Opening Image
Scene 1 / Page 1 / 1% target
The film begins with protestors overrunning the U.S. Embassy in Tehran, immediately establishing the crisis.
ARGO script analysis
ARGO opens amid the Tehran embassy siege before shifting to Tony Mendez’s covert extraction mission. As he develops the Argo fake-film cover and navigates CIA, State Department, and personal stakes, the houseguests confront escalating threats. Mendez’s resolve leads to a daring airport escape, culminating in a triumphant, personal final image.
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Scene 1 / Page 1 / 1% target
The film begins with protestors overrunning the U.S. Embassy in Tehran, immediately establishing the crisis.
Scene 3 / Page 1 / 5% target
In the consulate Anders’ offhand “Carnival’s bigger today” hints at appearances versus reality, foreshadowing the film-as-cover theme.
Carnival's bigger today.
Scenes 4-13 / Pages 1-3 / 10% target
We meet embassy staffers Bob Anders, Mark Lijek, Lee Schatz, and Al Golacinski organizing defense before they become trapped.
Scene 46 / Page 4 / 12% target
State Department officials first react to the siege and acknowledge six Americans are trapped, catalyzing the extraction mission.
Scenes 49-50 / Pages 4-5 / 20% target
At CIA and Mendez’s apartment, he questions State and CIA reluctance until he volunteers, debating whether he can pull off an exfiltration.
Scene 50 / Page 5 / 25% target
In the CIA conference room Mendez pitches the “Argo” cover story and commits to the mission, entering Act Two.
They're a Canadian film crew on a location scout for a science fiction movie.
Scene 52 / Page 5 / 30% target
Back at home Mendez watches news and talks to his son, establishing his personal stakes and family subplot.
Scenes 54-66 / Pages 6-9 / 40% target
Mendez assembles Chambers and Siegel, creates the fake-film materials, and debuts them at the Beverly Hilton press event, showcasing the “fun” spycraft.
Scene 76 / Page 9 / 50% target
At the State Department meeting, the “best bad idea” approval is given, marking a false victory and midpoint shift.
This is the best bad idea we have, sir. By far.
Scenes 86-93 / Pages 10-12 / 65% target
Mendez travels to and arrives in Tehran, confronting visa hurdles and raising the danger level.
Scene 137 / Page 16 / 75% target
O’Donnell calls to cancel the mission—the moment when hope disappears.
It all just changed. They called the game. You've got to come back.
Scene 140 / Page 16 / 80% target
In the Sheraton Room, Mendez wrestles with responsibility and decides he must go forward alone.
Somebody is responsible for things when things happen, Jack. I am responsible. I'm taking them through.
Scene 142 / Page 17 / 85% target
At Mehrabad airport’s third checkpoint, the team is detained and Mendez must use the fake storyboards to free them, entering Act Three.
Scenes 145-154 / Pages 17-19 / 95% target
Mendez presents the film “gift,” secures their release, and races to the gate as Komiteh scramble in pursuit, culminating in the takeoff escape.
Scene 194 / Page 22 / 99% target
The film closes with Mendez peacefully watching a movie with his son, mirroring the opening’s chaos with a restored domestic calm.