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ALL SCRIPTS


 
                                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



Argo



Writers :   Chris Terrio
Genres :   Drama  Thriller


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