Argo_script.json

{"dialogues": {"MENDEZ": "\n[1]Yeah. He listens for a moment, then sits up, suddenly wide- awake. \n[2]Ten weeks State's sitting on this? \n[3]Compromised? \n[4]White House? \n[5]Who else knows? \n[6]Jesus Christ. \n[7]Who's handling? They walk through a door and out of the Pit. \n[8]They don't do exfils. \n[9]Then why's he want me? \n[10]You can send in training wheels and wait at the border with Gatorade. Attention turns to Mendez. O'Donnell shifts. Engell, not happy. \n[11]It's 300 miles to the Turkish crossings. They'd need a support crew behind them with a tire pump. \n[12]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? The only way out's through the airport. You build them new identities, a Moses gs in, takes them out on a commercial flight. \n[13]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 -- \n[14]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. \n[15]What do you see in the picture, sir? A beat. Pender dsn't like this, but he'll play. \n[16]What's on the ground? \n[17]So what crops are the do-gooders inspecting under Frosty? Pender shifts. \n[18]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. \n[19]Buddy-man. \n[20]You do homework tonight? \n[21]What was it? But Tony can hear a television soundtrack with ominous ARGO - Final 28. \n[22]What do I hear? \n[23]What channel? \n[24]Catch me up. Tony listens, staring ahead at the TV . A desert used to speak about. \n[25]Hi. Sorry. Hi. \n[26]They're a Canadian film crew on a location scout for a science fiction movie -- A shift in the room. \n[27]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. \n[28]This is more plausible than foreigners who want to go to school in Iran -- \n[29]I've got a contact in L.A. \n[30]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. \n[31]Remind me who you are again? \n[32]What are you shooting? \n[33]Any good? \n[34]Who's the target audience? \n[35]It's an exfil. \n[36]Worst place you can think of. \n[37]Six got away. They're hiding in the city. I'm going over to get them. \n[38]I need you to help me make a fake movie. \n[39]I need to set up a production company and build a cover around making a movie. \n[40]No. \n[41]That's right. \n[42]No. \n[43]Can you teach a guy how to be a director in a day? \n[44]I'm the producer. \n[45]... and past a hundred Komiteh at the airport. \n[46]That's too soon. \n[47]\u0098Fade in on starship landing. An exotic, Middle Eastern vibe. Women gather, offering ecstatic libations to the sky gods.' \u0098ARGO. A science-fantasy adventure.' Mendez throws down the script. \n[48]It's a space movie in the Middle East. Ds it matter? Chambers looks at the BULLSEYE logo on the cover page. Reacts. \n[49]Why do we need the option? \n[50]Is it the wrong day? \n[51]One month. \n[52]Kevin Harkins. Studio Six Films. \n[53]You know Warren Beatty? \n[54]You got kids, Lester? \n[55]You see them much? \n[56]Why's that? \n[57]A son. Lives with his mother in Virginia. \n[58]Taking time off.  He's gotta... stay where he is. \n[59]\u0098War' sounds like Star Wars. Let's use a different word. Mendez closes the door to his private office. \n[60]I need another week. \n[61]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. \n[62]\u0098Biggest Canadian production in history.' Canadian Gone With The \n[63]Are you turning people away? \n[64]Any way to make the chariots look more -- Middle-Eastern -- ? \n[65]Iran. Kirby takes out a marker and starts to sketch a futuristic-looking desert glider. \n[66]Tehran. \n[67]Why'd he do it? \n[68]It's a death sentence, Jack. \n[69]How'd you always get around the pricks upstairs? \n[70]I used your name. ARGO - Final 55. \n[71]You can forget about that time- share in Ocean City, Jack. \n[72]Yes, sir. \n[73]Yes, sir. \n[74]-- two, we think everybody knows Hollywood people. And everybody thinks they would shoot during Stalingrad with Pol Pot directing if it'd sell tickets. There are only bad options. It's about finding the best one. \n[75]Barely claim me as it is. \n[76]Just Christine. They don't need to look at one another. A shared understanding. \n[77]Guess I should have brought some books to read in prison. \n[78]We've got a green light. Chambers gives Siegel a thumbs-up. \n[79]Keep the office running till you hear otherwise. \n[80]Business. Film production. The Consul Official looks at his Canadian passport. \n[81]My boss waited until I was here to send the telex. 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 \n[82]Can't be right all the time. \n[83]When'd you get back? \n[84]Were you metal detecting? \n[85]But you kept busy. \n[86]So if they look, they'll know six people didn't come in with me. \n[87]How's June? \n[88]I'm sorry. \n[89]Good. Yeah. \n[90]Six more are joining me today. They're coming from Canada. \n[91]The bazaar, maybe the palace. \n[92]Mr. Ambassador. \n[93]You're thinking of FBI, sir. They get into the car. \n[94]I'll take care of that. \n[95]A day to prep them with their cover stories. Two if they need it. \n[96]The chances are good. \n[97]There are no Canadians in the country for normal reasons. \n[98]That's why I'm here. I'll be with you. This is what I do. \n[99]This would be a first. \n[100]Harkins. \n[101]No. \n[102]If we go, you need to leave immediately. There's a \n[103]I don't know. \n[104]Your cover identities were created specifically for each one of you. \n[105]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. \n[106]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. \n[107]\u0098The Minister of Culture and Guidance has approved your location scout.' \n[108]\u0098He will send a representative to meet you and your crew at the Khayyam entrance to the Grand Bazaar tomorrow at 3 PM.' \n[109]Or maybe they're cooperating. \n[110]Seven Canadians, Jack. \n[111]They're getting there. \n[112]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? \n[113]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 -- \n[114]I'm asking you to trust me. \n[115]This one, how much? One day, how much? \n[116]I promise you that if you will play along today, I will get you out tomorrow. \n[117]My name is Tony Mendez. Mendez gs back out to the minivan. STAY WITH J and Kathy. \n[118]Tell me who you are. This recalls attention from the windows. \n[119]Let's make a movie. \n[120]Mike? \n[121]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. \n[122]She's the production designer. Her job is to take photographs. SHOPKEEPER getting more and more heated in Farsi. \n[123]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. \n[124]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. \n[125]Where was your passport issued? Bob Anders dsn't know. ANGLES ON the Houseguests. \n[126]Where were you born? \n[127]Toronno like piranha. Canadians don't pronounce the T. \n[128]If you're held for questioning, they'll bring in somebody who knows that. \n[129]Last three Canadian prime minsters. \n[130]Good.  Your job on the film. \n[131]Associate Producer. What's the name of the last film you worked on? \n[132]Who paid for the movie? \n[133]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. \n[134]He's an American spy. Shoot him. A beat on Stafford, frustrated -- \n[135]They'll try to break you by getting you agitated. You need to know your r\u00c3\u00a9sum\u00c3\u00a9 so well that you don't flinch. \n[136]My story's the only thing between you and the gun to your head. A beat. Mendez puts the r\u00c3\u00a9sum\u00c3\u00a9 back in front of Stafford. Kathy looks at her husband: he just isn't good at this. \n[137]Let's go again. \n[138]What is it? \n[139]I never would have exposed them if I wasn't authorized to take them out. \n[140]They will be taken. Probably not \n[141]We're responsible for those people. \n[142]I think the most important thing you can do to be ready for tomorrow is rest. \n[143]So you know. \n[144]Somebody is responsible for things when things happen, Jack. I am responsible. 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. \n[145]Good. And you two leave right now. Ken Taylor nods. Mendez shakes his hand. \n[146]The first checkpoint is just to look at your passport. \n[147]Your passports came straight from the Canadians, so you're gonna be fine. \n[148]The second checkpoint -- \n[149]The second is immigration. You'll hand them these. They say you landed two days ago. \n[150]These guys are bureaucrats left over from the shah. They can't be bothered to second-guess you. \n[151]Third checkpoint is the trap. \n[152]It's manned by Revolutionaries. Most of them were educated in the U.S. or Europe. \n[153]They know how many \u0098T's are in Toronto. \n[154]You can call our office. Mendez hands Azizi his card. STUDIO SIX FILMS. Kevin Harkins. A 213  phone number. \n[155]\n[156]Wha'd you say to her? \n[157]He wants to fire me himself. \n[158]If they push it a week, I can bring Ian. That's his winter break. \n[159]They're gonna hand me an award, then they're gonna take it back? \n[160]I thought we did. O'Donnell claps Tony on the shoulder. Tony walks towards the entrance and Jack heads to his car. \n[161]A great American what? \n[162]Hi. ", "O'DONNELL": "\n[1]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. \n[2]Traffic calls them The Houseguests. Haven't left the Canadian ambassador's house since it happened. \n[3]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. \n[4]Carter's shitting enough bricks to build the pyramids. He wants the six of them out. \n[5]Just the families. Meanwhile, some genius in the embassy was keeping a mug book of everybody who worked there. \n[6]We think it got shredded before they got in, but the fuckers have sweat-shop kids in there re- assembling the shreds. \n[7]They're gonna make an example of the ones who escaped. Standing- room-only for beheadings in the square. \n[8]State's coordinating in-house. \n[9]They do now. They want to run it by us, strictly as consultants. Off his look. \n[10]Engell's saying it's lose-lose. These people die, they die badly. Publicly. \u0098State wants the blame, he'll give it to them. \n[11]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. \n[12]Tony. This isn't the kind of meeting where you talk. \n[13]Tony's an exfil spesh. He got a lot of the shah's people out after the fall. \n[14]Is he coming? Engell nods for the door to be shut. \n[15]Have a seat, Tony. He dsn't. There's an energy in him we haven't seen before. \n[16]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 \n[17]The Canadians are done. Say they're bearing too much risk. \n[18]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. \n[19]Engell's prepping the Bikes Option and the Teachers Option. You've got 72 hours to make yours better... \n[20]They caught the shah's chief of security trying to get on a plane to Paris. \n[21]\u0098Since the incident, the number of guards at the airport has doubled. Thorough background examinations should be expected.' \n[22]You don't have it. \n[23]He did it \u0098cause he did it. \n[24]He saw a covert intelligence officer saying \u0098cheese' with R2- D2. They're going with the teachers. \n[25]Well then it's on Engell. It's done, Tony. Wash your hands. He hangs up. Mendez, looking out the hotel window at \n[26]What did you do to get the meeting? \n[27]Brace yourself. It's like talking to those two old fucks on \u0098The Muppets.' Vance and Turner enter the room without recognizing them. Mendez and O'Donnell stand up. \n[28]One, there are no foreign teachers in Iran anymore -- \n[29]This is the best bad idea we have, sir. By far. Vance and Turner exchange looks. \n[30]I'm required to remind you that if you're detained, the agency will not claim you. \n[31]Your \u0098In Case Of's' good? \n[32]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. \n[33]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. \n[34]I can't tell you more than that \u0098cause I don't know any more. \n[35]Mother of God. \n[36]They called your bluff. \n[37]N.E. says absolutely not. Seven Americans walking the bazaar, you're asking for a riot, it's the \n[38]Never give them multiple shots at a cover. Are they even ready? \n[39]Terrific. There's no prize for \u0098Most Improved.' \n[40]Go to black on green. Jack's calling him here, so he knows something's wrong. \n[41]Go to black on green. Mendez turns knobs on the satellite phone. \n[42]It all just changed. They called the game. You've got to come back. ON Mendez, not believing what he's hearing. \n[43]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. \n[44]It's over, Tony. \n[45]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. \n[46]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. \n[47]Yeah. \n[48]We need to confirm those seven tickets out of Tehran on \n[49]I'm saying it's back on! \n[50]What the fuck ds that mean? \n[51]Where's Engell? \n[52]Pull him out.  \n[53]It is going. \n[54]Am I goddamn close? \n[55]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 \n[56]Where's the Director? \n[57]Find White House Chief of Staff. \n[58]We're a fucking SPY AGENCY! FIND \n[59]Where are his kids? \n[60]Where do his kids go to school? \n[61]Yes, it's Mr. Murphy calling from Pace Academy for Mr. Jordan... I'm afraid it IS an emergency... \n[62]Jack O'Donnell from C.I. \n[63]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. \n[64]Copy D.S.! Confirm the tickets! \n[65]Get the L.A. office -- tell them to be ready in case they call. \n[66]They should have boarded already. \n[67]Wait. \n[68]Involved in what? We're as surprised as anybody. Thank you, Canada. Jack raises a glass of Scotch and takes a drink. \n[69]And I left my autograph book at home. His Eminence called me. He \n[70]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. \n[71]The op was classified so the ceremony's classified. He can't know about it. Nobody can know about it. \n[72]If we wanted applause, we would have joined the circus. \n[73]\n[74]He didn't say. ", "SIEGEL": "\n[1]Yeah, come in. \n[2]I only got a couple minutes. I'm getting a lifetime achievement award tonight. \n[3]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. \u0098He don't look so good. Let's give him an honorary award.' \n[4]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. \n[5]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. \n[6]-- who chant \u0098Death 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... \n[7]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: \n[8]They're getting the ratings, I'll give \u0098em 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. \n[9]We're gonna need a script. A beat of silence. A LOOK from Siegel to Chambers. \n[10]Nobody makes Westerns anymore. \n[11]If it's got horses in the title, it's a Western. \n[12]If I'm doing a fake movie, it's gonna be a fake hit. \n[13]It's in turnaround. It's dog shit. \n[14]You're worried about the Ayatollah? Try the WGA. \n[15]He's only a prick if you catch him on the wrong day. \n[16]It's always the wrong day. \n[17]He's the money. \n[18]-- Till I read the Argo. Look, how \u0098bout we say fifteen thou and close on this? \n[19]Naah, bullshit me, Max. \n[20]Thank you. Very respectful. \n[21]What can I say? Congratulations.  He's got me. A beat. Mendez ready to go -- \n[22]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 \u0098cause the Zulu extras wanna unionize. \n[23]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. \n[24]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. \n[25]I took a leak next to him at the Golden Globes. Taco? \n[26]Two daughters. \n[27]I talk to them once a year, maybe. \n[28]I was a terrible father. The bullshit business is like coal mining. You can't wash it off before you kiss your wife and kids... You? \n[29]You're divorced? \n[30]Kids need the mother. \n[31]-- press event and reading... No, I promised Variety exclusive on that one... Mendez is making a list with a PUBLICIST. \n[32]I gotta get back to you, Phil. I can't get my own mother a ticket. I had to tell her it was cancelled. \n[33]You know what gets more suckers than a sign that says \u0098Brooklyn Bridge For Sale'? \u0098Brooklyn Bridge: Approved Buyers Only.'  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. \n[34]You're gorgeous. You're in the reading? \n[35]Keep that fucking space witch away from me. \n[36]I was married to her. Mendez, now talking to RODD, from VARIETY. \n[37]The Argo, it's the, y'know, the \n[38]-- the spaceship, it flies around space, alllll over space -- \n[39]No. \n[40]It means Argo fuck yourself. \n[41]I made thirty pictures. Half of them the pricks upstairs tried to shut me down. Mendez finishes packing, zips up the bag. \n[42]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. \n[43]Ey. The first shot of the picture. Lester gives glasses to each of them. Chambers holds up his glass. \n[44]There's always another prick one floor higher up. \n[45]Bad news, bad news, even when it's good news it's bad news. Christ. (a phone starts \n[46]\u0098Til the dawn's early light. \n[47]You wouldn't be me for long. I'm 80. Producer walks away and Lester looks into the \u0098Argo' office as he squeezes the ball. FROM INSIDE THE OFFICE -- In the foreground, we see what Lester is looking at: a phone. Stubbornly silent. \n[48]They can wait. Let's go get a drink. \n[49]I'm sorry, pally. We're just gonna be in the movie. Call my agent. \n[50]\n[51]It's history, is what it is. \u0098History plays out first as farce, then as tragedy.' \n[52]Who said it? \n[53]Groucho? \n[54]She said, \u0098Why couldn't we pull off something like that?' You know what I said to her? \n[55]I said, \u0098Argo fuck yourself.' ", "CHAMBERS": "\n[1]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. \n[2]Who is it? \n[3]Hey, Tony. \n[4]A monster movie. \n[5]The target audience will hate it. \n[6]People with eyes. Talk to me. \n[7]From where? \n[8]Universal City. \n[9]How you getting in the embassy? \n[10]What am I making? \n[11]You've come to the right place. \n[12]That we're not going to make. \n[13]You want to go around Hollywood acting like you're an important person in the movie business. \n[14]But you don't want to actually do anything. \n[15]You'll fit right in. \n[16]This one's got an M.A. in English. She should be your screenwriter. Sometimes they go on scouts \u0098cause they want the free meals.  This guy's the director. \n[17]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. \n[18]No, you're not. \u0098Associate' 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 \u009870s CELEBRITY 8X10s hanging on the wall. The waiter brings a bill. \n[19]Somebody respectable. With credits. Who we can trust with classified information. Who'll produce a fake movie. For free. \n[20]Mazel tov, Lester. \n[21]\n[22]You ever think, Lester, how it's all for the cameras? \n[23]How \u0098bout The Horses of Achilles? \n[24]It's ancient Troy. \n[25]Yeah, Kenny, please. It's John Chambers, about the office space. It dsn't matter. It's a fake movie. \n[26]Is A006 still open on the lot? \n[27]Can we get the option? \n[28]I did a movie with Rock Hudson once. \u0098You need to sell a lie, you get the press to sell it for you.' \n[29]You know her? \n[30]\u0098Crane down over the battlefield and hold there...' \n[31]\n[32]Argo fuck yourself. They raise to that. \n[33]\n[34]Argo fuck yourself. \n[35]It's off. They want us to pack up the office. it. \n[36]Studio Six Films. \n[37]He's out of the country on a location scout. Can I take a message? \n[38]The quote's the other way around. \n[39]Marx. \n[40]Karl. \n[41]It's in turnaround. He turns out the lights. ", "J STAFFORD": "\n[1]-- We're not going out in this -- \n[2]Kathy dsn't want to go down again. \n[3]You've washed them three times. He puts his arm on her shoulder. She keeps scrubbing. \n[4]\n[5]... 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. \n[6]You've been here an hour and you're asking us to trust you with our lives, Mr. -- \n[7]Is that your real name? A beat. \n[8]I'm serious, too. This is what? \n[9]Snitches in banana republics. They get them over the border after the coup... \n[10]-- 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. \n[11]That man out there, he's got bad cards, he's gonna lose. If he loses, it's our lives. \n[12]\u0098We are a nation of 35 million and... many of these people are looking forward to martyrdom.\u0098 Kathy Stafford looks into the room. J stops talking, looks up. \n[13]Five minutes? He smiles at her. Kathy, who looks like she hasn't been sleeping, nods and leaves. J takes a drink. After a \n[14]She pleaded with me. Mark, looking to J. This is new. \n[15]When it started in the streets nine months ago. She begged for us to leave. She packed our bags. I said, \u0098A little longer.' And what I was thinking was, \u0098This is a good thing for me. Stay. Show Newsom you've got the balls. Grab for the ring.' \n[16]I think we're gonna die here. \n[17]We won't do it. \n[18]You are about to show the only card we're holding. Which is that they don't know we're here. \n[19]I don't trust you. \n[20]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 -- \n[21]I wish I could believe you, Mr. Harkins. \n[22]Sean Bissett, associate producer. \n[23]Producer. \n[24]Uh... High and Dry. \n[25]\n[26]\n[27]We did. We were preparing to make a movie here, sir. \n[28]Not a documentary. A movie. J Stafford reaches into his pocket and gives Azizi a copy of the Argo Variety ad. \n[29]You see?  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. \n[30]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. \n[31]They know our hero is the Chosen One, so they kidnap his son in the spice market ... They have these chariots... like this one... \n[32]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-- ", "BOB ANDERS": "\n[1]Carnival's bigger today. MARK LIJEK, 29, a consular officer, joins Anders at the window. \n[2]Are these supposed to be bulletproof? \n[3]Can we get some fucking police please? \n[4]Iranians first.  Go! Now! \n[5]Keep going. \n[6]Mmm. 50, 35. \n[7]-- it was thirty seconds for Christ's sake. To get some air in the yard. I couldn't breathe -- \n[8]Who saw me go out? \n[9]Miss Hall Monitor. Creeping around with her notebook -- \n[10]It's theater of the absurd. \n[11]What was the objection to picking normal cover identities? \n[12]We can't stand up to that. We don't know what the hell movie people do. \n[13]I saw it in Burma. They get people out. They know how. \n[14]They suspect something? \n[15]What's the alternative? This is the ball game, J. What world are you living in? \n[16]Who was it? Pat shakes her head. \n[17]Robert Baker, director. \n[18]Yes. \n[19]I'm sorry? \n[20]No. \n[21]Toronto. \n[22]Scorched earth policy tonight. Nothing gets left. Taylor comes in, drink in hand, thoughts heavy, looks at Tony. \n[23]Or Canada? \n[24]Two days ago. \n[25]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. \n[26]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. ", "TAYLOR": "\n[1]-- Martin was the worst one. Martin the Maximo King -- \n[2]I read today that Tehran was voted the second most desirable city in the world to live in. Everywhere else tied for first. To getting through ten weeks. To our guests. \n[3]You should get into the crawl space. \n[4]You're getting a visitor. \n[5]Ken Taylor. He shakes Tony's hand and they start to walk to Taylor's car. \n[6]I was expecting more of a G-Man look. \n[7]These are blank, y'know. The stamps? \n[8]How long? \n[9]And you'll fly out with them? Tony nods. A distant sound of a crowd outside. \n[10]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. \n[11]So sooner is better. They stand listening to the demonstration sounds, echoing over the rooftops of the city. \n[12]We've got orders to close the embassy and go back. There's nowhere for them to stay. \n[13]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.  Can you pull this off? \n[14]They drew you out there to take your picture. \n[15]And tomorrow? A beat on Mendez, who stamps out his cigarette and follows. \n[16]Kevin. \n[17]ExtAff wants you to burn the passports before you leave. Mendez looks at the Houseguests, setting the table. \n[18]If we tell them, they'll panic. It's better if you just don't show. \n[19]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. \n[20]", "MARK LIJEK": "\n[1]Well, they've never been tested. \n[2]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. \n[3]Nobody is coming. We need to go. \n[4]Same thing. The sound of a fork on a glass. Ken Taylor is standing up. \n[5]-- 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. \n[6]A hundred and twelve -- \n[7]And we have a new champion. Bob Anders looks up from Khomeini, who keeps talking in the b.g., and applauds. \n[8]Don't talk to her that way. \n[9]What are the chances? \n[10]What's the number value of \u0098good'? 30 percent chance of success? 80 percent? \n[11]His opinion got us out of the embassy in the first place. \n[12]He told them there were six of us. They're expecting six. \n[13]So we'll see you at two? \n[14]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. \n[15]Timothy Harris, location manager. \n[16]A film. ", "PENDER": "\n[1]No, I was screaming his name \u0098cause 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 -- \n[2]Not clear. We know they escaped the embassy. \n[3]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.  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.  J Stafford. Late twenties. He's smart and a climber. Speaks Farsi. Arranged the hire of his wife Kathy -- \n[4]Bob Anders. Senior consular officer, oldest of the group. Most likely to be group leader. So. \n[5]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. \n[6]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 -- \n[7]Tehran. \n[8]Snow. \n[9]We went through all that -- it's boarded up -- O'Donnell looking at the clock. \n[10]Suppose. Suppose Heckle and Jeckle go over and save them -- The door swings open. \n[11]\n[12]The Times and A.P. found out they're with the Canadians. Somebody in one of the families talked. \n[13]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. Your guy better get them and get the hell out. ", "MALINOV": "\n[1]And the Revolutionary Guards keep them on 74 leashes. \n[2]They made it through the location scout. O'Donnell ignores him. He gs straight to his office. Looking like he's seen a ghost. \n[3]He's on the plane. \n[4]How would I find him? \n[5]Jordan's in the West Wing. He's not taking calls. \n[6]Pace Academy in Buckhead, Georgia! O'Donnell dials a number. \n[7]Swissair says they've picked up the tickets. \n[8]We told them to shut that down! He RUNS toward a phone -- \n[9]C'mon c'mon c'mon -- \n[10]Still no answer in L.A. \n[11]They're CLEAR! Cheers in the Pit. O'Donnell embraces Malinov. \n[12]The Canadians are the good guys. \n[13]Only. Canada takes the credit, or they'll retaliate against the hostages. Great Satan wasn't involved. No CIA. ", "CORA LIJEK": "\n[1]-- 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. \n[2]-- if your family's hungry, you don't want to hear about international law -- \n[3]We just -- \n[4]Have you gotten people out this way before? \n[5]So how long do we stay? A month? A year? \n[6]This isn't what we agreed to. \n[7]You said \u0098a day to learn your covers then straight to the airport.' You said that. \n[8]\n[9]Mary Ann Boyd, screenwriter. \n[10]Canada... Ca-na-da... \n[11]Trudeau, Pearson, Diefenbaker. \n[12]We're ready to try again. ", "JORDAN": "\n[1]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 -- \n[2]He's half dead and he's in chemo. \n[3]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. \n[4]We've got 60 in the embassy with guns to their heads right now -- \n[5]Leave the six where they are. I'll go brief the president. \n[6]A man in Scranton's putting a flag on his lawn for every day of captivity. When he runs out of lawn, Kennedy wins the primary. Vance hands him the folder. \n[7]Who signed off on this? \n[8]Hello? \n[9]Wait -- WHO -- ? \n[10]", "NIGHT": "\n[1]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. \n[2]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. \n[3]Pat Taylor helps THE SAME WOMAN we just saw, SAHAR, 20s, clear the table. She is their housekeeper. \n[4]Each Houseguest has a copy of the ARGO script. \n[5]\n[6]\n[7]\n[8]\n[9]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. \n[10]A scene of the Old West on a television. ", "ENGELL": "\n[1]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 -- \n[2]You have a better plan? Mendez dsn't respond. \n[3]Get one. \n[4]Okay. Our N.E. put together a work-up. David. \n[5]So you're going to wake up tomorrow in the movie business? We have credentials for -- \n[6]Chambers. \n[7]N.E. said NO, this is not a long- leasher... \n[8]You're goddamn close... \n[9]You're goddamn close to the line with me. ", "LEE SCHATZ": "\n[1]Our hosts. Mr. Ambassador... \n[2]50 caliber? \n[3]Dad's home. Ken carrying his briefcase, cheerfully oblivious to what he's walked into. \n[4]Mike McEwan, cameraman. \n[5]Yeh. \n[6]Yep. \n[7]He's saying the Shah killed his son with an American gun. Cauldron heating up and -- \n[8]He says we're the CIA taking photographs to plan the bombing of the city. \n[9]Some border guard's gonna know that? ", "NICHOLLS": "\n[1]Mr. Harkins. \n[2]None left to find. Shah escaped with a 747 so laden with gold bars it nearly didn't make it off the runway. \n[3]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. \n[4]It's getting worse. Everybody who lands at Mehrabad now fills out one of these.  That slip makes a copy to this one underneath.  Passenger keeps Yellow, Airport keeps White. \n[5]When you leave the country, they match them up to verify you came into the country when you said you did. \n[6]If they look. Nicholls and Tony turn away from the mosaic, surreptitious work now done, and meander toward the middle of the great room. \n[7]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. \n[8]Left. \n[9]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? ", "BATES": "\n[1]You think the Russians would put up with this? They'd fucking \n[2]Apparently it's six now. \n[3]Are we attempting rescue? \n[4]Understaffed so the faculty wives were the typing pool. That gs without comment in this room of men. \n[5]We wait till the weather clears up then we deliver six bikes and provide maps to the Turkish border. \n[6]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, \n[7]North American accents give us limited options. So we get the Canadians to issue them passports... \n[8]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. ", "LAMONT": "\n[1]World Noose Tonight. Pender looks at Bates, who is trying to impress his boss. \n[2]\n[3]Telex on Flash. The telex begins to print, line by line... \n[4]Purser's telling Swissair they're not on the plane. \n[5]\n[6]\n[7]-- we're not greedy -- them too -- \n[8]Is that right, Jack? ", "AL GOLACINSKI": "\n[1]Marines to Number One -- FALL \n[2]Don't shoot. You don't want to be the sonofabitch who started a war - \n[3]They need an hour to burn the classified -- Hold.  You shoot one person, they'll kill every one of us in here. \n[4]Tear gas as last resort ONLY -- I repeat, only if your life is under threat! \n[5]I'm going outside. ARGO - Final 6. \n[6]To reason with them. Marines open the Chancery door, with a look -- \n[7]Let me in! Jesus Christ! Open the fucking door! The Marines OPEN THE CHANCERY DOOR -- PROTESTERS POUR IN. ", "DAY": "\n[1]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. \n[2]A concept drawing from Argo. \n[3]\n[4]ON Sahar -- her face impassive -- and then -- \n[5]A CROWD starts to gather around the group. \n[6]Khalkali eyes Sahar, gauging her. She hides her fear \n[7]-- and Sahar, so dignified and stony she is almost shaming these men -- ", "VANCE": "\n[1]I was told five. \n[2]What happened? \n[3]Where are they? \n[4]\n[5]Is White House joining? \n[6]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 ", "PAT TAYLOR": "\n[1]-- he looked like a cartoon witch doctor, bone through his nose, so she asked to take her picture with \n[2]Sahar knows. \n[3]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. \n[4]Hello? A cloud comes over Pat as she listens. \n[5]No, there's no one like that here. She hangs up the phone fast, as if it were hot to the touch. \n[6]Sahar's on a bus. ", "KATHY STAFFORD": "\n[1]You okay? \n[2]And his life too. Another beat. ANGLES ON the Houseguests. \n[3]Somebody knows. \n[4]Rachel Dewart, production designer. Kathy looks at her husband. \n[5]He can have the photograph. Tell \n[6]He's late. ", "SAHAR": "\n[1]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. \n[2]\n[3]I'm sorry? ARGO - Final 84. \n[4]Two days. They arrived two days ago. Khalkali looks to the other Officials. \n[5]As god wills it. \n[6]Everyone in this house is a friend of Iran. Khalkali makes his decision. He wordlessly turns to go. ", "KLEIN": "\n[1]You're gonna get this into production in one month? \n[2]Who are you again? \n[3]I thought you were retired, Lester. \n[4]You want me to be honest with you, Les? \n[5]Okay. Because I enjoyed your films, the early ones. I took this meeting out of respect because I wanted to tell you \u0098no' to your face. \n[6]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. ", "REZA": "\n[1]You are the director? \n[2]Is this film a foreign bride film? \n[3]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. \n[4]Mmmm. \n[5]He wants the photograph you took. \n[6]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. ", "AZIZI": "\n[1]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. \n[2]\n[3]You don't have journalist visas. \n[4]\n[5]May I speak to Mr. Kevin Harkins -- ARGO - Final 108. \n[6]No message. "}}