FANDOM



                               ARGO


                             Written 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 --
         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 gs 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. 
                        J 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 --
         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, J 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.
         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, J 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
         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 --
         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:
         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
         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.
         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)
         J 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 gs 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 gs 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 gs 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 dsn'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 dsn't respond.
                        ENGELL
          Get one. 
         58A-59 OMITTED 58A-59
         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
         ds 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 --
         J Stafford, keeping to himself.
                        KATHY STAFFORD
         (to J 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
         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.
                        J STAFFORD
         (to Pat Taylor)
         Kathy dsn't want to go down
         again.
         BOB ANDERS J 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 J 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 ds 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.
         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 J and Kathy Stafford.
         The trapdoor closes and the crawlspace gs 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.
         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 
         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.
         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 dsn'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, ds 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?
         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 gs
         back to clearing the table.
         96 INT. CANADIAN AMBASSADOR'S RESIDENCE - KITCHEN - LATER 96
         Kathy Stafford is roughly washing wine glasses at the
         sink.
                        J 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.
         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
         dsn'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:
         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.
         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 dsn'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. Ds 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. 
         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.
         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 gs 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.'
         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 
         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 dsn't know what he's talking about. 
                        SIEGEL
         No.
                        REPORTER
         Then what ds ˜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.
         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 ds 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
         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
         J Stafford, watching Khomeini on TV, to Bob Anders --
                        J 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...'
         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 gs --
                        MENDEZ
         How'd you always get around the
         pricks upstairs?
                        SIEGEL
         There's always another prick one
         floor higher up.
         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.
         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:
         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 J 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 dsn'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 gs 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 ds now.
         Consul nods. Stamps the passport. KINGDOM OF IRAN -- He
         crosses out KINGDOM and writes by hand: ISLAMIC REPUBLIC
         OF.
         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.
         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 
         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.
         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 
         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 J and Kathy Stafford, go into the living room.
         Mendez stays in his seat; J approaches him.
         J STAFFORD KATHY STAFFORD
         Do you know that every ... J, don't.
         day...
                        J 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.
                        J STAFFORD
         You've been here an hour and
         you're asking us to trust you with
         our lives, Mr. --
                        MENDEZ
         Harkins.
                        J STAFFORD
         Is that your real name?
         A beat.
                        MENDEZ
         No.
                        (CONTINUED)





          ARGO - Final 71.
                        184 CONTINUED: 184
         J Stafford nods, as if this has proven a point. He
         gs 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.
         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
                         J STAFFORD
          I'm serious, too. This is what?
         BOB ANDERS J STAFFORD
         Don't do this, J... ... 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.
                        J STAFFORD
         Snitches in banana republics.
         They get them over the border
         after the coup...
         BOB ANDERS J 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
                        J 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?
                        J 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 gs. The Houseguests look at
         what's inside their envelopes -- all except J 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:
         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. J Stafford is sitting near him, having a drink,
         watching Iranian State Television footage of the
         Ayatollah. J Stafford translates out loud.
                        J STAFFORD
         ˜We are a nation of 35 million
         and... many of these people are
         looking forward to martyrdom.˜
         Kathy Stafford looks into the room. J stops talking,
         looks up.
                        J STAFFORD
                        (TO KATHY)
         Five minutes?
         He smiles at her. Kathy, who looks like she hasn't been
         sleeping, nods and leaves. J takes a drink. After a
                        MOMENT --
                        J STAFFORD
         She pleaded with me.
         Mark, looking to J. This is new.
                        J 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
          J STAFFORD (CONT'D)
                         (A BEAT)
         I think we're gonna die here.
         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. J 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 J Stafford,
         sitting with his wife, speaks up --
                        J STAFFORD
         We won't do it.
                        MARK LIJEK
         He told them there were six of us.
         They're expecting six. 
                        J 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.
                        J STAFFORD
         I don't trust you.
                        BOB ANDERS
         (fed up, to J)
         What's the alternative? This is
         the ball game, J. What world
         are you living in?
                        J STAFFORD
         The one where they're hanging
         people from construction cranes,
         Bob.
         J takes Kathy's hand and gs, leaving Mendez with the
         others. After a moment --
                        MARK LIJEK
                        (TO MENDEZ)
         So we'll see you at two?
         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.
         J 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 J STAFFORD
         listening. Kathy takes his hand.
                         (CONTINUED)





          ARGO - Final 79.
                        201 CONTINUED: 201
                         KATHY STAFFORD
                         (TO J)
         Somebody knows.
         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 J 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.
                        J STAFFORD
         I wish I could believe you, Mr.
         Harkins.
                        MENDEZ
         My name is Tony Mendez. 
         Mendez gs back out to the minivan. STAY WITH J 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. J 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.
                        J STAFFORD
         Sean Bissett, associate producer.
                        MENDEZ
         Let's make a movie.





          ARGO - Final 81.
         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 dsn'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.
         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 gs 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.
         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.
         Ds he know? Ds 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 ds, 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.
         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 dsn'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 J Stafford)
          Your job on the film.
                         J STAFFORD
          Producer.
                         MENDEZ
         Associate Producer. What's the
         name of the last film you worked
         on?
                        J STAFFORD
         Uh... High and Dry.
                        MENDEZ
         Who paid for the movie?
                        J STAFFORD
         C.F.D.C.
                        MENDEZ
         What's your middle name?
         J 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.
                        J 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.
         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 gs 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 ds --
                        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 dsn'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:
         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.
         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 J 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. Gs.
         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 ds that mean?
                        SOSA
         Carter's got to say yes for us to
         get the tickets.
         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... gs...
                         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.
         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.
         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 
         ds 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:
         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.
         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 dsn'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 J Stafford's.
                        (CONTINUED)





          ARGO - Final 105.
                        274 CONTINUED: 274
                         AZIZI
          (harsh, icy; in 
                         FARSI) 
         You. You had no business in Iran.
         He motions for J STAFFORD to step forward. Mendez
         shifts. A tense moment.
                        J STAFFORD
                        (FARSI) 
         We did. We were preparing to make
         a movie here, sir.
                        AZIZI
                        (FARSI) 
         You don't have journalist visas.
                        J STAFFORD
                        (FARSI) 
         Not a documentary. A movie.
         J Stafford reaches into his pocket and gives Azizi a
         copy of the Argo Variety ad.
                        J 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. J 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.
                        J STAFFORD
                        (FARSI) 
         These are the villains. Y'see
         these guys here? And these are
         the hers... in the spice
         market...
         J Stafford points at the various drawings. He speaks
         with an ease and confidence that we didn't know he had.
                        J 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
          J 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 J 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.
         J Stafford and the Houseguests are silent. Mendez can
         see the line of passengers on their Swissair flight
         dwindling.
         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
         J 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 J
         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 dsn't go. He
         shakes his head. This goddamn thing. Shifts gears
         again. Now it gs.





          ARGO - Final 110.
         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. J 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 gs 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.
         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.
         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. J Stafford.
         Tony looks up at J.
                        (CONTINUED)





          ARGO - Final 115.
                        321 CONTINUED: 321
         FLIGHT ATTENDANT (O.S.)
         I'm sorry, sir. You need to sit
         down.
         But J dsn't pay attention to the Flight Attendant.
         He extends his hand to Mendez. Who takes it. A moment
         between them.
                        FLIGHT ATTENDANT
         Sir?
         J gs back to his seat.
         HOLD ON Tony Mendez.
         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.
         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.'
         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 t-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.
         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 dsn'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
Community content is available under CC-BY-SA unless otherwise noted.