: 8

The structure of the scene follows the expected format for its genre, effectively building tension and suspense through strategic scene transitions and character interactions.


Critique
  • The scene effectively builds tension by juxtaposing the actions at the bazaar with the scrutiny at the airport. However, the transitions between locations could be smoother to maintain the flow of urgency. The quick cuts can disorient the audience if not executed with clear visual cues.
  • The dialogue is functional but lacks emotional depth. Bob Anders' calm demeanor in the face of potential danger is commendable, but it could be enhanced with more internal conflict or subtle hints of anxiety to make the stakes feel more personal.
  • The use of Farsi dialogue without translation adds authenticity but may alienate viewers who do not understand the language. Consider providing context through visual cues or reactions from characters to convey the meaning without needing subtitles.
  • The scene could benefit from more sensory details to immerse the audience in the environment. Describing the sounds, smells, and sights of the bazaar and airport would enhance the tension and make the audience feel the pressure alongside the characters.
  • The character of Khalkali is introduced but not fully developed in this scene. Providing a brief insight into his motivations or background could make him a more compelling antagonist, heightening the stakes for the protagonists.
Suggestions
  • Consider adding a moment of hesitation or doubt for Bob Anders before he presents the letter from the Minister of Culture. This could heighten the tension and make his eventual success feel more earned.
  • Incorporate more visual storytelling elements, such as close-ups of characters' expressions or reactions to the unfolding events, to convey their emotional states without relying solely on dialogue.
  • Introduce a ticking clock element, such as an announcement about the flight's departure time, to increase the urgency and pressure on the characters as they navigate the checkpoints.
  • Explore the dynamics between the characters more deeply. For instance, showing a moment of camaraderie or shared fear among the Houseguests could strengthen their bond and make the audience more invested in their escape.
  • Consider using sound design to enhance the atmosphere. The sounds of the bazaar, the tension of the airport, and the ominous presence of the Komiteh could be layered to create a more immersive experience.



Scene 52 - The Art of Deception
273 INT. CIA - THE PIT - NIGHT 273

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"]

Summary In a tense night at the CIA's operations room, Lamont updates O'Donnell on the situation with Swissair, while Malinov reports no communication from L.A. At Mehrabad Airport, Mark Lijek tries to convince the Komiteh that they are filmmakers, not journalists. Joe Stafford captivates the young Komiteh with his animated storytelling and colorful storyboards, but Azizi demands verification of their story. Mendez supports Joe by providing his business card, but the tension remains as Azizi prepares to verify their claims, leading to a debate among the Komiteh.
Strengths
  • Tension-building
  • Suspenseful atmosphere
  • Character interactions
  • Dialogue
  • Plot advancement
Weaknesses
  • Limited character development
  • Lack of significant emotional depth

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and suspense through the interaction between the Houseguests and the Komiteh, showcasing Joe Stafford's surprising storytelling abilities and the escalating conflict at the checkpoint.


Story Content

Concept: 8

The concept of the scene revolves around the Houseguests' attempt to navigate a checkpoint in the Tehran Bazaar, showcasing their improvisational skills and the escalating conflict with the suspicious officials.

Plot: 8.5

The plot is advanced significantly in this scene as the Houseguests face a critical checkpoint encounter, highlighting the risks and challenges they must overcome to proceed with their escape plan.

Originality: 9

The scene introduces a unique situation where the characters must use a fake movie cover to escape a dangerous situation. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters' reactions and interactions in the scene effectively convey their tension, anxiety, and determination to navigate the checkpoint successfully, showcasing their individual strengths and vulnerabilities.

Character Changes: 7

While there are no significant character changes in this scene, Joe Stafford's unexpected confidence and storytelling skills are revealed, adding depth to his character.

Internal Goal: 8

The protagonist's internal goal is to convince the authorities that they are in Iran to make a movie, not as spies. This reflects their need to maintain their cover and stay safe in a hostile environment.

External Goal: 7.5

The protagonist's external goal is to verify their story and gain permission to leave Iran safely.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and escalating, as the Houseguests must navigate a checkpoint with suspicious officials, showcasing the high stakes and risks involved in their escape plan.

Opposition: 8

The opposition in the scene is strong, as the characters must navigate a dangerous situation with uncertain outcomes.

High Stakes: 9

The stakes are high in this scene as the Houseguests must navigate a critical checkpoint in the Tehran Bazaar, facing suspicion and potential exposure that could jeopardize their escape plan.

Story Forward: 9

The scene significantly moves the story forward by showcasing the Houseguests' encounter at the checkpoint, highlighting the challenges they face and the risks involved in their escape plan.

Unpredictability: 8

This scene is unpredictable because of the shifting dynamics between the characters and the uncertain outcome of their situation.

Philosophical Conflict: 8

The philosophical conflict is between truth and deception, as the protagonist must navigate a dangerous situation by using a false cover story.


Audience Engagement

Emotional Impact: 8

The scene evokes anxiety, tension, and concern for the characters' safety, creating an emotional impact on the audience as they face the escalating risks in Tehran.

Dialogue: 8.5

The dialogue in the scene is crucial in conveying the Houseguests' cover story, Joe Stafford's impressive storytelling, and the escalating tension between the characters and the Komiteh officials.

Engagement: 9

This scene is engaging because of the high stakes, tense dialogue, and the characters' efforts to maintain their cover.

Pacing: 8.5

The pacing of the scene effectively builds suspense and maintains the audience's interest.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and follows the expected format for a screenplay.

Structure: 8

The scene follows the expected structure for a tense and suspenseful moment in a thriller genre.


Critique
  • The scene effectively builds tension by juxtaposing the urgency of the CIA's operations room with the precarious situation at Mehrabad Airport. However, the transition between these two locations could be smoother to maintain the flow of the narrative. The abrupt shifts may confuse the audience about the timeline and the stakes involved.
  • Mark Lijek's attempt to communicate through miming is a clever way to illustrate the language barrier and the tension of the moment. However, it could benefit from more visual cues or context to enhance the audience's understanding of the situation. For instance, adding a brief moment where Lijek's frustration is palpable could deepen the emotional impact.
  • Joe Stafford's confident storytelling is a highlight of the scene, showcasing his character's resourcefulness. However, the dialogue could be tightened to avoid redundancy. For example, phrases like 'You see?' and 'Y’see these guys here?' could be streamlined to maintain the pacing and keep the audience engaged.
  • The introduction of Azizi as a character is effective, but his motivations and authority could be more clearly established. Providing a brief line that hints at his background or his role within the Komiteh would add depth and make his character more compelling.
  • The scene's climax hinges on the verification of their story, which is a strong narrative device. However, the stakes could be heightened by incorporating more immediate consequences if they fail to convince the Komiteh. This could involve a more explicit threat or a time constraint that adds urgency to their situation.
Suggestions
  • Consider adding a visual motif or recurring element that connects the CIA operations room and the airport scenes, such as a ticking clock or a countdown, to emphasize the urgency of the situation.
  • Enhance Mark Lijek's miming by incorporating more physicality or props that could help convey his message more clearly, making the scene more dynamic and engaging.
  • Streamline Joe Stafford's dialogue to focus on key points that drive the narrative forward, eliminating any repetitive phrases to maintain a brisk pace.
  • Provide a brief backstory or context for Azizi's character to establish his authority and motivations, making him a more formidable presence in the scene.
  • Introduce a ticking clock or a countdown element to heighten the tension, emphasizing the urgency of their situation and the potential consequences of failure.



Scene 53 - Tension at Mehrabad Airport
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.

But the place is empty.


290 INT./EXT. MEHRABAD AIRPORT - FLIGHT GATE - MORNING 290

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 --


291 INT. CANADIAN AMBASSADOR’S RESIDENCE - KEN’S OFFICE - 291
MORNING

The Komiteh search the house. Khalkali gets on the
phone.


292 OMITTED 292


293 INT. MEHRABAD AIRPORT - FLIGHT GATE - MORNING 293

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"]

Summary Azizi tries to contact Mr. Kevin Harkins at the Komiteh Station in Mehrabad Airport but learns he is unavailable. Meanwhile, the Komiteh search the empty Canadian Ambassador's residence. A brief moment of camaraderie occurs when Mendez presents storyboards to the young Komiteh, distracting them from their mission. As the Houseguests rush to the flight gate, a young Komiteh receives a phone call, heightening the tension. The scene concludes with the Houseguests boarding a transport bus that initially fails to start.
Strengths
  • Intense conflict
  • High stakes
  • Tense atmosphere
Weaknesses
  • Limited character development
  • Some dialogue may feel exposition-heavy

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and suspense, keeping the audience on the edge of their seats with the high-stakes escape attempt and the looming threat of being caught by the authorities.


Story Content

Concept: 8

The concept of a daring escape attempt at the airport is engaging and keeps the audience invested in the characters' fate. The scene effectively conveys the risks and challenges faced by the Houseguests.

Plot: 8.5

The plot of the scene is crucial as it revolves around the pivotal moment of the Houseguests attempting to board a flight to safety. It drives the narrative forward and heightens the suspense.

Originality: 9

The scene presents a fresh approach to the rescue mission genre by focusing on the real-life events of the Iran hostage crisis. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8

The characters are under pressure and their actions reflect their desperation to escape. Each character's reactions and decisions add to the tension of the scene.

Character Changes: 7

While there are no significant character arcs in this scene, the characters' actions and decisions reflect their growth under pressure, showcasing their determination to survive.

Internal Goal: 8

The protagonist's internal goal is to successfully execute the plan to rescue the American hostages and escape Iran safely. This reflects his desire to protect the hostages and his own survival instincts.

External Goal: 9

The protagonist's external goal is to board the flight to Zurich with the American hostages without being caught by the Iranian authorities. This goal reflects the immediate challenge of evading capture and ensuring the hostages' safety.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense, with the Houseguests facing obstacles at every turn as they try to evade the authorities and board the flight. The stakes are high, adding to the tension.

Opposition: 8

The opposition in the scene is strong, with the Komiteh forces posing a significant threat to the protagonist's mission. The uncertainty of their actions adds to the tension and suspense.

High Stakes: 9

The stakes are incredibly high in this scene, as the Houseguests risk capture and execution if they fail to board the flight. The tension is palpable, heightening the sense of danger.

Story Forward: 9

The scene significantly moves the story forward by depicting a crucial moment in the Houseguests' escape plan. It sets the stage for the climax and resolution of the narrative.

Unpredictability: 8

This scene is unpredictable because of the unexpected obstacles and challenges the characters face, keeping the audience on edge and unsure of the outcome.

Philosophical Conflict: 7

The philosophical conflict in this scene is the clash between the revolutionary ideals of the Komiteh forces and the humanistic values of the protagonist and his team. This challenges the protagonist's belief in the importance of individual freedom and human life.


Audience Engagement

Emotional Impact: 8

The scene evokes a sense of fear and anxiety in the audience, as they empathize with the characters' plight and root for their success in escaping safely.

Dialogue: 7.5

The dialogue is focused on conveying essential information and maintaining the urgency of the situation. It effectively communicates the characters' emotions and motivations.

Engagement: 9

This scene is engaging because of its fast-paced action, high stakes, and suspenseful atmosphere. The audience is drawn into the characters' struggle to escape Iran and rescue the hostages.

Pacing: 9

The pacing of the scene is fast and intense, driving the action forward and maintaining the audience's interest. The rhythm of the scene adds to its effectiveness in building tension.


Technical Aspect

Formatting: 9

The formatting of the scene is clear and concise, following the expected format for a screenplay in the action genre.

Structure: 9

The scene follows the expected structure for a high-stakes action sequence, with a clear goal, escalating tension, and a resolution that propels the narrative forward.


Critique
  • The scene effectively builds tension by juxtaposing the urgency of the Komiteh's search with the Houseguests' desperate attempt to escape. However, the pacing could be improved; the transitions between the Komiteh's actions and the Houseguests' movements feel a bit disjointed, which may confuse the audience about the timeline of events.
  • The dialogue is minimal, which can work well in a tense scene, but it may benefit from a few more lines that convey the characters' emotions or thoughts. For instance, adding a line from Mendez that reflects his anxiety or determination could enhance the emotional stakes.
  • The use of visual storytelling is strong, particularly with the contrasting settings of the airport and the Canadian Ambassador's residence. However, the scene could benefit from more sensory details to immerse the audience further. Describing the sounds of the airport, the tension in the air, or the expressions on the characters' faces would enhance the atmosphere.
  • The moment where Mendez offers the storyboards as a 'gift' is a clever way to diffuse tension, but it feels slightly rushed. Expanding this moment to show the Komiteh's initial skepticism before they warm up to the storyboards could create a more satisfying character arc for them.
  • The scene ends on a note of uncertainty with the bus not starting, which is effective for building suspense. However, it might be more impactful if there were a brief moment of dialogue or reaction from the Houseguests that highlights their fear or frustration, making the stakes feel even higher.
Suggestions
  • Consider adding a few lines of internal monologue or dialogue from Mendez or Joe Stafford to convey their emotional state during this high-stakes moment.
  • Enhance the sensory details in the scene to create a more immersive experience for the audience. Describe the sounds, smells, and sights of the airport and the tension in the air.
  • Expand the moment where Mendez presents the storyboards to the Komiteh. Show their initial skepticism and how they gradually become more engaged with the storyboards to create a more dynamic interaction.
  • Ensure smoother transitions between the different locations and actions to maintain clarity about the timeline and the urgency of the situation.
  • Add a brief moment of reaction from the Houseguests when the bus fails to start, which could heighten the tension and emphasize their precarious situation.



Scene 54 - Chaos at Mehrabad Airport
296 INT. MEHRABAD AIRPORT - MORNING 296

Young Komiteh RUNNING through the terminal, pushing
through a crowd, making a woman drop her suitcase,
contents scattering. An automatic weapon at his side.


297 EXT. SWISSAIR DC-10 - MORNING 297

The Houseguests head up the stairs to the plane.


298 INT. MEHRABAD AIRPORT - FLIGHT GATE - MORNING 298

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.


300 INT. MEHRABAD AIRPORT - FLIGHT GATE - MORNING 300

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"]

Summary In a tense scene at Mehrabad Airport, Young Komiteh creates chaos as he rushes through the terminal with an automatic weapon, joined by Azizi and other Komiteh members. They attempt to reach the closed gate for Flight 363, while inside the Swissair DC-10, anxious passengers await their delayed flight. Azizi confronts a Swissair representative for assistance but is met with refusal. As the plane begins to move, Azizi's frantic attempts to follow are thwarted by metal bars, leaving him trapped as alarms sound.
Strengths
  • Building tension and suspense
  • Effective portrayal of urgency and fear
  • Strong character dynamics
Weaknesses
  • Minimal dialogue
  • Limited character growth

Ratings
Overall

Overall: 8.5

The scene effectively builds tension and suspense, creating a sense of urgency and fear as the Houseguests face obstacles in their escape. The execution is well-done, with strong character dynamics and plot progression.


Story Content

Concept: 8

The concept of the scene revolves around the high-stakes escape of the Houseguests, emphasizing tension, urgency, and the obstacles they face. The concept is crucial in driving the narrative forward.

Plot: 8

The plot of the scene focuses on the Houseguests' final moments in Tehran before boarding the plane, highlighting the obstacles they encounter and the escalating tension. The plot effectively leads to the climax of their departure.

Originality: 9

The scene presents a fresh approach to the political thriller genre, combining high-stakes action with intimate character moments. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters in the scene display fear, determination, and urgency, reflecting the high-stakes situation they are in. Their interactions and reactions add depth to the scene and enhance the emotional impact.

Character Changes: 7

While there are subtle character changes, such as increased determination and fear, the focus is more on the characters' reactions to the escalating conflict rather than significant personal growth.

Internal Goal: 8

The protagonist's internal goal in this scene is likely to ensure the safety and success of the mission, reflecting their deeper desire for accomplishment and validation of their skills.

External Goal: 7

The protagonist's external goal is to prevent the Swissair plane from taking off, reflecting the immediate challenge of stopping the escape of the Houseguests.


Scene Elements

Conflict Level: 8

The scene is filled with conflict, both internal and external, as the Houseguests encounter obstacles and threats that jeopardize their escape. The escalating tension and high stakes contribute to the conflict.

Opposition: 8

The opposition in the scene is strong, with the protagonist facing significant obstacles in their mission to stop the Swissair plane from taking off.

High Stakes: 9

The stakes are extremely high in the scene, as the Houseguests face the imminent threat of capture and execution, adding intense pressure and urgency to their escape.

Story Forward: 9

The scene significantly moves the story forward by depicting the crucial moment of the Houseguests boarding the plane for their escape, marking a pivotal point in the narrative.

Unpredictability: 8

This scene is unpredictable due to the unexpected actions of the characters and the shifting dynamics of the situation, keeping the audience on edge.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the clash between political ideologies and the use of force to achieve goals. This challenges the protagonist's beliefs in the righteousness of their actions.


Audience Engagement

Emotional Impact: 8

The scene has a high emotional impact, evoking fear, tension, and empathy for the characters facing a life-threatening situation. The emotional intensity adds depth to the narrative.

Dialogue: 7.5

The dialogue in the scene is minimal but impactful, conveying the urgency and tension of the situation. The dialogue effectively reveals the characters' emotions and motivations.

Engagement: 9

This scene is engaging because of its high stakes, fast-paced action, and emotional depth, keeping the audience invested in the characters' fates.

Pacing: 9

The pacing of the scene effectively builds tension and suspense, keeping the audience on the edge of their seats as the action unfolds.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for a screenplay in this genre, with clear scene descriptions and character actions.

Structure: 8

The scene follows the expected structure for a tense action sequence in a political thriller, building tension and conflict effectively.


Critique
  • The scene effectively builds tension by juxtaposing the frantic actions of the Young Komiteh with the calmness of the Houseguests boarding the plane. However, the pacing could be improved by adding more sensory details to enhance the urgency and chaos of the airport environment.
  • The dialogue is minimal, which works well in creating a sense of urgency, but it may benefit from some internal thoughts or brief exchanges among the Houseguests to convey their emotional states more vividly. This would help the audience connect with their anxiety and fear as they await their escape.
  • The visual transitions between the Komiteh's actions and the Houseguests' experiences are effective, but the scene could use more clarity in the stakes. For instance, explicitly stating the consequences if the Komiteh catch up to the Houseguests would heighten the tension and urgency.
  • The use of the flight attendant's safety mime is a clever touch, but it could be expanded to show the contrast between the mundane safety procedures and the life-threatening situation outside. This would enhance the dramatic irony of the scene.
  • The scene ends with Azizi's frustration as he cannot reach the Houseguests, which is a strong moment. However, it could be more impactful if it included a visual or auditory cue that signifies the Houseguests' escape, such as the sound of the plane's engines starting, to emphasize the narrowness of their escape.
Suggestions
  • Incorporate more sensory details, such as sounds of the airport, the smell of jet fuel, or the chatter of passengers, to create a more immersive atmosphere.
  • Add brief internal monologues or dialogue among the Houseguests to express their fears and hopes, which would deepen the audience's emotional investment in their escape.
  • Clarify the stakes by including a line or two that highlights the potential consequences if the Komiteh catch the Houseguests, making the urgency of the situation more palpable.
  • Expand on the flight attendant's safety demonstration to create a stark contrast between the normalcy of air travel and the chaos unfolding outside, enhancing the dramatic tension.
  • Consider ending the scene with a more definitive auditory cue of the plane's engines starting or the sound of alarms, reinforcing the tension and the precariousness of the Houseguests' escape.



Scene 55 - Escape from Tehran
304 INT. MEHRABAD FLIGHT TOWER - MORNING 304

An Iranian FLIGHT TRAFFIC CONTROLLER calmly speaks into
his radio in British-accented English.

FLIGHT TRAFFIC CONTROLLER
SwissAir 363, you are Number 2 for
departure.


305 INT. SWISSAIR DC-10 - MORNING 305

Out the window of the plane. Two IRANIAN POLICE CARS and
a CANVAS-TOPPED TRUCK are headed down the runway toward
the plane.


306 INT. SWISSAIR DC-10 - MENDEZ’S POV - MORNING 306

looking out from his window seat.


307 EXT. AIRPORT RUNWAY - MORNING 307

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"]

Summary In the Mehrabad Flight Tower and on the runway of Tehran's airport, tension escalates as an Iranian Flight Traffic Controller clears SwissAir 363 for take-off. Just as the plane prepares to depart, armed Komiteh arrive in police cars, threatening to halt the flight. Amidst the chaos, the pilot reacts swiftly, pushing the engines to full throttle. The Swissair DC-10 successfully takes off, leaving the Komiteh behind as they watch helplessly from the ground.
Strengths
  • Intense tension and suspense
  • Realistic portrayal of high-stakes situation
  • Strong character reactions to danger
Weaknesses
  • Limited character development in this specific scene

Ratings
Overall

Overall: 9.2

The scene is well-crafted, effectively building tension and suspense as the Houseguests face obstacles and threats while trying to leave Tehran. The high stakes and urgency create a gripping atmosphere.


Story Content

Concept: 9

The concept of the scene revolves around the intense moments leading up to the Houseguests' departure, with a focus on the escalating conflict and the race against time. The concept is well-executed and keeps the audience engaged.

Plot: 9.2

The plot of the scene is crucial in building tension and suspense, as the Houseguests face increasing threats and obstacles while trying to leave Tehran. The plot progression is well-paced and keeps the audience on edge.

Originality: 8

The scene introduces a fresh perspective on a familiar scenario of a plane departure by adding elements of political tension and security threats. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 9

The characters in the scene are well-developed and their reactions to the escalating danger are realistic and engaging. The audience can empathize with their fear and urgency.

Character Changes: 8

While there are no significant character changes in this scene, the characters' reactions to the escalating danger reveal more about their personalities and motivations.

Internal Goal: 8

The protagonist's internal goal in this scene is likely to ensure the safety and successful departure of the Swissair DC-10. This reflects their deeper need for control, competence, and the ability to handle pressure in a crisis.

External Goal: 9

The protagonist's external goal in this scene is to take off safely despite the presence of Iranian police cars and the canvas-topped truck heading towards the plane. This reflects the immediate challenge of evading potential security threats and leaving the airport without interference.


Scene Elements

Conflict Level: 9

The conflict in the scene is intense and multi-layered, with the Houseguests facing external threats from the Komiteh and internal conflicts as they struggle to maintain their cover and escape Tehran.

Opposition: 8

The opposition in the scene is strong, with the presence of Iranian police cars and the Komiteh posing a significant threat to the protagonist's goal of safe departure. The audience is kept on edge, unsure of how the situation will unfold.

High Stakes: 10

The stakes in the scene are extremely high, as the Houseguests' lives are in danger and their escape from Tehran is at risk. The sense of urgency and danger adds to the tension and suspense.

Story Forward: 9

The scene significantly moves the story forward by showing the Houseguests' departure from Tehran and the obstacles they face, setting the stage for the climax of the narrative.

Unpredictability: 8

This scene is unpredictable because of the unexpected arrival of the Iranian police cars and the canvas-topped truck, adding a new layer of danger and uncertainty to the protagonist's situation.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is the clash between authority and resistance. The Flight Traffic Controller represents authority and order, while the Komiteh with automatics symbolize resistance and potential danger. This challenges the protagonist's beliefs in following protocol versus taking risks to ensure safety.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, as the audience is invested in the characters' plight and feels their fear and desperation as they try to leave Tehran under intense pressure.

Dialogue: 8.5

The dialogue in the scene effectively conveys the tension and urgency of the situation, with characters speaking in a realistic and authentic manner given the high-stakes scenario.

Engagement: 9

This scene is engaging because of its fast-paced action, high stakes, and the sense of danger faced by the protagonist. The audience is drawn into the suspenseful situation and invested in the outcome.

Pacing: 9

The pacing of the scene is well-crafted, with a gradual buildup of tension, quick action beats, and a climactic moment of resolution. The rhythm of the scene enhances its effectiveness in conveying urgency and suspense.


Technical Aspect

Formatting: 9

The formatting of the scene is well-executed, with clear transitions between locations, concise action lines, and effective use of visual cues to enhance the reader's understanding.

Structure: 9

The scene follows the expected structure for a high-stakes action sequence at an airport, with a clear buildup of tension, escalating conflict, and a resolution.


Critique
  • The scene effectively builds tension as the Swissair plane prepares for takeoff while being pursued by the Komiteh. The juxtaposition of the calm Flight Traffic Controller and the chaotic pursuit creates a strong sense of urgency.
  • The use of visual elements, such as the boots rushing up the stairs and the view from Mendez's window, enhances the suspense and allows the audience to feel the immediacy of the situation. However, the scene could benefit from more sensory details to immerse the audience further in the environment.
  • The dialogue is minimal, which works well in this high-stakes moment, but adding a few lines of internal thoughts or brief exchanges among the characters could deepen the emotional impact and provide insight into their state of mind as they face danger.
  • The pacing is generally effective, but the transition between the calmness of the Flight Traffic Controller and the sudden chaos of the Komiteh's entrance could be more pronounced. A moment of silence or a brief pause before the chaos erupts could heighten the shock value.
  • The scene ends abruptly after the plane takes off, which is effective in conveying the relief of escape. However, a brief moment of reflection from Mendez or another character could provide closure and emphasize the gravity of their situation.
Suggestions
  • Incorporate more sensory details, such as sounds of the airport, the smell of the tea, or the tension in the air, to create a more immersive experience for the audience.
  • Consider adding a line or two of internal dialogue or a quick exchange between characters to convey their emotions and thoughts during this tense moment.
  • Enhance the transition between the calm and chaos by including a moment of silence or a visual cue that signifies the impending danger before the Komiteh burst in.
  • After the plane takes off, include a brief moment of reflection from Mendez or another character to emphasize the relief of their escape and the weight of what they have just experienced.
  • Ensure that the stakes are clear throughout the scene by highlighting the consequences of failure, perhaps through a quick flashback or a line of dialogue that reminds the audience of what is at risk.



Scene 56 - Escape and Reflection
317 INT. CIA (LANGLEY) - NIGHT 317

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.

FLIGHT ATTENDANT
Sir?

Joe goes back to his seat.

HOLD ON Tony Mendez.
Genres: ["Drama","Thriller"]

Summary In the CIA's Pit at Langley, O'Donnell and his team anxiously await news of the Houseguests' escape. As Lamont announces the plane's departure, O'Donnell urges caution. Meanwhile, aboard the Swissair DC-10, the Houseguests celebrate their escape over Iranian airspace, though Mendez remains contemplative. The scene shifts between the jubilant celebration on the plane and the relieved cheers in the Pit, culminating in a close-up of Mendez reflecting on the situation amidst the chaos.
Strengths
  • Effective portrayal of tension and relief
  • Strong character interactions
  • Emotional impact on the audience
Weaknesses
  • Limited exploration of individual character arcs
  • Some secondary characters lack depth

Ratings
Overall

Overall: 8.5

The scene effectively conveys the emotions and stakes involved in the escape, with a good balance of tension, relief, and celebration. The character interactions and the build-up to the escape are well-executed.


Story Content

Concept: 8

The concept of the scene, focusing on the escape of the Houseguests from Iran, is well-developed and executed. The mix of tension, relief, and celebration adds depth to the overall concept.

Plot: 8

The plot of the scene revolves around the Houseguests' escape from Iran, with a focus on the build-up to their departure and the moment of relief and celebration once they are in the air. It effectively moves the story forward.

Originality: 8

The scene presents a fresh approach to a high-stakes extraction mission, with authentic character actions and dialogue.


Character Development

Characters: 8.5

The characters in the scene are well-developed, with their emotions and relationships effectively portrayed. The interactions between the Houseguests and Mendez add depth to the characters.

Character Changes: 8

The characters undergo a subtle change as they transition from anxiety and tension to relief and celebration. The bond between the Houseguests and Mendez strengthens, reflecting their shared experience.

Internal Goal: 8

The protagonist's internal goal is to ensure the success of the mission and the safety of the houseguests. This reflects his deeper desire to protect and save lives.

External Goal: 9

The protagonist's external goal is to successfully extract the houseguests from Iran. This reflects the immediate circumstances and challenges they are facing in a hostile environment.


Scene Elements

Conflict Level: 7

The conflict in the scene is primarily internal, as the characters grapple with the tension and anxiety of their escape. The external conflict with the Iranian authorities adds to the stakes and sense of danger.

Opposition: 7

The opposition in the scene is strong, with the potential threat of discovery and the tension between celebration and annoyance.

High Stakes: 8

The stakes are high in the scene, as the Houseguests face the risk of capture and execution in Iran. The tension and danger add to the sense of urgency and importance of their escape.

Story Forward: 8

The scene effectively moves the story forward by resolving the immediate conflict of the Houseguests' escape from Iran. It sets the stage for the next phase of the narrative.

Unpredictability: 8

This scene is unpredictable due to the unexpected twists and turns in the extraction mission.

Philosophical Conflict: 7

There is a philosophical conflict between the celebration of the successful extraction and the annoyance of other passengers who are not aware of the danger the houseguests were in. This challenges the protagonist's values of sacrifice and heroism.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, with moments of tension, relief, and celebration evoking strong emotions in the audience. The characters' reactions and interactions add depth to the emotional impact.

Dialogue: 8

The dialogue in the scene effectively conveys the emotions and tensions of the characters, adding depth to their interactions. The moments of celebration and relief are well-captured through the dialogue.

Engagement: 9

This scene is engaging because of its high stakes, suspenseful atmosphere, and impactful character interactions.

Pacing: 9

The pacing of the scene contributes to its effectiveness by building tension and suspense gradually.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear and concise descriptions.

Structure: 9

The scene follows the expected structure for its genre, building tension and suspense effectively.


Critique
  • The scene effectively captures the contrasting emotions of celebration and tension, showcasing the relief of the Houseguests as they clear Iranian airspace. However, the transition between the CIA's Pit and the Swissair DC-10 could be smoother to maintain narrative flow. The abrupt shifts might disorient the audience, so consider using a visual or auditory cue to bridge these moments more seamlessly.
  • While the celebration among the Houseguests is lively and engaging, Mendez's isolation amidst the joy feels somewhat underdeveloped. This moment could be enhanced by providing a brief internal monologue or flashback that reflects his emotional state, deepening the audience's understanding of his character and the weight of the situation he has just navigated.
  • The dialogue from the flight attendant is functional but lacks a sense of urgency or personality. Adding a touch of humor or a more distinctive voice could enhance the scene's atmosphere and make the flight attendant a more memorable character.
  • The reactions of the other passengers to the Houseguests' celebration are mentioned but not fully explored. This could be an opportunity to add layers to the scene by showing a mix of annoyance and curiosity from the other passengers, which would further emphasize the Houseguests' relief and joy in contrast to the surrounding tension.
Suggestions
  • Consider adding a visual or auditory transition between the CIA's Pit and the Swissair DC-10 to create a smoother narrative flow.
  • Incorporate a brief internal monologue or flashback for Mendez during the celebration to provide insight into his emotional state and the weight of the situation.
  • Enhance the flight attendant's dialogue with humor or a distinctive voice to make her character more memorable and engaging.
  • Explore the reactions of other passengers more fully to highlight the contrast between the Houseguests' celebration and the mixed feelings of those around them.



Scene 57 - Reflections and Resolutions
322 INT. ARGO PRODUCTION OFFICE - NIGHT 322

Drinking straight from a bottle of Beefeater.

SIEGEL
It’s history, is what it is.
‘History plays out first as farce,
then as tragedy.’

CHAMBERS
The quote’s the other way around.

SIEGEL
Who said it? *

CHAMBERS
Marx.

SIEGEL
Groucho?

CHAMBERS
Karl.


322A EXT. BORDER CROSSING - ABADAN, IRAQ - MORNING 322A *

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.
Genres: ["Drama","Thriller"]

Summary In the Argo production office at night, Siegel drinks and philosophizes about history, engaging in light banter with Chambers. The scene shifts to a border crossing in Abadan, Iraq, where Sahar, a woman in hijab, observes the plight of refugees. It then transitions to a CIA office in Langley, where Lamont, Rossi, and Malinov celebrate the operation's success, though they clash over who deserves credit, with Malinov emphasizing Canada's role. The scene concludes with archive footage of the hostages' homecoming, accompanied by a voiceover from Ted Koppel, providing a sense of closure.
Strengths
  • Effective tension-building
  • Emotional impact
  • Character development
Weaknesses
  • Some dialogue could be more impactful

Ratings
Overall

Overall: 8.5

The scene effectively conveys the high stakes and emotional impact of the escape, with a good balance of tension, celebration, and reflection.


Story Content

Concept: 8

The concept of the escape is well-executed, with a focus on the tension, celebration, and reflection of the characters involved.

Plot: 8.5

The plot of the scene is crucial as it revolves around the successful escape of the Houseguests, with a good balance of tension and resolution.

Originality: 8

The scene introduces fresh perspectives on historical events and political tensions, with authentic character interactions and dialogue that feel true to the setting and themes.


Character Development

Characters: 8

The characters are well-portrayed, showcasing their emotions, actions, and development during the escape.

Character Changes: 8

Some characters show growth and development during the scene, especially in terms of facing challenges and working together.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate the complex political and moral implications of their actions, as seen in the dialogue about being 'the good guys' and the celebration turning quieter and drunker.

External Goal: 7

The protagonist's external goal is to successfully navigate the border crossing and enter Iraq without any issues.


Scene Elements

Conflict Level: 7.5

The conflict in the scene is mainly external, focusing on the obstacles faced during the escape, adding to the tension and stakes.

Opposition: 7

The opposition in the scene is strong, with characters facing moral dilemmas, political tensions, and personal challenges that create obstacles to their goals.

High Stakes: 9

The stakes are high in the scene, with the characters facing the risk of capture and execution, adding to the tension and urgency.

Story Forward: 9

The scene significantly moves the story forward by showcasing the successful escape of the Houseguests and the resolution of the operation.

Unpredictability: 7

This scene is unpredictable due to the shifting dynamics between characters, the moral ambiguity of their actions, and the geopolitical tensions at play.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the moral ambiguity of the protagonist's actions and the geopolitical implications of their decisions. This challenges the protagonist's beliefs about right and wrong, and the consequences of their choices.


Audience Engagement

Emotional Impact: 8.5

The scene has a high emotional impact, capturing the anxiety, relief, and celebration of the characters during the escape.

Dialogue: 7.5

The dialogue effectively conveys the tension and emotions of the characters, with moments of celebration and reflection.

Engagement: 9

This scene is engaging because of its blend of tension, celebration, and moral dilemmas, keeping the audience invested in the characters' choices and actions.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, with well-timed dialogue and scene transitions that keep the audience engaged.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene descriptions and character dialogue.

Structure: 8

The scene follows a clear structure with distinct locations and character interactions, maintaining a cohesive narrative flow.


Critique
  • The scene effectively juxtaposes the celebratory atmosphere in the Argo production office with the somber reality of Sahar's situation at the border crossing. This contrast highlights the emotional stakes of the story, but it could be enhanced by providing more depth to Sahar's character and her internal conflict as she transitions from a refugee to a symbol of loss.
  • The dialogue between Siegel and Chambers is witty and serves to lighten the mood, but it may benefit from a clearer connection to the overarching themes of the film. The quote from Marx, while clever, feels somewhat disconnected from the immediate context of the scene. Consider tying it more explicitly to the characters' experiences or the events unfolding in Iran.
  • The transition between the production office and the border crossing is abrupt. While this can create a jarring effect that emphasizes the contrast, it may also confuse the audience. A smoother transition or a visual cue could help maintain narrative flow and clarity.
  • The celebration in the CIA office feels somewhat muted and lacks a strong emotional payoff. While the characters express relief, the scene could benefit from a more visceral reaction to the successful escape, perhaps through a shared moment of vulnerability or reflection on the risks they took.
  • The use of archive footage at the end of the scene is a powerful choice, but it could be more effectively integrated into the narrative. Consider using the footage to enhance the emotional weight of the characters' actions, perhaps by showing the direct impact of their decisions on the hostages' lives.
Suggestions
  • Expand on Sahar's character by including a brief internal monologue or visual cues that convey her emotions as she crosses into Iraq. This will help the audience connect with her plight more deeply.
  • Rework the dialogue between Siegel and Chambers to more directly reflect the themes of sacrifice and the moral complexities of their actions. This could involve referencing the consequences of their decisions in a more poignant way.
  • Consider adding a visual or auditory transition that links the celebratory atmosphere of the production office with the somber reality of Sahar's crossing, such as a sound bridge or a visual motif that recurs throughout the scene.
  • Enhance the emotional climax of the CIA office celebration by incorporating a moment of silence or reflection among the characters, allowing them to acknowledge the gravity of their actions and the lives at stake.
  • Integrate the archive footage more seamlessly by using it to punctuate key emotional beats in the scene, perhaps showing the reactions of the hostages or their families as a direct response to the characters' actions.



Scene 58 - A Triumphant Return Amidst Tension
326 INT. STATE DEPARTMENT - LOBBY - DAY 326

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?


331 INT. CIA (LANGLEY) - THE PIT - DAY 331

Mendez stands at a desk on the main floor.

MENDEZ
Wha’d you say to her?


332 EXT. BY LESTER’S POOL - DAY 332

SIEGEL
I said, ‘Argo fuck yourself.’
Genres: ["Drama","Thriller"]

Summary In the State Department lobby, U.S. diplomats, known as the Houseguests, receive a warm welcome from the public after their escape from Iran, celebrated with cheers and banners. Archive footage reveals Iranian Foreign Minister Sadeq Ghotbzadeh's anger over the incident, contrasting with the joyous welcome home ceremony for Ambassador Ken Taylor. As the scene unfolds, Siegel reflects on the escape at Lester's pool, sharing a humorous remark with Mendez, highlighting the mix of celebration and underlying tension in the atmosphere.
Strengths
  • Effective portrayal of tension and celebration
  • Well-paced beat sequences
  • Strong character development
Weaknesses
  • Limited character changes
  • Some dialogue could be more impactful

Ratings
Overall

Overall: 8.5

The scene effectively combines tension, celebration, and anxiety to create a compelling and engaging sequence.


Story Content

Concept: 8

The concept of the scene, focusing on the escape of the Houseguests and the national celebration, is strong and well-executed.

Plot: 8

The plot of the scene, centered around the successful escape of the Houseguests and the national celebration, is engaging and moves the story forward effectively.

Originality: 9

The scene presents a fresh approach to a historical event, blending political intrigue with personal drama. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 8

The characters in the scene are well-developed, with their emotions and reactions adding depth to the narrative.

Character Changes: 7

While there are no significant character changes in the scene, the emotions and reactions of the characters add depth to their development.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain composure and confidence in the face of external pressure and scrutiny. This reflects their need for validation and success in their mission.

External Goal: 9

The protagonist's external goal is to successfully navigate the political fallout and potential threats resulting from their actions. This reflects the immediate challenges they are facing in maintaining diplomatic relations and national security.


Scene Elements

Conflict Level: 7

The conflict in the scene is primarily internal, with the tension of the escape and the high stakes driving the narrative forward.

Opposition: 8

The opposition in the scene is strong, with external threats and political pressure creating obstacles for the protagonist to overcome.

High Stakes: 8

The stakes are high in the scene, with the Houseguests' lives on the line during their escape from Iran.

Story Forward: 8

The scene effectively moves the story forward by showcasing the successful escape of the Houseguests and the national celebration that follows.

Unpredictability: 8

This scene is unpredictable because of the shifting dynamics between characters and the uncertain outcome of their actions.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the clash between national interests and international diplomacy. The protagonist must balance the needs of their country with the consequences of their actions on a global scale.


Audience Engagement

Emotional Impact: 8.5

The scene has a high emotional impact, capturing the anxiety, tension, and celebration of the moment effectively.

Dialogue: 7.5

The dialogue in the scene effectively conveys the emotions and tensions of the moment, adding to the overall atmosphere.

Engagement: 9

This scene is engaging because of its high stakes, emotional intensity, and sharp dialogue that keeps the audience invested in the characters' fates.

Pacing: 9

The pacing of the scene contributes to its effectiveness by maintaining tension and momentum, keeping the audience engaged and invested in the characters' journey.


Technical Aspect

Formatting: 9

The scene follows the expected formatting for its genre, with clear scene headings and concise descriptions that enhance the visual storytelling.

Structure: 9

The scene follows the expected structure for its genre, effectively building tension and conflict through well-paced dialogue and action.


Critique
  • The scene effectively captures the celebratory atmosphere surrounding the Houseguests' return, using vivid imagery and sound to convey the excitement of the moment. However, the transition from the tense escape to this moment of celebration could be more pronounced to enhance the emotional impact.
  • The use of archive footage adds a layer of realism and historical context, but the abrupt shift from the joyous welcome to the Iranian Foreign Minister's angry statement feels jarring. This contrast could be smoothed out with a more gradual transition or a clearer thematic connection between the two segments.
  • The dialogue from Ted Koppel is effective in summarizing the situation, but it could benefit from a more personal touch. Adding a line that reflects the emotional weight of the Houseguests' experience would deepen the audience's connection to the characters.
  • The scene lacks character focus; while it showcases the celebration, it doesn't delve into the individual reactions of the Houseguests. Highlighting their emotions or interactions during this moment could create a more intimate and relatable experience for the audience.
  • The humor in Siegel's line at the end is a nice touch, but it feels somewhat disconnected from the gravity of the previous scenes. A stronger link between the celebratory tone and the humor could enhance the overall flow of the narrative.
Suggestions
  • Consider adding a brief moment of reflection from one of the Houseguests before the celebration begins, allowing the audience to connect with their relief and joy after the harrowing experience.
  • Smooth the transition between the celebration and the Iranian Foreign Minister's statement by incorporating a visual or auditory cue that links the two, such as a fading sound of cheers into the background of the Minister's speech.
  • Enhance Ted Koppel's voiceover by including a line that acknowledges the emotional toll on the Houseguests, such as mentioning their bravery or the challenges they faced during their escape.
  • Incorporate close-up shots of the Houseguests reacting to the celebration, showcasing their emotions through facial expressions or interactions with each other to create a more personal connection.
  • Consider rephrasing Siegel's punchline to better align with the celebratory tone of the scene, perhaps by making it a more light-hearted reflection on the absurdity of the situation rather than a sharp retort.



Scene 59 - A Hidden Honor
333 INT. CIA ARCHIVES - DAY 333

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.


(CONTINUED)
ARGO - Final 120.
334 CONTINUED: 334

MENDEZ
(yelling back)
A great American what?

O’DONNELL
He didn’t say.
Genres: ["Drama","Thriller"]

Summary In the CIA archives, Mendez catalogs his personal items when he learns he will receive the Intelligence Star, the highest award in Clandestine Services. However, the classified nature of the ceremony prevents his son Ian from attending, causing Mendez to grapple with the bittersweet reality of his honor. As he discreetly hides an overlooked storyboard from the Argo project, he shares a light-hearted exchange with O'Donnell about the secrecy surrounding his achievement, leaving an unresolved tension about his desire to include his son in this moment.
Strengths
  • Sharp dialogue
  • Emotional depth
  • Character development
Weaknesses
  • Limited external conflict
  • Some exposition-heavy moments

Ratings
Overall

Overall: 8.2

The scene effectively combines tension, reflection, and humor to create a compelling moment in the story. The dialogue is sharp and reveals the characters' dedication to their work.


Story Content

Concept: 8

The concept of the scene revolves around recognition for Mendez's actions during the operation, as well as the secrecy surrounding the award ceremony. It adds layers to the characters and the overall story.

Plot: 8.5

The plot of the scene focuses on the aftermath of the operation and sets up the upcoming award ceremony, adding depth to the characters and advancing the story. It also hints at the sacrifices made by the characters.

Originality: 9

The scene introduces a fresh take on the spy genre by focusing on the personal and ethical dilemmas of intelligence work. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 8.5

The characters in the scene, especially Mendez and O'Donnell, are well-developed and their interactions reveal their dedication to their work and the emotional toll of their actions. The humor adds depth to their personalities.

Character Changes: 7

Mendez experiences a shift in his perspective as he grapples with the upcoming award ceremony and the secrecy surrounding it. This adds depth to his character.

Internal Goal: 8

Mendez's internal goal is to maintain his integrity and protect his personal connection to the operation, as seen through his actions of hiding the storyboard.

External Goal: 7

Mendez's external goal is to navigate the complexities of receiving an award for a classified operation without compromising his personal life.


Scene Elements

Conflict Level: 6

The conflict in the scene is more internal and emotional, focusing on Mendez's reaction to the upcoming award ceremony and the secrecy surrounding it.

Opposition: 7

The opposition in the scene adds complexity and uncertainty to the protagonist's journey, keeping the audience engaged.

High Stakes: 6

The stakes in the scene are more personal and emotional, focusing on Mendez's recognition and the sacrifices made by the characters. The secrecy adds a layer of tension.

Story Forward: 7

The scene moves the story forward by setting up the upcoming award ceremony and hinting at the sacrifices made by the characters. It adds depth to the narrative.

Unpredictability: 7

The scene is unpredictable due to the shifting dynamics between characters and the unexpected twists in the plot.

Philosophical Conflict: 7

The philosophical conflict is between the desire for recognition and the need for secrecy in intelligence operations. This challenges Mendez's values of honesty and integrity.


Audience Engagement

Emotional Impact: 8

The scene has a strong emotional impact, especially in revealing Mendez's internal struggle and the sacrifices made by the characters. The humor adds a lighter touch.

Dialogue: 8

The dialogue in the scene is sharp, with a mix of tension, reflection, and humor. It effectively conveys the characters' emotions and motivations.

Engagement: 9

This scene is engaging because of the dynamic interactions between characters and the high stakes involved in maintaining secrecy.

Pacing: 8

The pacing of the scene is well-balanced, allowing for moments of tension and reflection to unfold naturally.


Technical Aspect

Formatting: 8

The scene is well-formatted and easy to follow, adhering to standard screenplay conventions.

Structure: 8

The scene follows a logical progression, building tension and conflict effectively.


Critique
  • The scene effectively captures a moment of reflection for Mendez, showcasing the weight of his actions and the secrecy surrounding his achievements. However, the transition from the previous scene to this one feels abrupt. The shift from a light-hearted moment at the pool to a serious tone in the CIA archives could benefit from a smoother narrative bridge to maintain emotional continuity.
  • The dialogue between Mendez and O'Donnell is engaging and highlights the tension between personal recognition and the nature of covert operations. However, the humor in Mendez's lines, particularly 'I thought we did,' feels slightly out of place given the gravity of the situation. It might be more impactful if the humor was dialed back or if it served to deepen Mendez's character rather than distract from the moment.
  • The stakes of the award ceremony are clear, but the emotional weight could be enhanced by delving deeper into Mendez's feelings about not being able to share this moment with his son. This could be achieved through a brief internal monologue or a more poignant exchange with O'Donnell that emphasizes the personal sacrifices made in the line of duty.
  • The visual elements in the scene are minimal, primarily focusing on the dialogue. Adding more descriptive visuals could enhance the atmosphere of the CIA archives, perhaps by emphasizing the cold, sterile environment that contrasts with the warmth of Mendez's personal items. This could symbolize the dichotomy between his personal life and professional obligations.
Suggestions
  • Consider adding a transitional moment or line that connects the celebratory tone of the previous scene to the more serious atmosphere of the CIA archives, helping to maintain emotional flow.
  • Explore Mendez's internal conflict regarding the award and his relationship with his son more deeply. This could involve a moment of silence or a visual cue that reflects his disappointment about Ian not being able to attend.
  • Revise the humor in Mendez's dialogue to ensure it aligns with the scene's tone. If humor is included, it should serve to enhance character depth rather than distract from the gravity of the situation.
  • Incorporate more visual details about the CIA archives to create a stronger sense of place. Describing the environment can help convey the tension and secrecy surrounding Mendez's work.



Scene 60 - Bittersweet Goodbyes
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. *

FADE TO BLACK.




THE END
Genres: ["Drama","Thriller"]

Summary In the Argo production office, Chambers packs up, signaling the end of the project, while a producer inquires about his film's status. The scene shifts to Mendez visiting Christine, where they share a warm embrace, highlighting their close bond. Meanwhile, Ian watches a movie with his father, Tony, showcasing their familial connection. Informational cards reveal the conclusion of the Iran Hostage Crisis and the recognition of key figures involved. The scene concludes with a storyboard from Argo found among Ian's toys, emphasizing the bittersweet nature of closure and personal relationships.
Strengths
  • Emotional depth
  • Character development
  • Closure
Weaknesses
  • Lack of external conflict
  • Minimal dialogue

Ratings
Overall

Overall: 8.5

The scene effectively captures the emotional depth of the characters and provides a satisfying conclusion to the story. The reunion between Mendez and Christine is heartfelt and resonates with the audience.


Story Content

Concept: 8

The concept of the scene revolves around closure and reflection, showcasing the impact of the operation on the characters' lives. It effectively ties up loose ends and provides a sense of resolution.

Plot: 8

While the plot in this scene is minimal, it serves the purpose of providing closure to the characters' arcs and showing the aftermath of the operation. It contributes to the overall emotional impact of the story.

Originality: 9

The scene introduces a blend of personal relationships, nostalgia, and cultural references in a unique way. The authenticity of characters' actions and dialogue adds to the originality.


Character Development

Characters: 9

The characters in the scene, particularly Mendez and Christine, are well-developed and their emotional journey is portrayed convincingly. The reunion scene showcases their growth and the impact of their experiences.

Character Changes: 8

Both Mendez and Christine undergo emotional growth and reconciliation in the scene, leading to a sense of closure and resolution in their arcs.

Internal Goal: 8

The protagonist's internal goal is to seek warmth and connection with a loved one, reflecting a deeper need for emotional closeness and comfort.

External Goal: 7

The protagonist's external goal is to reunite with a loved one and find a sense of belonging and acceptance.


Scene Elements

Conflict Level: 3

The scene lacks significant conflict, focusing instead on emotional resolution and closure for the characters. The conflict is internal and emotional rather than external.

Opposition: 6

The opposition in the scene is subtle, adding a layer of complexity to the protagonist's emotional journey and personal connections.

High Stakes: 4

The stakes in the scene are personal and emotional, focusing on the characters' relationships and growth rather than external threats. The resolution of their arcs is important for the characters' development.

Story Forward: 7

While the scene does not significantly move the main plot forward, it provides important closure for the characters and sets the stage for the resolution of their arcs.

Unpredictability: 6

This scene is unpredictable in terms of emotional dynamics and character relationships, adding depth to the narrative.

Philosophical Conflict: 6

The philosophical conflict revolves around the themes of family, friendship, and loyalty, challenging the protagonist's beliefs about relationships and personal connections.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, particularly in the reunion between Mendez and Christine. The audience is likely to feel a sense of closure and satisfaction at the characters' emotional journey.

Dialogue: 7.5

The dialogue in the scene is minimal but effective in conveying the emotions of the characters. The unspoken moments and gestures between Mendez and Christine speak volumes.

Engagement: 9

This scene is engaging because of the emotional depth in character interactions, the blend of nostalgia and warmth, and the sense of personal connections.

Pacing: 8

The pacing of the scene contributes to its effectiveness by allowing moments of emotional depth and character interactions to unfold naturally.


Technical Aspect

Formatting: 8

The formatting of the scene follows the expected format for its genre, with clear scene descriptions and character dialogue.

Structure: 8

The scene follows the expected structure for its genre, with clear transitions between locations and character interactions.


Critique
  • The scene effectively captures a sense of closure and reflection, tying together the personal and historical elements of the story. However, the transition from the production office to Christine's house feels abrupt. A smoother transition could enhance the flow and emotional impact.
  • The use of informational cards is a creative way to convey important historical context, but it may disrupt the emotional rhythm of the scene. The cards could be integrated more seamlessly into the narrative, perhaps through dialogue or visual storytelling, rather than as separate text overlays.
  • The emotional tone of the scene is poignant, particularly in the embrace between Mendez and Christine. However, the scene could benefit from more dialogue or interaction that deepens their relationship and provides insight into their past, rather than relying solely on physical gestures.
  • The imagery of Ian's bedroom is rich and evocative, but it could be enhanced by connecting the toys and decorations to the themes of the story. For instance, highlighting the contrast between the innocence of childhood and the harsh realities of the adult world could add depth to the scene.
  • The final reveal of the storyboard from 'Argo' is a clever touch, but it feels somewhat disconnected from the preceding emotional beats. A stronger narrative link between Mendez's personal journey and the storyboard's significance could create a more cohesive conclusion.
Suggestions
  • Consider adding a brief moment of dialogue between Mendez and Christine that reflects on their past and the impact of the events they've experienced, which would deepen their emotional connection.
  • Integrate the informational cards more organically into the scene, perhaps by having Mendez or another character reference the events or achievements in conversation, rather than presenting them as separate text.
  • Enhance the transition between the production office and Christine's house by including a visual or auditory cue that connects the two locations, such as a voiceover or a thematic motif that recurs throughout the film.
  • Explore the symbolism of Ian's toys further, perhaps by having Mendez comment on them or reflect on how they represent both the innocence of childhood and the complexities of the adult world he has navigated.
  • Consider revising the final moments to create a stronger emotional resonance, perhaps by having Mendez reflect on the significance of the storyboard in relation to his journey, tying it back to the themes of sacrifice and cooperation.



Characters in the screenplay, and their arcs:

bob anders

Bob Anders is a seasoned consular officer characterized by his calm demeanor and practicality in high-pressure situations. He speaks in a measured tone, often direct and authoritative, reflecting his leadership role. Throughout the chaos, he demonstrates a sense of urgency and protectiveness towards the Iranian visa seekers and his colleagues, showcasing his strength and determination. Bob is pragmatic and resourceful, quick to assess situations and prioritize safety. He can find humor in tense moments, adding a light-hearted touch to group dynamics, yet he also expresses skepticism and caution regarding the risks involved in their escape plan. His communication style evolves from being nervous but composed to blunt and assertive as frustrations mount. Despite moments of vulnerability, particularly during interrogations, Bob remains focused on the mission, willing to make tough decisions for the group's safety while occasionally challenging authority. His character embodies a blend of humor, frustration, and resilience, making him a complex figure navigating the chaos of the embassy crisis.



mark lijek

Mark Lijek is a younger consular officer characterized by his quick assessment of situations and a strong sense of urgency. He embodies a mix of determination and nervousness, reflecting his awareness of the dangerous environment they are navigating. Mark is both resourceful and resilient, often displaying a practical focus on survival. He remains calm under pressure, employing an analytical and strategic mindset that allows him to think several steps ahead. His dialogue is pragmatic and decisive, showcasing his leadership qualities as he prioritizes the safety of the group and the Iranian visa seekers. Mark is also portrayed as a supportive figure, striving to maintain hope and solidarity amidst escalating risks. His speaking style is measured, precise, and logical, reflecting his analytical nature while also providing a sense of strength and optimism in uncertain times.



ann swift

Ann Swift is a Deputy Political Officer characterized by her calm demeanor and unwavering focus in the face of escalating chaos. She possesses a strong sense of authority, which is evident in her clear and commanding speaking style. As the crisis unfolds, Ann showcases her leadership qualities through quick decision-making and effective communication, coordinating with Washington to secure assistance for the embassy staff. Despite her composed exterior, she reveals moments of vulnerability and fear, highlighting her humanity amidst the turmoil. Ann is resourceful and assertive, taking charge of the situation to ensure the safety of her colleagues, reflecting her determination and commitment to her role.



al golacinski

Al Golacinski is the chief of security at the embassy, characterized by his authoritative and commanding presence. He is a dedicated protector, prioritizing the safety of the embassy staff above all else. In moments of crisis, Al's urgency and determination shine through as he takes charge, giving clear and decisive orders to the Marines under his command. However, his character is also marked by vulnerability; during a particularly desperate moment when held at gunpoint by protestors, Al's panic and fear reveal the high stakes of the situation. His dialogue reflects a firm and commanding speaking style, yet it also conveys an internal conflict as he grapples with the escalating tensions and the challenges of maintaining order amidst chaos. This duality makes him a complex character, torn between his authoritative role and the overwhelming pressure of the circumstances he faces.



joe stafford

Joe Stafford is a complex character who evolves throughout the screenplay. Initially portrayed as a calm and practical consulate employee, he is deeply affected by the unfolding crisis, showcasing a reserved and introspective personality. As the tension escalates, Joe grapples with claustrophobia and fear for his wife, Kathy, revealing his protective instincts. His dialogue reflects a mix of urgency, empathy, and vulnerability, highlighting his emotional investment in the safety of the group. Joe's internal conflict intensifies as he oscillates between skepticism and a desire to prove himself, questioning Mendez's escape plan while struggling with trust and doubt. Despite his fears, Joe ultimately demonstrates resourcefulness and quick-thinking, surprising others with his storytelling skills and confidence under pressure. His speaking style transitions from hesitant and anxious to direct, confident, and persuasive, showcasing his growth as he takes on a leadership role in facilitating the group's escape.



cora lijek

Cora Lijek is a multifaceted character who embodies compassion, empathy, and determination throughout the screenplay. As a consulate employee, she initially showcases her nurturing side, providing comfort and support to Iranian visa seekers in crisis. Her gentle and reassuring speaking style reflects her caring nature, making her a source of solace for those around her. As the story progresses, Cora becomes more vocal and assertive, particularly in defending her colleagues and articulating complex situations. She balances her empathy with a pragmatic approach, questioning the risks involved in their plans and demanding clarity from her peers. This skepticism highlights her logical side, as she challenges the group to consider the consequences of their decisions. Cora's resourcefulness and attention to detail come to the forefront as she focuses on the practical aspects of their escape, demonstrating her adaptability and quick-thinking nature. Ultimately, she is a character who evolves from a supportive figure to a decisive leader, embodying both emotional intelligence and practical wisdom.



o'donnell

Jack O'Donnell is a seasoned and pragmatic CIA operative characterized by his no-nonsense attitude and a sense of urgency. He is dedicated to the mission, often prioritizing it over personal feelings, and is willing to take significant risks to achieve objectives. O'Donnell's communication style is direct, blunt, and straightforward, reflecting his analytical mindset and attention to detail. He often questions the feasibility of plans, providing a critical counterbalance to more optimistic characters like Mendez. His stern demeanor conveys authority and a sense of duty, while his determination and resourcefulness shine through in high-pressure situations. O'Donnell's loyalty to the Houseguests and commitment to the operation add depth to his character, showcasing his sense of responsibility and urgency for their safety.



mendez

Tony Mendez is a seasoned CIA operative and exfiltration specialist, characterized by his calm demeanor and strategic mindset. He is dedicated to his work, exhibiting a strong sense of responsibility towards his mission and the safety of the houseguests he is tasked with rescuing. Mendez is portrayed as a caring father, showcasing a close bond with his son Ian, which adds depth to his character and hints at his internal struggles. His dialogue is direct, authoritative, and often infused with a touch of sarcasm and dry humor, reflecting his intelligence and adaptability in high-pressure situations. Mendez is resourceful and quick-witted, able to navigate complex challenges with ease while maintaining a composed exterior. He grapples with moral dilemmas and personal sacrifices, revealing vulnerability and emotional depth as he prepares for the dangerous mission. Throughout the screenplay, Mendez's speaking style remains focused and precise, conveying his expertise and determination, while also showcasing his empathy towards his team members and the houseguests.



tony mendez

Tony Mendez is a seasoned CIA operative characterized by his resourcefulness, determination, and strategic mindset. He possesses a calm demeanor and a sharp wit, allowing him to navigate high-pressure situations with confidence and authority. Mendez is known for his no-nonsense approach to planning and executing covert operations, often challenging conventional ideas with innovative solutions. His speaking style is direct and assertive, reflecting his expertise and ability to convey urgency and conviction. While he is dedicated to his mission and willing to take risks for the greater good, he also grapples with personal issues and moral dilemmas, hinting at a complex inner life. Mendez's interactions reveal moments of vulnerability and reflection, showcasing his internal conflict between following orders and adhering to his personal convictions.



ken taylor

Ken Taylor is the Canadian ambassador, characterized by his positive and supportive demeanor, which serves as a calming presence amidst chaos. He possesses a diplomatic and cautious nature, carefully weighing the risks and consequences of his actions. Ken is portrayed as thoughtful and experienced, carrying the weight of his mission on his shoulders while demonstrating a willingness to take calculated risks for the safety of the houseguests. His measured and diplomatic tone reflects his composed demeanor in challenging situations, and he shows genuine concern for the well-being of those around him. Throughout the narrative, Ken supports Mendez in the escape plan, making tough decisions to ensure the safety of the houseguests while remaining composed under pressure.



houseguests

The houseguests are a diverse group of Americans caught in a hostage crisis in Tehran, each showcasing a unique personality and response to the escalating tension. Joe is characterized by his deep-seated distrust, often questioning the motives of others and expressing skepticism about their chances of escape. Bob, on the other hand, embodies frustration, frequently voicing his concerns and impatience with the situation, which adds to the group's anxiety. Cora stands out for her resilience; she remains calm and collected, often encouraging others to stay hopeful and focused on their escape. The speaking styles of the houseguests vary significantly: Joe's tone is often sharp and defensive, Bob's is exasperated and loud, while Cora's is soothing and supportive. As they navigate the hostile environment, their interactions reveal their vulnerabilities and fears, creating a rich tapestry of emotional responses that highlight the impact of the crisis on their relationships.



lester siegel

Lester Siegel is a semi-legendary Hollywood producer known for his sharp wit and no-nonsense attitude. With years of experience in the film industry, he possesses a keen eye for detail and a pragmatic approach to filmmaking. His personality is characterized by a cynical humor that he often employs to diffuse tense situations, making him both relatable and entertaining. Siegel's speaking style is direct and assertive, frequently laced with sarcasm, which reflects his skepticism and resourcefulness. He provides valuable insights into the film industry while also serving as a source of comic relief, navigating challenges with a blend of humor and practicality.



siegel

Lester Siegel is a seasoned Hollywood producer characterized by his pragmatic, no-nonsense attitude and a sharp, dry sense of humor. He embodies a blend of cynicism and insight, often reflecting on his past mistakes while navigating the complexities of a covert operation. Siegel's speaking style is direct and authoritative, laced with sarcasm and wit, which he uses to mask deeper emotions and vulnerabilities. His quick wit and blunt honesty provide a humorous contrast to the seriousness of the mission, making him a unique voice in the narrative. Despite his jaded outlook on the film industry and current events, moments of vulnerability reveal a man grappling with regret and the weight of his choices.



CharacterArcCritiqueSuggestions
bob anders Bob Anders begins as a composed and practical consular officer, providing stability amidst chaos. As the situation escalates, he becomes increasingly anxious and frustrated, grappling with the risks of their escape plan. His initial skepticism transforms into a protective leadership role, where he prioritizes the safety of his colleagues and the visa seekers. Throughout the screenplay, Bob's character arc sees him evolve from a cautious skeptic to a decisive leader who embraces the chaos, ultimately finding a balance between humor and seriousness. By the end, he emerges as a resourceful figure who has learned to navigate uncertainty with confidence, showcasing growth in his ability to lead under pressure. While Bob Anders' character arc is compelling, it could benefit from deeper emotional exploration. His frustrations and vulnerabilities are touched upon, but they could be more fully developed to create a stronger connection with the audience. Additionally, the transition from skepticism to leadership feels somewhat abrupt; more gradual development of his confidence and decision-making skills would enhance believability. The balance between humor and seriousness is well-placed, but it could be more consistent throughout the screenplay to reinforce his character's complexity. To improve Bob Anders' character arc, consider incorporating more backstory that reveals his motivations and fears, allowing the audience to empathize with his journey. Introduce moments of self-reflection where he confronts his doubts and learns from his experiences, making his transformation more gradual and relatable. Additionally, create opportunities for him to mentor or support other characters, reinforcing his leadership qualities while showcasing his growth. Finally, ensure that his humor is woven throughout the narrative, providing levity in tense moments while also serving as a coping mechanism for his character.
mark lijek Throughout the screenplay, Mark Lijek undergoes a significant character arc. Initially, he is portrayed as a nervous yet determined officer, grappling with fear and uncertainty in a high-stakes environment. As the story progresses, he evolves into a calm and strategic leader, taking charge during the escape and prioritizing the safety of his group. His journey is marked by a transition from anxiety to confidence, as he learns to trust his instincts and the capabilities of his team. By the climax, Mark emerges as a voice of reason, effectively balancing hope with realism, ultimately leading the group to safety and solidifying his role as a resilient leader. While Mark Lijek's character arc is compelling, it could benefit from deeper emotional exploration. His initial nervousness and determination are well-established, but the screenplay could delve further into his backstory to provide context for his fears and motivations. Additionally, the transition from anxiety to confidence feels somewhat abrupt; more gradual development through smaller victories or setbacks could enhance the believability of his growth. The screenplay should also explore his relationships with other characters to highlight how these interactions influence his transformation. To improve Mark Lijek's character arc, consider incorporating flashbacks or dialogue that reveals his past experiences, which could explain his initial nervousness and drive for survival. Introduce moments of doubt or failure that challenge his confidence, allowing for a more gradual evolution into a leader. Additionally, emphasize his relationships with other characters, showcasing how their dynamics contribute to his growth. This could include mentorship moments, conflicts, or shared vulnerabilities that deepen his character and make his eventual triumph more impactful.
ann swift Throughout the screenplay, Ann Swift evolves from a focused and determined Deputy Political Officer to a more nuanced leader who grapples with her vulnerabilities. Initially, she is portrayed as a figure of authority, managing the chaos with confidence. However, as the crisis deepens, Ann confronts her fears and insecurities, leading to moments of self-reflection. By the climax, she learns to balance her assertiveness with empathy, ultimately emerging as a more rounded leader who understands the importance of collaboration and emotional intelligence in crisis management. This transformation not only enhances her effectiveness but also deepens her connection with the embassy staff, fostering a sense of unity in the face of adversity. While Ann's character arc presents a compelling journey of growth, it risks becoming predictable if not executed with sufficient depth. The initial portrayal of her as solely focused and authoritative may limit audience engagement, as it lacks complexity. Additionally, her moments of vulnerability need to be woven more seamlessly into the narrative to avoid feeling like an abrupt shift in character. The screenplay should ensure that her development is gradual and that her vulnerabilities are introduced early on, allowing the audience to connect with her struggles throughout the story. To improve Ann's character arc, consider introducing subtle hints of her vulnerabilities earlier in the screenplay, perhaps through interactions with colleagues or personal reflections. This would create a more layered character from the outset. Additionally, incorporating a mentor or a peer who challenges her leadership style could provide opportunities for growth and self-discovery. Finally, ensure that her moments of vulnerability lead to actionable changes in her leadership approach, demonstrating how her experiences shape her decisions and relationships with others in the embassy.
al golacinski Al Golacinski's character arc follows his journey from a confident and commanding chief of security to a more vulnerable and conflicted leader. Initially, he is portrayed as a decisive figure, fully in control of the situation. However, as the protest escalates and he finds himself held at gunpoint, Al's vulnerability is exposed, forcing him to confront his fears and the limitations of his authority. Throughout the screenplay, he learns to balance his authoritative nature with empathy and understanding, ultimately evolving into a leader who not only commands respect but also inspires trust and collaboration among his team. By the end of the feature, Al emerges as a more rounded character, having gained insight into the human aspects of leadership and the importance of teamwork in crisis situations. While Al's character arc presents a compelling journey of growth, it could benefit from deeper exploration of his backstory and motivations. The transition from a commanding leader to a vulnerable figure is impactful, but the screenplay may not fully delve into what drives Al's initial confidence or the source of his fears. Additionally, the internal conflict could be more pronounced, allowing the audience to witness his struggles in real-time rather than through dialogue alone. This would create a more engaging and relatable character. To enhance Al's character arc, consider incorporating flashbacks or moments of reflection that reveal his past experiences and how they shape his approach to security and leadership. This could provide context for his initial confidence and the stakes he feels during the crisis. Additionally, introducing a mentor or a close colleague who challenges Al's views on leadership could create opportunities for dialogue that further develops his internal conflict. Finally, showcasing moments where Al must rely on his team, rather than solely on his authority, would emphasize his growth and the importance of collaboration in overcoming challenges.
joe stafford Joe Stafford's character arc begins with him as a fearful and skeptical individual, primarily focused on his own safety and that of his wife. As the crisis unfolds, he confronts his fears and doubts, leading to a pivotal moment where he must choose between self-preservation and taking action for the greater good. Through his journey, Joe evolves from a reluctant participant to a resourceful leader, ultimately using his storytelling skills to distract the enemy and facilitate the escape of the houseguests. By the end of the screenplay, Joe emerges as a more confident and decisive character, having reconciled his fears with the need for action, showcasing personal growth and resilience. While Joe Stafford's character arc is compelling, it could benefit from deeper exploration of his internal struggles and motivations. The transition from skepticism to resourcefulness feels somewhat abrupt, and additional scenes that highlight his journey could enhance the emotional impact. Furthermore, the relationship dynamics with his wife, Kathy, could be fleshed out to provide more context for his protective instincts and fears. This would create a more nuanced portrayal of his character and make his eventual transformation more impactful. To improve Joe's character arc, consider adding scenes that delve into his backstory, revealing past experiences that contribute to his fears and skepticism. Incorporating moments of vulnerability with Kathy could strengthen their relationship and provide a clearer motivation for his actions. Additionally, introducing a mentor or ally who challenges Joe's perspective could facilitate his growth and make his eventual transformation feel more earned. Finally, ensure that his resourcefulness is foreshadowed earlier in the screenplay, allowing for a more gradual and believable evolution into a confident leader.
cora lijek Cora Lijek's character arc begins with her role as a compassionate consulate employee, where she prioritizes the safety and emotional well-being of the Iranian visa seekers. As the narrative unfolds, she transitions into a more assertive and vocal presence, advocating for her colleagues and navigating the complexities of their mission. Her initial skepticism about the risks involved in their escape plan leads her to challenge the group's decisions, showcasing her logical and pragmatic side. By the climax, Cora fully embraces her resourcefulness and adaptability, taking on a new identity for survival and demonstrating her commitment to the group's success. This journey culminates in her transformation into a decisive leader who balances empathy with practicality, ultimately ensuring the safety of her peers and the success of their mission. Cora's character arc is compelling, showcasing her growth from a nurturing figure to a decisive leader. However, the transition between her empathetic nature and her assertiveness could be more gradual. At times, her character may come across as inconsistent, as she oscillates between being nurturing and skeptical without clear motivation. Additionally, while her resourcefulness is highlighted, there could be more emphasis on her internal struggles and the emotional toll of the decisions she faces, which would deepen her character and make her journey more relatable. To improve Cora's character arc, consider incorporating more scenes that illustrate her internal conflicts and the emotional weight of her decisions. This could involve moments of doubt or vulnerability that reveal her fears about the risks they are taking. Additionally, providing a clearer motivation for her shift from empathy to assertiveness would enhance her character's consistency. Perhaps introducing a pivotal moment that forces her to confront her fears and embrace her leadership role could create a more cohesive arc. Finally, allowing her to mentor or support other characters in their moments of crisis could further solidify her role as a compassionate leader.
o'donnell Throughout the screenplay, O'Donnell evolves from a skeptical and rigid operative focused solely on the mission to a more nuanced character who learns to balance duty with empathy. Initially, he is portrayed as a stern figure who prioritizes orders and practicality, often clashing with Mendez's more optimistic approach. As the story progresses, O'Donnell faces moral dilemmas that challenge his black-and-white worldview. He begins to understand the human element of the mission, realizing that the lives of the Houseguests are at stake. By the climax, he becomes a more compassionate leader, advocating for the safety and well-being of the characters he once viewed as mere assets. This transformation culminates in a pivotal moment where he must choose between following orders and protecting the Houseguests, ultimately leading to a decision that reflects his growth. While O'Donnell's character is well-defined with a strong sense of duty and urgency, his initial skepticism can come off as overly rigid, potentially alienating the audience. His transformation arc, while compelling, may lack sufficient emotional depth if not explored thoroughly. The screenplay risks portraying him as a one-dimensional character if his internal conflicts and motivations are not adequately developed. To enhance O'Donnell's character arc, consider incorporating flashbacks or personal anecdotes that reveal his past experiences and motivations, providing context for his skepticism and rigidity. Additionally, allow for moments of vulnerability where he grapples with the moral implications of his decisions, fostering a deeper connection with the audience. Introducing a subplot that highlights his relationships with other characters could also serve to humanize him further, making his eventual transformation more impactful. Finally, ensure that his final decision reflects not just a change in perspective but also a culmination of his journey, reinforcing the theme of balancing duty with humanity.
mendez Tony Mendez begins as a confident and resourceful CIA agent, dedicated to executing a high-stakes rescue operation. As the mission unfolds, he faces numerous challenges that test his strategic thinking and leadership abilities. Throughout the journey, Mendez grapples with personal struggles, including the weight of responsibility and the moral dilemmas associated with his work. His relationship with his son Ian serves as a grounding force, reminding him of the stakes involved. As he navigates the dangerous political climate of Tehran, Mendez evolves from a focused operative to a more reflective and emotionally aware individual. By the end of the screenplay, he not only successfully orchestrates the escape but also finds a sense of closure and reconciliation in his personal life, particularly in his reunion with Christine. This transformation highlights his growth from a solely mission-driven agent to a more rounded character who understands the importance of personal connections and emotional depth. While Mendez's character arc is compelling, it could benefit from a clearer exploration of his internal conflicts and moral dilemmas. The screenplay presents him as a skilled operative, but the emotional stakes could be heightened to create a more profound connection with the audience. Additionally, while his relationship with his son is touched upon, it could be further developed to enhance the emotional resonance of his character. The balance between his professional responsibilities and personal life is crucial, and more scenes that showcase this struggle could deepen the audience's understanding of his motivations. To improve Mendez's character arc, consider incorporating more flashbacks or moments that highlight his past experiences and how they shape his current decisions. This could provide context for his internal struggles and moral dilemmas. Additionally, adding scenes that depict his interactions with his son Ian during the mission could create a stronger emotional anchor, emphasizing the stakes involved in his work. Finally, allowing Mendez to confront a significant moral choice that challenges his values could add depth to his character and make his eventual growth more impactful.
tony mendez Throughout the screenplay, Tony Mendez evolves from a pragmatic and confident operative focused solely on the mission to a more introspective character who grapples with the moral implications of his work. Initially, he approaches the extraction with a clear-cut, strategic mindset, showcasing his expertise and leadership qualities. However, as the stakes rise and he faces skepticism from others, Mendez begins to confront his own vulnerabilities and the emotional toll of his profession. By the climax, he must reconcile his duty with his personal beliefs, ultimately leading to a decision that reflects his growth and commitment to both his mission and the lives he seeks to protect. This journey culminates in a moment of self-realization, where he acknowledges the sacrifices involved in his work and the importance of human connection. While Tony Mendez's character arc presents a compelling journey of growth and internal conflict, it could benefit from deeper exploration of his personal relationships and the emotional stakes involved. The screenplay hints at his struggles but does not fully delve into how these affect his interactions with others, particularly the houseguests he is trying to save. Additionally, the balance between his professional and personal life could be more pronounced, allowing for a richer character development that resonates with the audience. To improve Tony Mendez's character arc, consider incorporating more scenes that highlight his relationships with key characters, such as the houseguests or his colleagues, to showcase the emotional stakes of his mission. This could involve flashbacks or conversations that reveal his past experiences and how they shape his current decisions. Additionally, introducing a subplot that challenges his moral compass more directly could enhance the tension and depth of his internal conflict. Finally, allowing for moments of vulnerability where Mendez seeks support or guidance from others could create a more relatable and multifaceted character, ultimately making his journey more impactful.
ken taylor Ken Taylor's character arc begins with him as a supportive and optimistic ambassador, who initially appears to be a stabilizing force in the face of danger. As the story progresses, he faces increasingly difficult decisions that test his diplomatic skills and leadership qualities. His journey involves moving from a cautious diplomat to a decisive leader who embraces calculated risks for the greater good. By the climax, Ken must confront his fears and doubts, ultimately leading to a pivotal moment where he takes a bold stand to protect the houseguests, solidifying his role as a true leader. In the resolution, Ken emerges as a more confident and assertive figure, having learned the importance of balancing caution with decisive action. While Ken Taylor's character is well-defined as a supportive and diplomatic figure, his arc could benefit from deeper emotional exploration. The screenplay presents him as a composed leader, but it lacks moments that reveal his vulnerabilities or personal stakes in the mission. This could make him more relatable and add depth to his character. Additionally, the transition from cautious diplomat to decisive leader feels somewhat abrupt and could use more gradual development to enhance believability. To improve Ken's character arc, consider incorporating flashbacks or personal anecdotes that reveal his motivations and fears, allowing the audience to connect with him on a deeper level. Introduce moments of doubt or conflict where Ken's decisions have significant consequences, forcing him to confront his values and beliefs. This could create a more nuanced transformation as he learns to balance his diplomatic nature with the need for decisive action. Additionally, including interactions with other characters that challenge his views could further enrich his development and provide opportunities for growth.
houseguests Throughout the screenplay, the houseguests undergo a significant transformation. Initially, they are depicted as anxious and fearful individuals, each grappling with their own insecurities and doubts about survival. As the story progresses, they begin to bond over their shared experiences, moving from skepticism and frustration to a sense of camaraderie and mutual support. By the climax, they collectively embrace hope and resilience, culminating in a moment of celebration as they prepare to leave Iran. This arc illustrates their journey from isolation and fear to unity and strength, ultimately showcasing the power of human connection in the face of adversity. While the character arc of the houseguests effectively captures their emotional journey, it could benefit from deeper individual development. Each character's transformation feels somewhat surface-level, lacking specific moments that highlight their growth. The screenplay could explore more personal backstories or pivotal moments that lead to their change in perspective, allowing the audience to connect more deeply with each character's journey. To enhance the character arc, consider incorporating flashbacks or dialogue that reveals each character's past experiences and how these shape their reactions to the crisis. Additionally, introducing moments of conflict or collaboration among the houseguests could provide opportunities for growth and deeper relationships. For instance, a scenario where Joe's distrust leads to a critical mistake could force him to confront his fears and ultimately learn to trust his companions. This would not only enrich the characters but also create a more compelling narrative that emphasizes the themes of resilience and unity.
lester siegel Throughout the screenplay, Lester Siegel undergoes a transformation from a jaded, cynical producer who primarily focuses on the bottom line to a more empathetic and invested mentor figure. Initially, he is skeptical of the project and the people involved, viewing them through a lens of sarcasm and detachment. However, as the story progresses and he faces various challenges alongside his team, he begins to recognize the importance of collaboration and the emotional stakes involved in filmmaking. By the end, Siegel not only embraces the creative process but also becomes a guiding force for the younger characters, ultimately finding renewed passion for his craft. While Lester Siegel's character is well-defined with a strong personality, his arc could benefit from deeper emotional exploration. The transition from cynicism to empathy feels somewhat abrupt and could be more gradual to enhance believability. Additionally, his motivations for change could be more clearly articulated, allowing the audience to connect with his journey on a deeper level. As it stands, his character serves primarily as comic relief, which may overshadow the potential for a more nuanced development. To improve Lester Siegel's character arc, consider incorporating flashbacks or moments of vulnerability that reveal his past experiences and the reasons behind his cynicism. This could help the audience understand his initial reluctance to engage emotionally. Additionally, introducing a pivotal moment or relationship that challenges his worldview could create a more compelling catalyst for change. Allowing him to mentor a younger character more explicitly throughout the screenplay could also provide opportunities for growth and reflection, making his eventual transformation feel more earned and impactful.
siegel Throughout the screenplay, Lester Siegel undergoes a significant character arc. Initially, he is skeptical and cynical about the fake movie project, viewing it as just another misguided venture in a long career filled with disappointments. As the story progresses, he becomes more invested in the mission, recognizing its importance beyond mere entertainment. His journey involves confronting his past mistakes and embracing a sense of purpose, ultimately transforming from a jaded producer into a more hopeful and engaged individual. By the end, Siegel not only contributes to the success of the operation but also finds a renewed sense of passion for his work and a deeper connection to those around him. While Siegel's character arc is compelling, it risks becoming predictable as he transitions from cynicism to hope. The reliance on sarcasm and dry humor, while entertaining, may overshadow the emotional depth that could be explored. Additionally, his moments of vulnerability could be more pronounced to create a stronger connection with the audience, allowing them to empathize with his struggles and growth. To enhance Siegel's character arc, consider incorporating more pivotal moments that challenge his worldview and force him to confront his vulnerabilities. Introducing a personal stake in the mission—such as a connection to someone affected by the events surrounding the operation—could deepen his emotional journey. Additionally, allowing for more interactions with other characters that reveal different facets of his personality could create a richer, more nuanced portrayal. Finally, balancing his humor with moments of genuine reflection will help to create a more relatable and dynamic character.
Top Correlations and patterns found in the scenes:

Pattern Explanation
Dominance of Tense Tone and High Overall GradeA striking majority of scenes (from 1-58, excluding scenes 13, 14, 59, and 60) utilize a 'Tense' tone and maintain a consistently high overall grade (mostly 8 or 9). This suggests a strong narrative grip, but also raises the question of potential pacing issues or reader fatigue from the sustained tension. Consider strategically diversifying the tones to provide more breathing room for the audience and prevent monotonous pacing.
Inverse Relationship between Humorous Tone and Emotional Impact/DialogueScenes incorporating 'Humorous' tones (14, 17, 18, 19, 20, 21, 23, 24, 25, 27, 59, 60) frequently show lower scores in 'Emotional Impact' and 'Dialogue' compared to those focused on tension. While humor can be effective, these scores suggest a potential need to enhance the emotional resonance and dialogue depth in these scenes to ensure they contribute meaningfully to the narrative rather than merely offering comic relief. Consider how humor can be integrated to enhance the emotional impact rather than distracting from it.
Character Development Dip and Tone ShiftScenes 13 and 14, characterized by 'Innocent/Nostalgic/Playful' and 'Humorous/Surreal/Satirical' tones, respectively, show significantly lower scores across multiple aspects, including 'Characters', 'Emotional Impact', 'Conflict', 'High Stakes', and 'Move Story Forward'. This sharp contrast with the surrounding scenes implies a potential narrative disruption or weakening of the storyline. These scenes may need revision to better integrate with the overall narrative tension and character development.
Consistent High Scores in Plot, Concept, and ConflictAcross most scenes, 'Plot', 'Concept', and 'Conflict' receive consistently high scores. This indicates a strong fundamental structure and compelling conflict driving the narrative. The strength of these aspects complements the high tension, but it is crucial to ensure that this foundation is effectively served by character development and emotional impact.
Emotional Impact and Dialogue Correlation in High-Tension ScenesIn scenes dominated by 'Tense' and other high-intensity tones, there's a stronger correlation between 'Emotional Impact' and 'Dialogue' scores. When one is high, the other tends to be high as well. This highlights the importance of well-crafted dialogue in conveying emotional intensity during critical moments. Maintain this strong connection between impactful dialogue and emotional resonance in your writing.
Climax and Resolution ScoresScene 50 shows a significant peak in 'Emotional Impact' and 'Dialogue', suggesting a powerful climax. Scene 56, with 'Relieved' and 'Celebratory' tones, indicates a resolution, yet some scores remain relatively high, hinting at unresolved tensions or the potential for future conflict. Analyze if the resolution feels satisfying, or if further development is needed.
Late-Story Reflective ScenesThe final scenes (59 and 60), marked by 'Reflective', 'Emotional', and 'Nostalgic' tones show a considerable drop in several key areas, including 'Emotional Impact' and 'Dialogue'. These scenes may need more attention to ensure they resonate emotionally and effectively conclude the narrative. Consider how to strengthen the emotional impact of these reflective moments and connect them thematically to the preceding high-tension scenes.


Writer's Craft Overall Analysis

The screenplay demonstrates a strong foundation in creating tension, suspense, and engaging dialogue. Many scenes effectively establish settings, characters, and conflicts, showcasing a good grasp of narrative structure. The writer exhibits skill in crafting scenes with high stakes, political intrigue, and complex character interactions. However, there's room for improvement in deepening character development, exploring thematic depth, and refining pacing and structure in some scenes. The consistent feedback regarding dialogue strength suggests a natural talent in this area, which should be further developed.

Key Improvement Areas

Character Development
While many scenes effectively introduce characters and conflicts, several analyses note the need for deeper exploration of character motivations and thematic depth. The suggestions for exercises focusing on conflicting priorities, internal goals, and moral dilemmas highlight this area as needing further development.
Scene Structure and Pacing
Several analyses recommend studying Syd Field's work and 'Save the Cat,' indicating a need for a more refined understanding of classic three-act structure and pacing techniques, particularly in high-stakes scenes. Improving pacing will enhance tension and impact.
Dialogue Enhancement
Although the writer's dialogue is frequently praised, there's potential to elevate the dialogue further by focusing on conveying subtext, exploring conflicting viewpoints strategically, and refining emotional depth through more nuanced character interactions. The frequent suggestion to practice dialogue-heavy scenes points to this as an area for refinement.

Suggestions

Type Suggestion Rationale
Book Syd Field's *Screenplay: The Foundations of Screenwriting* This classic text provides a foundational understanding of screenplay structure, pacing, and character development, addressing several key improvement areas identified in the scene analyses.
Book Blake Snyder's *Save the Cat!* This book offers practical advice on structuring scenes, particularly high-stakes ones, and creating engaging characters, addressing the need for stronger scene structure and character development.
Screenplay Stephen Gaghan's *Syriana* This screenplay excels in blending political themes, moral ambiguity, and complex character dynamics – areas where the writer can learn and refine their skills.
Screenplay William Goldman's *All the President's Men* This screenplay provides a masterclass in crafting compelling political narratives and authentic character dynamics, directly addressing several scene analyses' recommendations.
Exercise Write a scene with a character facing a moral dilemma, requiring a difficult decision with long-term consequences.Practice In SceneProv This will force the writer to delve deeper into character motivations, explore themes, and strengthen conflict within the scene.
Exercise Analyze a scene from a successful film (chosen for its pacing and tension) and rewrite it, focusing on improving the pacing and intensity.Practice In SceneProv This exercise encourages active learning from established screenwriting techniques, allowing the writer to apply specific techniques to their work.
Exercise Write a dialogue-heavy scene involving two characters with strongly conflicting goals, forcing them to negotiate a compromise.Practice In SceneProv This directly addresses the need for more refined dialogue and explores character interactions in complex situations.
Stories Similar to this one

Story Explanation
Argo (2012) This film is directly related to the screenplay summary, as it depicts the real-life events surrounding the Iran hostage crisis and the CIA's covert operation to rescue six American diplomats. The tension, political backdrop, and the use of a fake movie as a cover for the extraction are central themes that mirror the screenplay's narrative.
The Siege (1998) This film explores themes of terrorism and the impact of political crises on American soil, similar to the tension and chaos depicted in the screenplay. It also addresses the complexities of U.S. foreign policy and the consequences of military actions abroad.
Zero Dark Thirty (2012) This film chronicles the decade-long hunt for Osama bin Laden, showcasing the intricacies of intelligence operations and the moral dilemmas faced by operatives. The screenplay's focus on CIA operations and the urgency of rescue missions parallels the narrative of Zero Dark Thirty.
The American (2010) This film features a lone operative navigating a foreign landscape while dealing with personal and professional conflicts. The themes of isolation, tension, and the protagonist's struggle to maintain a facade resonate with the screenplay's portrayal of the diplomats in Tehran.
Body of Lies (2008) This film delves into the world of espionage and the complexities of U.S. involvement in the Middle East. The screenplay's depiction of the political climate and the dangers faced by American operatives in hostile environments aligns with the themes explored in Body of Lies.
The Hunt for Red October (1990) This film involves a high-stakes military operation and the tension of navigating international relations during the Cold War. The strategic planning and execution of a rescue mission in the screenplay echo the suspenseful elements found in The Hunt for Red October.
The Spy Who Came in from the Cold (1965) This classic espionage novel and film adaptation explores themes of betrayal, political intrigue, and the moral ambiguities of spy work. The screenplay's focus on the ethical dilemmas faced by operatives in a politically charged environment reflects similar themes.
The Bridge of Spies (2015) This film tells the story of a lawyer negotiating the exchange of spies during the Cold War, highlighting themes of diplomacy, tension, and the human cost of political conflict. The screenplay's portrayal of the complexities of international relations and rescue operations resonates with this narrative.
The Killing of America (1981) This documentary examines the impact of violence and political unrest in America, paralleling the chaos and societal tensions depicted in the screenplay. The exploration of political crises and their effects on individuals aligns with the themes of the screenplay.

Here are different Tropes found in the screenplay

Trope Trope Details Trope Explanation
Hostage CrisisThe screenplay revolves around the Iranian hostage crisis, where American diplomats are taken hostage at the U.S. Embassy in Tehran.This trope involves a situation where characters are held against their will, often leading to high tension and drama. A well-known example is the movie 'Argo,' which depicts the real-life events of the Iranian hostage crisis.
The Reluctant HeroTony Mendez is initially hesitant about the operation to rescue the hostages but ultimately takes on the responsibility.This trope features a character who is initially unwilling to take on a heroic role but rises to the occasion when needed. An example is Frodo Baggins in 'The Lord of the Rings,' who is reluctant to carry the One Ring but ultimately does so.
Government ConspiracyThe screenplay hints at a larger government conspiracy regarding the hostage situation and the CIA's involvement.This trope involves secretive government actions that often lead to dramatic revelations. A classic example is 'The X-Files,' where government conspiracies are central to the plot.
Race Against TimeThe characters must execute their escape plan before the situation escalates further.This trope creates urgency and tension as characters race against the clock to achieve their goals. A notable example is 'Speed,' where the characters must keep a bus above a certain speed to prevent an explosion.
The MentorJohn Chambers serves as a mentor figure to Tony Mendez, guiding him through the complexities of the operation.This trope features a wise character who provides guidance to the protagonist. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel the skills he needs to succeed.
The Big RevealThe truth about the hostages' identities and the CIA's plan is revealed at a critical moment.This trope involves a significant revelation that changes the course of the story. A famous example is in 'The Sixth Sense,' where the twist ending recontextualizes the entire film.
Dramatic IronyThe audience knows the stakes and the dangers the characters face, creating tension as they navigate their escape.This trope occurs when the audience knows something that the characters do not, heightening the drama. An example is in 'Romeo and Juliet,' where the audience knows Juliet is not dead, but Romeo does not.
The SidekickCharacters like O'Donnell support Mendez in his mission, providing assistance and comic relief.This trope features a secondary character who supports the protagonist, often providing humor or emotional support. An example is Samwise Gamgee in 'The Lord of the Rings,' who supports Frodo throughout his journey.
The Escape PlanThe characters devise a complex plan to escape from Iran, involving disguises and false identities.This trope involves characters creating a detailed plan to escape a dangerous situation. A classic example is in 'Ocean's Eleven,' where the characters plan an elaborate heist.


Theme Theme Details Themee Explanation
Ingenuity and DeceptionThe central plot revolves around Mendez's invention of a fake movie production as a cover for the escape. The plan's success hinges on meticulous deception and creative problem-solving at every stage.The film explores the creative strategies used to overcome seemingly insurmountable obstacles. It showcases the importance of thinking outside the box and embracing unconventional solutions.
Strengthening Ingenuity and Deception:
Suggestion Type How to Strengthen the Theme
Dialogue - Scene 9 Enhance Mendez's initial critique of the bicycle escape plan in Scene 9. Instead of simply stating it's impractical, have him explain how the plan lacks the necessary deception and ingenuity required for a successful extraction. He should highlight the predictability and vulnerability of such an obvious escape route, contrasting it with his own, more subtle, approach.
Action - Scene 12 The meticulous reassembly of shredded documents in Scene 12 needs to be more impactful. Show the intelligence and determination involved. Perhaps the person reassembling the documents is also covertly observing something else, illustrating their ingenuity while simultaneously creating suspense and highlighting the theme of deception.
Visual - Scene 23 During the Argo production design in Scene 23, subtly incorporate visual elements that mirror the deception and ingenuity of the operation. For example, show Jack Kirby sketching futuristic elements alongside more authentically Middle Eastern details, reflecting the blend of reality and fabrication crucial to the plan's success. This visual detail can be mirrored in later scenes showing the film's progression.
Character Arc - Scene 37 Deepen Joe Stafford's character arc in Scene 37 by showcasing his internal conflict more explicitly. His distrust of Mendez stems from his experience with deception within the embassy crisis. Show him grappling with the ethical dilemma of trusting Mendez's deceitful plan, creating a compelling internal struggle that highlights the central theme of the screenplay. His eventual trust should be a pivotal moment showing the power of even deceptive ingenuity.
Story Arc - Scene 52 In Scene 52, intensify the moment of deception at the airport. Instead of a simple presentation of storyboards, Joe Stafford's storytelling should be more engaging, highlighting his impromptu ability to weave a convincing narrative, reflecting ingenuity and improvisation under pressure. This improvisational storytelling should create a palpable sense of tension, highlighting the successful deception involved in their escape.
Courage and SacrificeMendez and the six diplomats risk their lives to escape Iran, facing potential capture and execution. The characters demonstrate remarkable bravery in the face of danger.The film explores the physical and emotional courage required to face extreme adversity, the willingness to put oneself at risk for the greater good, and the sacrifices made by those involved.
International Relations and Political IntrigueThe film depicts the complex political landscape of the Iran hostage crisis, highlighting the tension between the U.S. and Iran, the role of other nations (Canada), and the internal conflicts within the U.S. government.The film explores the dynamics of international diplomacy, political maneuvering, and the complexities of dealing with a volatile international crisis.
Personal Sacrifice and RelationshipsThe operation puts a strain on the characters' personal lives, forcing them to make difficult choices and sacrifice their personal well-being for the mission. Mendez's strained relationship with his family is a recurring element.The film touches upon the personal costs of extreme situations, how the pressure affects relationships, and the tension between professional duty and personal life.
The Absurdity of War and PoliticsThe film subtly satirizes the often-absurd nature of international politics and the lengths to which people go to achieve their goals, particularly evident in the contrast between the serious political situation and the humorous aspects of creating a fake movie.The film uses humor to highlight the irony and absurdity of conflict and political maneuvering. The juxtaposition of high-stakes tension with comedic elements adds depth and complexity to the narrative.



Screenwriting Resources on Themes

Articles

Site Description
Studio Binder Movie Themes: Examples of Common Themes for Screenwriters
Coverfly Improving your Screenplay's theme
John August Writing from Theme

YouTube Videos

Title Description
Story, Plot, Genre, Theme - Screenwriting Basics Screenwriting basics - beginner video
What is theme Discussion on ways to layer theme into a screenplay.
Thematic Mistakes You're Making in Your Script Common Theme mistakes and Philosophical Conflicts
Voice Analysis
Summary: The writer's voice is characterized by a compelling blend of sharp, realistic dialogue, fast-paced action sequences, and vivid descriptions that create a tense and urgent atmosphere. There's a consistent focus on the political and historical context, balancing moments of high-stakes tension with flashes of dark humor and witty banter, particularly among the CIA operatives and Hollywood figures. The narrative seamlessly integrates multiple perspectives, from the chaotic embassy scenes to the tense planning meetings and the frenetic energy of a Hollywood film production.
Voice Contribution The writer's voice contributes to the script by enhancing the mood of suspense and urgency, driving the narrative forward with impactful dialogue and compelling imagery. This contributes to the themes of political intrigue, personal sacrifice, and the clash between bureaucratic inertia and daring action. The blend of humor and seriousness adds depth to the characters, making them more relatable and the high-stakes situations more engaging. The multiple perspectives and interwoven storylines build a complex and immersive world, drawing the audience into the heart of the crisis.
Best Representation Scene 10 - Dinner Disrupted
Best Scene Explanation Scene 10, set during a dinner at the Canadian Ambassador's residence, best encapsulates the writer's unique voice. It masterfully blends light-hearted banter and underlying tension, perfectly capturing the precarious balance between normalcy and impending danger. The seemingly mundane actions – the toasting, the helicopter sound, the wine glasses shaking – subtly build suspense, while the dialogue reveals the characters' personalities and anxieties. This blend of humor, tension, and insightful character dynamics is a recurring hallmark of the writer's style and is most effectively showcased in this scene.
Originality
  • Overall originality score: 8.5
  • Overall originality explanation: The screenplay demonstrates a high level of originality by blending historical events with fictionalized elements, particularly through its unique approach to the Iranian hostage crisis. The use of authentic dialogue, character-driven narratives, and innovative storytelling techniques, such as the incorporation of a Hollywood film project as a cover for a rescue mission, adds depth and freshness to the narrative. The screenplay effectively captures the complexities of political and personal dilemmas faced by the characters, making it stand out in the genre.
  • Most unique situations: The most unique situations in the screenplay are the blending of a Hollywood film production with a real-life rescue operation, the use of humor in tense diplomatic settings, and the portrayal of characters navigating both personal and political crises during the Iranian Revolution. Additionally, the innovative methods of disguise and deception, such as using fake identities and a film crew as a cover, contribute to the screenplay's originality.
  • Overall unpredictability score: 7
  • Overall unpredictability explanation: The screenplay maintains a moderate level of unpredictability, as it intertwines historical facts with fictional elements, creating suspense around the characters' fates. While the overarching historical context provides a framework that may be familiar to audiences, the specific character arcs, the dynamics of their interactions, and the unexpected twists in their escape plan keep viewers engaged and guessing. The tension surrounding the characters' safety and the evolving political landscape adds layers of unpredictability to the narrative.
Goals and Philosophical Conflict
internal GoalsThe protagonist's internal goals evolve from a desire to simply survive and protect the hostages in the escalating crisis, to a profound need to navigate the complexities of deception and ethical morality while maintaining personal integrity. His journey is marked by a struggle for self-validation, responsibility toward the mission, and a desire for reconciliation with his past mistakes.
External Goals The protagonist's external goals shift from immediate survival during a violent protest to orchestrating a complex rescue mission amidst a political crisis. His objective evolves to not only save the hostages but to do so through a creative deception that leverages the film industry as a cover for a covert operation.
Philosophical Conflict The overarching philosophical conflict revolves around the ethics of deception and manipulation, contrasting the necessity of protecting innocent lives against the moral implications of lying and the potential ramifications for personal honor and integrity. This is framed as a conflict between personal morality (truth) vs. the demands of duty (deceit).


Character Development Contribution: As Mendez faces the stakes of his internal and external goals, his character develops from a man struggling with doubts and past mistakes into a decisive leader who learns to balance personal ethics with the harsh realities of espionage.

Narrative Structure Contribution: The intertwining of the protagonist's evolving goals and the philosophical conflict propels the narrative structure, creating tension and raising stakes that lead to a climactic resolution, marking the journey from chaos to resolution.

Thematic Depth Contribution: The themes of integrity, sacrifice, and the moral ambiguity of espionage bring depth to the screenplay as they challenge the audience to reflect on the cost of survival and the complexities of human nature during crises.


Screenwriting Resources on Goals and Philosophical Conflict

Articles

Site Description
Creative Screenwriting How Important Is A Character’s Goal?
Studio Binder What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict

YouTube Videos

Title Description
How I Build a Story's Philosophical Conflict How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode.
Endings: The Good, the Bad, and the Insanely Great By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes
Tips for Writing Effective Character Goals By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy?
World Building
  • Physical environment: The screenplay depicts a range of physical environments spanning Tehran, Iran during the 1979 Iranian Revolution, the American Embassy in Tehran during the hostage crisis, CIA headquarters in Langley, Virginia, the Canadian Ambassador's residence in Tehran, Hollywood film studios and offices, and various American suburban and urban settings. Locations vary from chaotic and violent streets and the embassy compound under siege to the more controlled and secretive spaces of government offices and film studios. The contrast between these spaces is significant, highlighting the stark differences between the high-stakes international crisis and the seemingly ordinary lives of those involved in the rescue operation.
  • Culture: The cultural landscape is heavily influenced by the political and religious climate of the Iranian Revolution. Anti-American sentiment is palpable, expressed through protests, chants, and the destruction of American symbols. Iranian culture is presented through the depiction of the bustling Tehran Bazaar, the language (Farsi), and the customs of the time. American culture is represented by the contrasting settings of suburban America and Hollywood, showcasing the American anxieties and responses to the crisis.
  • Society: Societal structures are depicted in a state of upheaval. In Iran, the revolution has toppled existing authorities; the police are ineffective, and the revolutionary guards hold power. The American society is shown grappling with the hostage crisis, marked by patriotism, fear, and uncertainty. Within both Iranian and American societies, there are clear power dynamics, from the CIA and State Department officials to the revolutionary guards and the ordinary citizens caught up in the events.
  • Technology: The technological aspects reflect the late 1970s, with technologies such as Super 8 cameras, telephones (including scramblers), telex machines, typewriters, fax machines, and television broadcasts playing crucial roles in communication and documentation. The contrast between outdated technology in the CIA and the emerging technology of filmmaking highlights the time period and the relative sophistication of the operation's cover. The limited technology also underscores the reliance on human ingenuity and personal relationships.
  • Characters influence: The world elements directly shape the characters' experiences and actions. The chaotic and dangerous environment of Tehran forces characters to make split-second decisions, prioritize survival, and rely on their wits and resourcefulness. The tense political climate fuels mistrust and paranoia. The contrasting environments of Langley and Hollywood create different pressures and challenges for the characters, testing their skills and resolve. The risk of death is constantly present, shaping the characters' behavior, choices, and relationships.
  • Narrative contribution: The world-building elements are integral to the narrative. The setting of the Iranian Revolution and the hostage crisis provides the central conflict and stakes. The diverse locations move the narrative forward, creating tension, revealing information, and highlighting the scale and complexity of the operation. The contrasts between the high-stakes political environment and the seemingly ordinary world of Hollywood propel the plot and build suspense. The use of flashbacks and different settings keeps the narrative dynamic and engaging.
  • Thematic depth contribution: The world-building elements contribute to the thematic depth by exploring themes of political conflict, international relations, deception, courage, ingenuity, and the human cost of war. The contrast between the chaotic violence of the revolution and the creative collaboration of Hollywood emphasizes the tension between the harsh realities of geopolitics and the power of human creativity to overcome seemingly insurmountable obstacles. The film's success hinges on this contrast, highlighting the theme of ingenuity and unconventional solutions to a critical situation.
Story Engine Analysis

central conflict

The central conflict revolves around the struggle for survival and escape of American diplomats trapped in Iran during the 1979 hostage crisis, against the backdrop of political turmoil and anti-American sentiment.

primary motivations

  • The desire of the American diplomats to escape Iran and return home safely.
  • The CIA's objective to successfully extract the hostages without drawing attention.
  • The Canadian Ambassador's commitment to protect the houseguests and facilitate their escape.

catalysts

  • The storming of the U.S. Embassy in Tehran by protestors, which escalates the urgency of the situation.
  • The decision by the CIA to create a cover story involving a fake film production to facilitate the escape.
  • The discovery of the houseguests' identities being at risk, prompting immediate action.

barriers

  • The presence of armed Revolutionary Guards and the risk of being captured or executed.
  • The skepticism and distrust among the houseguests regarding the escape plan.
  • The bureaucratic hurdles and lack of immediate support from the U.S. government.

themes

  • The complexities of identity and deception in times of crisis.
  • The moral ambiguity of espionage and the lengths to which individuals will go to protect others.
  • The impact of political conflict on personal lives and relationships.

stakes

The stakes include the lives of the six American diplomats, the potential for international diplomatic fallout, and the personal safety of those involved in the extraction operation.

uniqueness factor

The story uniquely blends elements of a political thriller with a Hollywood production narrative, showcasing the intersection of espionage and filmmaking.

audience hook

The tension and suspense surrounding the escape plan, combined with the real historical context, keeps viewers engaged and invested in the characters' fates.

paradoxical engine or bisociation

The paradox lies in the use of a film production as a cover for a life-and-death rescue mission, merging the worlds of fiction and reality in a high-stakes scenario.

paradoxical engine or bisociation 2

Another bisociation could be the contrast between the mundane aspects of filmmaking and the extraordinary circumstances of a hostage crisis, highlighting the absurdity and creativity required to navigate such a perilous situation.


Engine: GPT4

Screenplay Rating:

Recommend

Executive Summary

The screenplay for 'Argo' effectively captures the tension and urgency of a real-life crisis while providing a compelling narrative arc for its characters. It excels in character development, particularly in the portrayal of Tony Mendez, whose journey from a covert operative to a determined rescuer is both engaging and relatable. The pacing is generally strong, though some sections could benefit from tightening. Overall, the screenplay presents a well-structured story that balances historical context with personal stakes, making it a gripping read.

Strengths
Areas of Improvement
MissingElements
NotablePoints
Blind Spots
  • Character Motivations The motivations of some secondary characters, particularly the Iranian officials, are not fully explored, which could provide a more nuanced understanding of the conflict. For example, the screenplay could delve deeper into the personal stakes of the Komiteh members involved in the crisis. medium
Amateur Giveaways
  • Exposition At times, the screenplay relies heavily on exposition to convey background information, which can slow down the pacing. For instance, some scenes could benefit from showing rather than telling, particularly in the early sections where the political context is established. medium

Engine: Claude

Screenplay Rating:

Highly Recommend

Executive Summary

The screenplay for 'Argo' is a remarkably well-crafted espionage thriller that masterfully blends historical events with compelling character-driven storytelling. The narrative seamlessly navigates the complexities of the Iran Hostage Crisis, showcasing the ingenuity and bravery of the CIA operatives and Canadian diplomats who orchestrated the daring rescue mission. The script's strong character arcs, engaging pacing, and attention to historical accuracy make it a standout example of the genre, with the potential to captivate audiences and critics alike.

Strengths
  • The screenplay establishes a strong sense of place and tension from the very beginning, immersing the audience in the chaotic atmosphere of the embassy invasion and the growing panic among the staff. high ( Scene 9 (3)   Scene 11 (5)   Scene 13 (6)   )
  • The script skillfully develops the relationship between Mendez and Siegel, two veteran Hollywood players who are forced to put their differences aside and work together to execute a daring rescue mission. Their dynamic adds depth and humor to the story. medium ( Scene 15 (90)   Scene 17 (100)   Scene 19 (103)   )
  • The character arcs of the Houseguests are well-crafted, as they evolve from reluctant participants in Mendez's scheme to dedicated accomplices willing to risk everything for their freedom. high ( Scene 22 (134)   Scene 23 (157)   Scene 24 (199)   )
  • The screenplay's attention to historical accuracy and the recreation of the tense atmosphere in Tehran is remarkable, transporting the audience to the heart of the crisis and heightening the stakes for the characters. high ( Scene 33 (200)   Scene 34 (208)   Scene 35 (209)   )
  • The third act of the screenplay is a masterclass in pacing and tension, as the escape plan unfolds with a nail-biting sense of urgency and the ever-present threat of discovery. high ( Scene 44 (224B)   Scene 45 (224C)   Scene 46 (240)   )
Areas of Improvement
  • While the screenplay is generally well-paced, there are a few instances where the momentum slows down, particularly in the earlier acts. Tightening the pacing in these sections could help maintain the overall narrative drive. medium ( Scene 14 (19)   Scene 16 (96)   )
  • The screenplay could benefit from a deeper exploration of the emotional impact on the Houseguests as they face the constant threat of discovery and execution. More character introspection and development in these moments would add further depth to the story. medium ( Scene 7 (13)   Scene 20 (125)   )
MissingElements
  • While the screenplay effectively conveys the broader political and historical context, there are a few instances where additional insight into the Iranian perspective and the motivations of the Revolutionary Guards could add further nuance to the storytelling. low ( Scene 13 (17)   Scene 21 (132)   )
NotablePoints
  • The screenplay's clever use of humor, particularly in the interactions between Mendez and Siegel, provides welcome relief from the high-stakes tension and adds to the overall entertainment value of the story. medium ( Scene 27 (169)   Scene 29 (178)   Scene 41 (209)   )
  • The screenplay's depiction of the interplay between the CIA and the White House, as well as the bureaucratic obstacles they must navigate, adds an additional layer of complexity and realism to the story. high ( Scene 47 (253)   Scene 48 (256)   Scene 49 (259)   )
  • The screenplay's subtle incorporation of thematic elements, such as the importance of personal sacrifice and the moral ambiguity of intelligence work, elevates the story beyond a straightforward action-thriller. high ( Scene 33 (200)   Scene 59 (333)   )
Blind Spots
  • Lack of Diverse Perspectives While the screenplay does a commendable job of portraying the perspectives of the American characters, it could benefit from a more nuanced exploration of the Iranian characters and their motivations. The Revolutionary Guards and the Iranian officials are primarily depicted as antagonists, with limited insight into their personal experiences and the broader cultural and political context that shaped their actions. Expanding the representation of Iranian characters and their points of view could add depth and complexity to the narrative. medium
Amateur Giveaways
  • Overexposition In a few instances, the screenplay relies on expository dialogue to convey information that could be more effectively communicated through visual storytelling or subtle character interactions. For example, in the scene where Mendez is drilling the Houseguests on their cover identities (Scene 224B), the dialogue feels a bit too on-the-nose in its attempt to establish the characters' backstories. Streamlining these expository moments and finding more organic ways to convey the necessary information could enhance the overall flow and engagement of the narrative. low

Engine: Gemini

Screenplay Rating:

Highly Recommend

Executive Summary

Argo's screenplay is a masterclass in tension-building, character development, and historical accuracy. The intricate plot, grounded in real-life events, is expertly paced, creating a gripping narrative from beginning to end. While minor improvements could enhance certain character arcs and add subtle emotional depth, the screenplay's strengths significantly outweigh its weaknesses, making it a highly marketable and compelling cinematic experience.

Strengths
  • The opening sequence masterfully sets the stage, establishing the volatile political climate and escalating tension through precise visual descriptions and sound design. The screenplay expertly builds suspense as the crisis unfolds, culminating in a dramatic escape sequence (Sequence 22). The initial chaos in the embassy is effectively conveyed without being overwhelming. high ( Scene 1   Scene 2   Scene 22   )
  • The screenplay displays a strong narrative drive and compelling character dynamics through the meetings and discussions surrounding the extraction plan. The back-and-forth between Mendez and the State Department and CIA officials showcase their distinct personalities and approaches to problem-solving. The creative evolution of the 'Argo' plan is ingeniously detailed. high ( Scene 58   Scene 90   Scene 100   Scene 108   Scene 111   )
  • The screenplay showcases excellent character development, particularly for the six embassy employees. Their individual personalities, fears, and anxieties are realistically portrayed, creating empathy and adding to the overall emotional depth of the narrative. The interactions among them are believable and add suspense to the climax. high ( Scene 60   Scene 183   Scene 186   Scene 189   )
  • The use of montage effectively conveys the passage of time and the escalating tension of the hostage crisis, maintaining audience engagement while providing crucial context. The juxtaposition of scenes from Tehran with those from the US creates a compelling contrast. medium ( Scene 69   Scene 224   )
  • The bazaar sequence is a masterclass in creating palpable tension and suspense. The screenplay effectively uses the claustrophobic setting and the growing hostility of the crowd to heighten the stakes and build the emotional impact of the scene. high ( Scene 209   Scene 212   Scene 216   )
Areas of Improvement
  • While the State Department scenes provide crucial context, some dialogue feels expositional and could benefit from more subtle integration into the narrative. The pacing in this sequence could be tightened. low ( Scene 46   )
  • While Lester Siegel is a memorable character, his character arc could benefit from a more defined internal conflict or a clearer emotional resolution. His motivations could be more explicitly explored. medium ( Scene 100   Scene 101   Scene 102   Scene 103   )
  • Several scenes are marked as 'omitted.' While this might have been intended to streamline the script, those sections could offer opportunities to add more depth to character arcs or subplots, particularly in the Hollywood scenes. low ( Scene 110   Scene 113   Scene 119   Scene 120   Scene 121   Scene 122   Scene 136   Scene 136   )
MissingElements
  • More detailed exploration of the emotional toll on Mendez's family could add depth. Showing the strain on his marriage and his concern for his son would humanize him further. medium
NotablePoints
  • The screenplay's effective use of real-life footage and news clips seamlessly integrates the historical context into the narrative, making the story more impactful and believable. high
  • The script cleverly incorporates humor amidst the high-stakes tension, defusing some of the dramatic intensity and making the characters more relatable. medium
  • The screenplay masterfully builds suspense, creating a palpable sense of dread and excitement that keeps the audience engaged until the very end. high
Blind Spots
  • Underdeveloped emotional responses to high-stakes situations While the screenplay effectively portrays the external pressures and dangers faced by the characters, it sometimes falls short in delving into their deep, nuanced emotional responses. In several high-stakes situations, the characters' emotional reactions feel somewhat understated, and could benefit from more explicit expression of fear, anxiety, or relief. For example, the reactions of the Houseguests after the near-discovery in the Bazaar are quickly resolved without a substantial lingering effect on their behavior or future interactions. medium
Memorable lines in the script:

Scene Number Line
24Siegel: Argo fuck yourself.
21Siegel: You can either sign here and take ten thousand for your toilet-paper script -- or you can go fuck yourself.
2AL GOLACINSKI: Don’t shoot. You don’t want to be the sonofabitch who started a war -
18Chambers: You can teach a rhesus monkey to be a director in a day.
14SPACE NURSE: My creation... My creation...