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ALL SCRIPTS





                          AMERICAN SNIPER


                            Written by

                            Jason Hall



                        Based on the book by

                            Chris Kyle
                                        with Scott McEwen
                                        and Jim DeFelice





All gave some. Some gave all.
1   OVER BLACK                                                  1

    The groan of tank treads drowns out THE CALL TO PRAYER as
    an entire MARINE COMPANY advances over the top of us.


2   EXT. STREET, FALLUJAH, IRAQ - DAY                           2

    The sun melts over squat residences on a narrow street.
    MARINE COMPANY creeps toward us like a cautious Goliath.
    FOOT SOLDIERS walk alongside Humvees and tanks.

                              COMMANDING OFFICER (OS)
                        (radio chatter)
                 Charlie Bravo-3, we got eyes on you from
                 the east. Clear to proceed, over.


3   EXT. ROOFTOP, "OVERWATCH" - SAME                            3

    Sun glints off a slab of corrugated steel. Beneath it--

    CHRIS KYLE lays prone, dick in the dirt, eye to the glass
    of a .300 Win-Mag sniper rifle. He's Texas stock with a
    boyish grin, blondish goatee and vital blue eyes. Both
    those eyes are open as he tracks the scene below,
    sweating his ass off in the shade of steel.

                              CHRIS KYLE
                 Fucking hot box.

    GOAT (24, Arkansas Marine) lies beside him, woodsy and
    outspoken, watching dirt-devils swirl in the street.

                              GOAT
                 Dirt over here tastes like dog shit.

                              CHRIS KYLE
                 I guess you'd know.

    Goat balks and fixes his M4 on the rooftop door.

    CHRIS SCOPE POV

    TRACK ACROSS bombed-out buildings, twisted metal and
    golden-domed mosques. Ragged curtains flutter out a
    window. Cat-tails on the river sway the same direction.
    We see him studying windage; we see what he's thinking--

    SFX: A LOW FREQUENCY BUZZ escalates over picture as his
    concentration deepens. Cross-hairs land on--

    A MAN ON CELL PHONE watches the convoy from a rooftop.
                        (03.18.14)                          2.


                       CHRIS KYLE
                 (keys mike)
          I got a military-aged male, on a cell
          phone, watching the convoy. Over.

                       COMMANDING OFFICER (OS)
          If you think he's reporting troop
          movement you have a green-light. Your
          call. Over.

                       GOAT (OC)
          He could be calling his old lady.

MAN ON CELL studies the convoy, his hair tossed by wind.
CROSS-HAIR push left of target, compensating for windage.

SFX: Chris takes a deep inhale, holds it, then expels.

His finger is taking up trigger-slack when the man dips
his shoulder slightly. Chris holds off as--

MAN ON CELL hangs up and steps away.

                       CHRIS KYLE
                 (keys mike)
          He stepped off.

Chris sucks air. Close. The ambient world floods back in.
Barked orders, diesel engines and--

A WOMAN AND KID exit the same structure. They're headed
up the sidewalk but cut sharply into the street.

                       CHRIS KYLE
                 (keys mike)
          Hold up. I got a woman and a kid, 200
          yards out, moving toward the convoy.

(ECU)-- The woman cradles something beneath her robes.

                       CHRIS KYLE
          Her arms aren't swinging. She's carrying
          something.

CROSS-HAIRS ON WOMAN as she pulls a cylindrical object
from her robes. His vision obscured but--

                       CHRIS KYLE
          She just pulled a grenade. An RKG Russian
          grenade. I think she gave it to the kid.

                       COMMANDING OFFICER (OS)
          --you say a woman and kid?
                               (03.18.14)                       3.


    SFX: his heart-beat, THUMP-THUMP THUMP-THUMP THUMP-THUMP.

                              CHRIS KYLE
                 You got eyes on this? Can you confirm?

                              COMMANDING OFFICER (OS)
                 Negative. You know the ROEs. Your call.

                              GOAT (OC)
                 They fry you if you're wrong. Send your
                 ass to Leavenworth.

    THE KID moves toward the convoy with the grenade.

                             CHRIS KYLE (OC)
                 Fuck--

    MOTHER motions the Kid to hurry along (ECU)-- her robes
    flutter, trash blows in the street, the dust off her
    son's footsteps; all blowing the same direction.

    THE KID sprints toward the Marines.

    IN THE STREET

    YOUNG MARINES. Wading into war. Boots scuffing dirt.

    CLOSE ON CHRIS

    His exhale hisses from tobacco-stained teeth. Breathe it
    down. He struggles to get calm, fighting for control.
    SFX: THUMP-THUMP THUMP-THUMP THUMP--

    CROSS-HAIRS left of the running target, leading him,
    compensating for a dozen different considerations as--

    He pauses upon exhale. The world goes quiet. Landscape
    pulses with color and focus. He stokes the trigger and--

    THE BULLET

    Leaps from the barrel. Cracks like a whip. The .300 round
    hurls forward, glinting as it enters the flesh of--

    A WHITE-TAIL BUCK

    It staggers, draws and topples to the ground. We are--


4   EXT. HILLS, WEST TEXAS - PRE-DAWN                           4

    A field shrouded in fog. CHRIS KYLE(8) jumps from a deer
    blind, innocent and excited, running toward the buck.
                             (03.18.14)                          4.


                            MAN'S VOICE
               Get back here.

    Chris stops, turns back. WAYNE KYLE, his father, is
    sturdy and earnest with mutton chops and Texas calm.

                            WAYNE
               Don't ever leave your gun in the dirt.

                            CHRIS
               Yes, sir.

                            WAYNE
               Helluva shot, son. You got a gift. You're
               gonna make a fine hunter someday.

    Chris nods, clear-eyed, as if hearing the whisper of
    destiny. He grabs the .30-06, running again, bounding to--

    THE BUCK

    Glassy brown eyes look up at Chris. It's still alive.

                            WAYNE
               Everything dies to give life.

                            CHRIS
               Can it see me?

                            WAYNE
               It's a deer, son.

    Chris processes his first kill, watching as-- (ECU) a
    flea crawls around the animal's inner-ear.

                            WAYNE KYLE
                      (hands him hunting knife)
               You shot it, you deal with it.

    Chris straddles the deer. It tries to gouge him. He looks
    frightened but drags the blade across its neck.


5   OMITTED                                                      5


6   INT. CHURCH                                                  6

    A Protestant church. CHRIS is dressed in Sunday best,
    shuffling pages of a LITTLE BLUE BIBLE to create breeze.
                             (03.18.14)                          5.


                            PASTOR
               We don't see with his eyes so we don't
               know the glory of his plan. Our lives
               unfold before us like puzzling
               reflections in a mirror. But on the day
               we rise, we will see with clarity and
               understand the mystery of his ways--

     JEFF(6), his reedy little brother, watches Chris slip the
     Bible in his pocket. Jeff laughs and gets smacked by--

     DEBBIE, their mother. She wears big oval glasses and runs
     a wayward-boys home with that same steady hand.


7    OMITTED                                                     7


8    INT. CHRIS' BEDROOM                                         8

     Dust motes drift across a dresser, settling on a Pop-
     Warner football, that BLUE BIBLE, and METALLIC TOY
     SOLDIERS guarding the bullet casing from his first buck.

                            WAYNE KYLE (VO)
               There are three types of people in this
               world. Sheep, wolves and sheepdogs.

     PUSH THROUGH the modest ranch house into--


9    INT. DINING ROOM                                            9

     WAYNE lectures his boys over venison.

                            WAYNE KYLE
               Some people prefer to believe that evil
               doesn't exist in the world, and if it
               ever darkened their doorstep they
               wouldn't know how to protect
               themselves... those are the sheep.

     Jeff bites back tears. Chris looks troubled.


10   EXT. SCHOOLYARD                                             10

     FROM THE BACK, we watch a BIG BULLY pummel a KID ON THE
     GROUND. His meaty fists coming down repeatedly as--

                            WAYNE KYLE (VO)
               Then you got predators who use violence
               to prey on the weak. They're the wolves.
                                (03.18.14)                      6.


     KID ON THE GROUND is JEFF, his nose bloody. PUSH TOWARD
     the fight--(ECU) blood flecks fly from the Bully's fist.

                               WAYNE KYLE (VO)
                  Then there are those blessed with the
                  gift of aggression and an overpowering
                  need to protect the flock.

     A FIST CONNECTS with BIG BULLY's temple. He goes down.
     Chris stands over the bully, beating the tar out of him.

                               WAYNE KYLE (VO)
                  These men are the rare breed that live to
                  confront the wolf--


11   EXT. FIELD                                                 11

     CHRIS stands with his arms extended. Wind blows dirt off
     his palms and it plumes out across the land.

                               WAYNE KYLE (VO)
                  They are the sheepdog.


12   INT. DINING ROOM                                           12

     WAYNE removes his belt and lays it on the table. CHRIS
     looks at it, worried.

                               WAYNE KYLE
                  Now we're not raising any sheep in this
                  family and I will whoop your ass if you
                  turn into a wolf--

                               DEBBY
                  Wayne--

                               WAYNE
                  But we take care of our own. And if
                  someone picks a fight with you or bullies
                  your brother, you have my permission to
                  finish it.

                               CHRIS
                  The guy was picking on Jeff.

                               WAYNE KYLE
                  That true?

                               JEFF
                         (eye swollen)
                  Yes sir... Yes, he was...
                               (03.18.14)                         7.


                              WAYNE KYLE
                        (turns to Chris)
                 And did you finish it?

     Chris shows the swollen knuckles of his hand, and nods.

                              WAYNE
                 Then you know who you are...


13   EXT. BARN                                                   13

     A GROWN MAN(CHRIS) exits the barn into the light of day.
     Behind him, horns of dozens of bucks cover the wall.

                              WAYNE (VO)
                 You know your purpose.

     The barn door closes leaving us in brindled darkness.


                              "AMERICAN SNIPER"


14   EXT. RODEO ARENA                                            14

     A hand grips the tie on a bronc. CHRIS sits bareback atop
     the horse, its nostrils steaming, eyes shock wide. (ECU)--
     a hair-line crack along its right front hoof.

     BUZZER SOUNDS. GATE OPENS. The bronco leaps out. Empty
     stands blur past. The Bronc and Chris united in a futile
     struggle. He leans right, the bronc circles right,
     staying off that bad hoof. Chris makes the buzzer but--

     He gets tossed on dismount. The bronco stomps his hand.
     He scrambles out of the ring as RODEO CLOWNS distract it.

     FIND JEFF(19) ringside, with tight lips and severe eyes.
     He looks over the empty arena, laughing.


15   INT. FORD TRUCK                                             15

     Headlights rattle over a dirt road. JEFF drives. CHRIS
     rides, BAG OF ICE on hand, BELT BUCKLE prize on the dash.
     He stares into the field where A WILD HORSE, races
     alongside them, a spectral image in the darkness.

                              JEFF
                 Wasn't nobody there and you come away
                 with a belt buckle too damn big to wear.
                 What you supposed to do with it?
                             (03.18.14)                          8.


                            CHRIS
                      (grabs belt buckle)
               You're supposed to get laid with it. I'm
               gonna wear it in and see if it puts Sarah
               in the mood.

                            JEFF
               A strong wind'd put Sarah in the mood.

                            CHRIS
               Is that what they say?

                            JEFF
               You know what they called her in high
               school--

                            CHRIS
               Don't say it.

                            JEFF
               Sarah suck-a--

     Chris swings his bag of ice, smacks Jeff in the face.

                            JEFF
               Shit man--

     He swerves off the road. The truck almost coming apart
     before he ramps back up, coming to a dusty halt outside--


16   EXT. BUNKHOUSE                                              16

     Spanish moss hangs over a shackle-board residence. Chris
     tumbles out the truck, clips on the belt buckle and--


17   INT. BUNKHOUSE                                              17

     CHRIS swaggers into the narrow bunkhouse. A sheet hangs
     in back, separating sleeping area from living area.

                            CHRIS
               Who wants to hump a rodeo star?

     Movement back there. A MAN ASS suddenly protrudes from
     the curtain as a BURLY COWBOY-TYPE climbs into jeans.

                            CHRIS
               What the fuck--

     SARAH steps out, his high school sweetheart all grown up.
                             (03.18.14)                          9.


                            SARAH
               You said you wasn't coming home until
               tomorrow.

                            CHRIS
                      (wounded)
               Why would you do this?

     Cowboy leaves his shirt open flaunting a big hairy chest.

                            SARAH
               Just let him out. He didn't know...

                            CHRIS
                      (shamed, steps aside)
               You didn't know?

     Cowboy doesn't answer. Chris SLAMS HIS HEAD into the
     refrigerator and ramps him out the front door.

                            SARAH
               What the fuck is wrong with you! What'd
               you expect? You drag me out here then run
               off with your damn brother every weekend!

                            CHRIS
               Get out.

     She jumps at the chance-- ripping clothes out of closets.

                            SARAH
               You think you're a cowboy cause you
               rodeo? You're no cowboy. You're just a
               lousy ranch-hand and a shitty fuckin lay!

     The door slams behind her. Chris stares at the dent in
     the fridge, wounded. He opens it and pulls out a beer.


18   LATER                                                       18

     TV plays across Chris' drunken face. He lays on the sofa,
     a beer on his chest. JEFF is sprawled in a chair.

                            JEFF
               Some people ain't worth fighting for.

                            CHRIS
               But she was right...

                            JEFF
                      (closing his eyes)
               A job is a job. At least we're outside.
                             (03.18.14)                         10.


     Chris is bleary, lost and drifting to sleep. The images
     on the TV don't immediately register but--

     NEWS FOOTAGE of the WORLD TRADE CENTER BOMBING (1993)
     plays on TV. An explosion has demolished the garage.

                            NEWS ANCHOR (OS)
               --group of radical militants called Al-
               Qaeda are taking credit for a bombing
               that left six dead and hundreds injured--

     American flags at half mast. His chest rises and falls--

                            CHRIS
               Jeff, wake up. Look at this--

     The faces of INNOCENT VICTIMS play across the screen.
     Chris' injured hand slowly curls into a fist.

                            CHRIS
               Look what they did...


19   INT. NAVY RECRUITING OFFICE                                19

     Posters of destroyers on walls. The NAVY RECRUITER is
     lean and shrewd.

                            CHRIS
               I saw what they did, on our soil, and--

                            NAVY RECRUITER
               And you're from Texas and you're a
               patriot so it pissed you off.

                            CHRIS
               Yes, sir. But I can't see myself on a
               ship. I'd wanna be in the fight--

                            NAVY RECRUITER
               You wanna fight? Meet the warrior elite.

     He slides him a brochure-- "NAVY SEALS" emerge from the
     water, armed and bound for glory.

                            CHRIS KYLE
               SEALs?

                            NAVY RECRUITER
               Sea, Air and Land.

                            CHRIS
               I ain't much of a swimmer--
                             (03.18.14)                          11.


                            NAVY RECRUITER
                      (taking brochure back)
               This isn't for the faint of heart. Most
               men wash-out. They quit--

                            CHRIS
                      (cutting him off)
               I'm not most men, sir. I don't quit.


20   OMITTED                                                     20


21   OMITTED                                                     21


22   EXT. NAVAL SPECIAL WARFARE CENTER / "THE GRINDER" - DAY     22

     CHRIS and 50 OTHER CANDIDATES lay on their backs doing
     flutter-kicks on a patch of blacktop surrounded by beige
     buildings. INSTRUCTORS wield hoses.

                            INSTRUCTOR ROLLE
                      (sprays Chris in the face)
               You a quitter, boy?

                            CHRIS KYLE
               No, sir!

                            INSTRUCTOR ROLLE
               Bullshit, you are fleet-meat. Don't turn
               away. Look up and take it. You're old as
               fuck. Did you join the Navy cause you had
               such a good time on Noah's Arc? How old
               are you?

                            CHRIS
               30, sir.

                            INSTRUCTOR ROLLE
               30! You fart dust and could've fathered
               half these boys. You think cause you had
               a pop-gun back in Texas you're cut out to
               be a SEAL?

                            CHRIS
               No, sir.

                            INSTRUCTOR ROLLE
               No, you're not cut out to be one?

     Chris is twisted in agony and clearly dislikes the water.
                        (03.18.14)                         12.


                       INSTRUCTOR ROLLE
          What kind of asshole joins the Navy but
          hates the water.

                       CHRIS
          I love water, hooyah.

                       INSTRUCTOR ROLLE
          My ass you do.

A CANDIDATE chokes a giggle. Rolle wheels around on--

RYAN JOB(24), a goofy, overweight Oregon kid who looks
like he should be taking orders at a drive-thru window.

                       INSTRUCTOR ROLLE
          Is that you giggling you fat fuck? Look
          at you. You're so fat they had to baptize
          you at Sea World. Your momma fat too?

                       RYAN
          No sir, she's not.

                       INSTRUCTOR ROLLE
          Don't lie to me! I bet we could use her
          panties as a parachute. What the fuck are
          you doing here fatboy? Do your feet get
          wet when you shower? When's the last time
          you saw your pecker? You're not a Seal,
          you're a fuckin Walrus. A big giggling
          Walrus. "Biggles" that's your new name--

"BIGGLES" is choking, coughing, struggling. ROLLE points
to A BRASS BELL mounted on the back of a truck.

                       INSTRUCTOR ROLLE
          --and that's your ticket home. Just drag
          your jelly-roll ass up and ring it and
          you'll be headed home to momma Shamu.

BIGGLES is beaten, legs giving out, ready to quit when--

                       CHRIS (OC)
                 (draws Rolle off Biggles)
          Two hundred.

                       INSTRUCTOR ROLLE
                 (whirls around, hosing)
          Did I ask you to count?

                       CHRIS
          No, sir.
                              (03.18.14)                         13.


                            INSTRUCTOR ROLLE
               Was that your ass talking then?

     THE BELL RINGS. Chris jerks up, worried it was Biggles
     but-- an ATHLETIC CANDIDATE staggers off.

                            INSTRUCTOR ROLLE
               That's a quitter. If he quits here, he'll
               quit in battle. When shit gets hairy he
               can't step up. You get shot, he can't
               pull you out. We're gonna weed out the
               quitters and see if we can find a warrior
               or two.

     Chris and Biggles share a look, a vow, as--

                            INSTRUCTOR ROLLE
               Wave goodbye to the sun, boys...


23   OMITTED                                                     23


24   EXT. BEACH - "SNAKE PIT" - NIGHT                            24

     A bonfire crackles atop a sand dune. CANDIDATES crouch in
     a pit they dug, hugging oars, shivering with hypothermia.
     CHRIS stands over the ditch, trying to make INSTRUCTORS
     laugh to earn a place by the fire beside BIGGLES.

                            CHRIS
               --and when I told her the condom broke
               she started crying and begging me to do
               something. And I'm a virgin, I don't know
               what to do, but I'd heard if you pour
               Coke up there you won't get pregnant--
                      (guys start laughing)
               So we went to 7-11, got a liter of Coke
               and drove back into the woods. She took
               her panties off and did a handstand
               against a tree but when I start pouring,
               she starts screaming, "it stings, it
               stings" but when I'd stop, she'd scream
               "no don't stop" and it's fizzing out and--

     INSTRUCTORS in stitches. Fire flickering off Chris' face.


25   EXT. "MUD FLATS" - DAY                                      25

     Fog shrouds CANDIDATES COVERED IN MUD, seated belly-to-
     back, chattering and quaking, hypothermic.

     "INSTRUCTOR TONY"(34), a salty cholo, walks their line.
                        (03.18.14)                          14.


                       INSTRUCTOR "TONY"
          You really from Connecticut, Dauber? I
          never met a hick from Hartford.

"DAUBER" is 6'4" and 240 with a flop of yellow hair like
the character from Coach. A sleepy Connecticut cowboy.

                       DAUBER
          Country is countrywide, sir.

                       INSTRUCTOR "TONY"
          I don't think he likes black dudes, "D".

"D" is African American, from Indiana, stoic and stacked.
He has a rhythmic grumble and a meat-eater's glare.

                       "D"
          That's alright, sir. I'm not black.

                       INSTRUCTOR "TONY"
          No?

                       "D"
          No, I'm new black. We run slow, jump low,
          swim good and shop at Gap. We make white
          folk proud then hose their ladies.

"BIGGLES" still giggles, but he's looking fit as they
chip away everything that isn't a Navy Seal.

                       INSTRUCTOR "TONY"
          You hungry Biggles? I'd bet you'd eat the
          ass out of a low-flying duck.

                       BIGGLES
          Hooyah. I'd toss that critter shitter on
          a baguette and get my eat on.

"SQUIRREL" is a San Clemente surfer kid, just tall enough
to ride roller-coaster, with a jutty jaw.

                       INSTRUCTOR "TONY"
                 (screams in his face)
          Squirrel! Where'd you hide your nuts?

                       SQUIRREL
          Nuts crawled up inside. The little shits
          are gone for good.

"CHRIS" sits up front, covered in mud. His eyes burn
steely blue, full of resolve. He's found himself here.

                       INSTRUCTOR "TONY"
          How about you old man? How you feeling?
                             (03.18.14)                          15.


                            CHRIS KYLE
               Dangerous, sir. Feeling dangerous.

     The boys send up a spirited "HOOYAH" and-- TONY looks
     them over with some small measure of approval.


26   EXT. BEACH - SUNSET                                         26

     The INSTRUCTOR CADRE watches 32 CANDIDATES SWARM each
     other, howling and dog-piling at the end of hell-week.


27   OMITTED                                                     27


28   OMITTED                                                     28


29   INT. MULONEY'S BAR - NIGHT                                  29

     A crowd watches the boys toss darts at a bulls-eye drawn
     on DAUBER'S naked back. At the bar, BIGGLES and CHRIS--

                            CHRIS
               I'm gonna try and get into sniper school.

                            BIGGLES
               Can you shoot?

                            CHRIS
               I can hunt. And what's cooler than being
               a sniper?

                            BIGGLES
               Blowing shit up. Blowing shit up is way
               cooler.

     A brunette steps to the bar. A sharp object with heavy
     eye-shadow and tight leather pants. This girl owns her
     sexuality but she's often been used for it.

     This is "TAYA". She is trying to ignore the advances of A
     SHORT NAVY GUY but he's relentless. Chris watches as
     (ECU)-- Taya's fingertips whiten, gripping her glass.

     Chris edges closer, she looks up, defensive-- but he just
     stands there, letting his protective presence be felt.

                            DAPPER NAVY GUY (OC)
               Come on, just let me buy you a drink.
                        (03.18.14)                          16.


                       TAYA
                 (end of her rope)
          Will a drink make you 6 inches taller and
          charming? Will it make you not married?

                       DAPPER NAVY GUY
          I'm not--

                       TAYA
          I watched you take your ring off. Don't
          be a scumbag. Go home.

Navy Guy retreats. Taya sips her scotch, doesn't look up.

                       CHRIS
          It could be the leather pants.

                       TAYA
          Yeah? What kind of pants does a girl have
          to wear to be left alone?

                       CHRIS
          Corduroy.

She takes him in. Loose sweatshirt, no hair gel.

                       TAYA
          Is that how it is with you guys--
          suddenly single after three beers?

                       CHRIS
          Only thing that happens to me after three
          beers is a fourth.

                       TAYA
          That's great. A real red-neck.

                       CHRIS
          I'm no redneck, I'm a Texan.

                       TAYA
          What's the difference?

                       CHRIS
          We ride horses, they ride their cousins.

                       TAYA
                 (almost laughs)
          What do you do for work? You look like
          military.
                        (03.18.14)                     17.


                       CHRIS
          I polish dolphins. They have to be
          polished in captivity or their skin
          disintegrates.

                       TAYA
          Do I look stupid to you?

                       CHRIS
          To be honest, you look a little sad.

She's taken aback by his observation.

                       CHRIS
          So am I tall enough to buy you a drink?

                       TAYA
          Not until you tell me what you do.

                       CHRIS
          How about this: one shot, one answer.

Chris passes her a shot. She throws it back, fierce.

                       TAYA
          You're obviously military. What branch?

                       CHRIS
          I'm just finishing BUD/S.

                       TAYA
          Are you kidding me? You're a SEAL?

                       CHRIS
          That was two questions...

                       TAYA
                 (two angry shots)
          I know all about you guys. My sister was
          engaged to a SEAL.

                       CHRIS
          What's that mean you know all about us?

                       TAYA
          You're a bunch of arrogant, self-centered
          pricks who think you can lie and do
          whatever the fuck you want.
                 (pushes him a shot)
          I'd never date a SEAL.
                        (03.18.14)                   18.


                       CHRIS
                 (confused)
          How can you say we're self-centered? I'd
          lay down my life for my country.

                       TAYA
          Why?

                       CHRIS
          Cause it's the greatest country on earth
          and I believe it's worth protecting.
                 (climbs off stool)
          I'm sorry this guy hurt your sister but
          that's not me. Nice talking to you.

                       TAYA
          Where are you going?

                       CHRIS
          You said you'd never date a SEAL, so I'm
          going home.

                       TAYA
          I said I'd never marry one.

It's a lie and they both know it.

                       CHRIS
          Well in that case... what's your name?

                       TAYA
          Taya.

                       CHRIS
          Nice to meet you, Taya. I'm Chris Kyle.

                       TAYA
                 (liquor softening her)
          Pretty egotistical of you to think you
          can protect us all, isn't it Chris?

                       CHRIS
          Our instructors say our biggest enemies
          are ego, liquor, and women.

                       TAYA
          Sounds like you're under attack.

She levels a look and downs another shot--
                               (03.18.14)                        19.


30   EXT. MULRONEY'S BAR, PARKING LOT - LATER                    30

     Mist rolls in. Chris holds Taya's hair as she pukes. She
     takes a deep breath, wipes her mouth--

                            TAYA
               --I'm not going home with you so don't
               even think about it.

     She smiles, then turns to puke again--


31   EXT. RANGE - "SNIPER SCHOOL" - CAMP BILLY MACHEN - DAY      31

     An arid range with human-shaped targets. PETTY OFFICER
     TOSH (Irish/Japanese, nasty) walks past prone students.

                            PO TOSH
               Feel breath filling every cell of your
               body. This is our ritual. We master our
               breath, we master our mind---

     FIND CHRIS on .300 Win-Mag. Both eyes open. Dip packed.
     Deep breaths. His finger taking up the trigger-slack.

                            PO TOSH
               --pulling the trigger will become an
               unconscious effort. You will be aware of
               it but not directing it. And as you
               exhale, find your natural respiratory
               pause and the space between heart-beats.

     Chris exhales, pauses, strokes-- BAM!


32   INT. DOCTOR'S OFFICE                                        32

     A ZOLOFT BROCHURE shows smiling faces. TAYA wears a suit-
     skirt and tries to mimic the esprit of the brochure. She
     leaves a box of samples with the RECEPTIONIST but her
     smile fades as she pulls her trolley to the door--


33   INT. TAYA'S CONDO - DAY                                     33

     Blades of light leak through closed blinds. Taya hides
     under blankets on the sofa. PHONE RINGS, goes to message:

                            CHRIS (OS)
               It's me again. The guy whose shoes you
               puked on? I was thinking maybe you didn't
               get my last message. Or the one before
               that. So, I figured--
                             (03.18.14)                        20.


     She snatches up the phone--

                            TAYA
               You figured what?

     --looking for a reason not to be alone.


34   EXT. RANGE - CAMP BILLY MACHEN - DAY                      34

     ON CHRIS, both eyes open looking downrange.

                            PO TOSH (OC)
               Aim small, miss small. If you aim for his
               shirt button, you might miss by two
               inches. If you aim for his shirt, you
               miss by two feet.
                      (over Chris, raises binocs)
               You better close those groupings, Kyle.

     Chris chases his breath, trying to focus, but--


35   EXT. OCEANSIDE PIER - DUSK                                35

     PAN ACROSS a "target shoot" game to a bench overlooking
     surf. CHRIS and TAYA sit with a GIANT TEDDY BEAR.

                            TAYA
               Did you always want to be a soldier?

                            CHRIS
               I wanted to be a cowboy-- but I did that
               and I felt like I was meant for more.

                            TAYA
               So you started rescuing girls from bars?

                            CHRIS
               I rescued that bar from you.

     She smiles at his sweetness.

                            CHRIS
               Do you like country music?

                            TAYA
               Only when I'm depressed.

                            CHRIS
               You want kids?
                              (03.18.14)                          21.


                             TAYA
                Someday. My mom says I have a nose for
                picking the wrong men.

                             CHRIS
                That's a shitty thing to tell a girl.

                             TAYA
                I've proven her right.

                             CHRIS
                But those wrong picks put you here. They
                made you who you are. And I like who you
                are.

      The Ferris wheel casts its glow on them.

                             TAYA
                What happens when there's a real person
                on the other end of that gun?

                             CHRIS
                       (uncertain)
                I don't know... I just pray I can do my
                job if that day comes.

      It weighs on him. And she feels safe.

                                                          BACK TO:


35A   EXT. RANGE - CAMP BILLY MACHEN                            35A

      PO TOSH (on spotting scope) stands over CHRIS. Mirage
      boils off the horizon at 35 degree angle, pushed by wind.
      BAM! Chris' shot hits the outer edge of target.

                             PO TOSH
                Mirage is boiling at 35 degree angle.

                             CHRIS
                Check. I'm dialed for windage.

                             PO TOSH
                Hold right-four, up-two.

      BAM! He misses. It spits dirt. Not even close.

                             PO TOSH
                Are we looking at the same target?
                              (03.18.14)                          22.


36    INT. TAYA'S CONDO - NIGHT                                   36

      CHRIS sits on the couch, anxious, until TAYA appears in
      the hall in lingerie. She slinks closer, straddling him,
      determined to blow his mind but--

                             CHRIS
                You're trembling...

                             TAYA
                I know. I don't...

      She finds his eyes. Finds her breath.

                             CHRIS
                We don't have to do this...

                             TAYA
                I want to. I do...

      He gently lifts her up and lays her across the couch.

      ANOTHER ANGLE

      Soft light on pale bodies. Taya writhes with impatient
      longing but Chris' steady hand forces her into the
      present. She's swept up, eyes filling with tears as he
      eases into her-- she gasps and arcs and draws him deeper.


36A   EXT. RANGE - CAMP BILLY MACHEN                             36A

      PO TOSH stands over CHRIS, fed up now.

                             PO TOSH
                You need to shut your off-eye.

                             CHRIS
                If I close my off-eye I can't see what's
                out there.

                             PO TOSH (OC)
                There is nothing out there but a target.

                             CHRIS
                Negative. There's something--

      CHRIS POV (BOTH EYES VIEW)

      The circular scope floats over the target. Left of scope,
      a SWATCH OF GRASS doesn't sway like the rest.
                                (03.18.14)                       23.


                            PO TOSH
               Give me 50 push-ups. Clear and safe. Push
               `em out.

     The scope drifts left of target-- BAM! A RATTLESNAKE is
     flung through the air, blown to shit, 500 yards out.

                               CHRIS
               There it is.

     He sets the rifle aside and starts cranking out push-ups.


37   OMITTED                                                     37


38   OMITTED                                                     38


39   INT. BEDROOM - MORNING                                      39

     Ethereal white sheets. Two bodies lay like spoons. Chris
     WHISPERS SOMETHING. Taya closes her eyes. A beat--

                            TAYA
               You hardly even know me.

                            CHRIS
               I know enough. You're a package deal,
               babe.

     She stares at the wall.

                            CHRIS
               What are you afraid of?

                            TAYA
               Nothing. Everything. I don't know. What
               if it doesn't work out?

     She moves to stand. He holds her put.

                            CHRIS
               I'm going to marry you, and we're going
               to start a family.

                            TAYA
               You got it all planned out, don't you.

                            CHRIS
               I love you. I'm done.
                              (03.18.14)                          24.


                             TAYA
                       (crushed by his sincerity)
                Well... you're gonna need a ring if you
                want to talk all tough like that.

      She accepts with a deep kiss and prances off with the
      sheet. He smiles and falls back onto the bed. The
      curtains dance in the morning light. Then--

                             TAYA (OS)
                Oh my god! No! Chris--

      Chris bounds up, running into the next room. Taya stands
      in front of the television. They both watch as--

      ON TV NEWS: THE SECOND PLANE hits the World Trade Center.

      It steals their breath. Chris hugs her close, trying to
      shield her from it. His shock bleeds to rage.


40    OMITTED                                                     40


40A   OMITTED                                                    40A


41    OMITTED                                                     41


41    OMITTED                                                     41


42    OMITTED                                                     42


43    INT. DANCE FLOOR, RENT-A-YATCH - LATER                      43

      The storm closing in. CHRIS two-steps TAYA around the
      dance floor to Van Morrison's romantic "Someone Like
      You." Chris looks boyish and dapper and Taya is flush
      with beauty and promise. The moment is quietly sincere
      with the entire WEDDING PARTY watching when--

                             TAYA
                       (her hand smudged with paint)
                What the hell is on your neck?

      She pulls at his collar to reveal GREEN SPRAY-PAINT
      upside his neck.

                             CHRIS
                Would you believe me if I told you I was
                painted green and on an IV two hours ago?
                           (03.18.14)                       25.


                          TAYA
             What do you--

Then she sees BIGGLES, DAUBER, "D" and SQUIRREL rolling
with laughter at the bar, and remembers who she married.

                          CHRIS
                    (smiles)
             Package deal babe.

He dances her away from them and pulls his jacket aside,
flashing his boys the Trident pinned to his chest.

AT THE BAR

TONY bowls up; once their instructor, now their Chief.

                          "D"
             What's the word, Chief?

                          TONY
                    (looks them over)
             It's on boys. Just got the call.

They hoist their drinks, barking approval, "HOOYAH!"

ON DANCE FLOOR

Taya sees the nod from Biggles to Chris, we're going. She
tenses up in his arms, her feet growing heavy.

                          CHRIS
             They say it'll be over in 6 weeks.

                          TAYA
             I'm so afraid.

                          CHRIS
             Don't be afraid. It's all part of the
             plan.

He pulls her close, HIS EYES FIXED on someone else--

                          TAYA
             Your heart is beating out of your chest.

                          CHRIS
                    (nods, looking past her)
             I'm not the only one going to war.

JEFF KYLE stands on the rail in MARINE DRESS UNIFORM.
                              (03.18.14)                         26.


     CAKE CUTTING - EVENING

     The boat rocks on choppy water. Taya dabs cake on Chris's
     nose and they kiss. THE BOOM of distant fireworks is
     followed by AIR-RAID SIRENS as shock & awe hit Baghdad.

                                                  CUT TO BLACK.

     CHYRON: "OPERATION PHANTOM FURY: 2nd BATTLE OF FALLUJAH"

                            MARC LEE (PRE-LAP)
               Welcome to Fallujah. The new wild west of
               the old middle east.


44   INT. M-113 ARMORED PERSONNEL CARRIER, FALLUJAH - DAY        44

     SOLDIERS sit elbow to elbow. 6 SEAL SNIPERS and A SQUAD
     OF MARINES to watch their backs. CHRIS tucks the little
     blue Bible and American flag and into his webbing then
     removes his wedding band, hanging it from his necklace.

     MARC LEE AO2 (26) is a poster-boy Navy Seal, soulful and
     handsome. He glows like a halo in a river full of shit.

                            MARC LEE
               AQI have put a price on your heads and
               extremists from around the globe are
               flooding the borders to collect on it.

     The rig hits a pothole and faces clench expecting an IED.

                            MARC LEE
               You snipers will be paired with a man to
               watch your back and inserted along the
               main road to do "overwatch" for 1st
               Marines going door to door. Your job is
               to protect those Marines at all costs.

     The truck battles to a stop.

                            MARC LEE
               The city was evacuated. Any military-aged
               male still here, is here to kill you.
               Let's bring these boys in safe and get
               our asses back home. Move--

     The hatch falls open--


45   EXT. HOSPITAL, NORTHERN BRIDGE, FALLUJAH                    45

     A gunmetal sky. The staccato pop of GUNFIRE in the
     distance. SNIPERS and SUPPORT cross an orchard.
                               (03.18.14)                         27.


      CHRIS walks upright. The Marine paired with Chris is a
      mouthy Arkansas boy, "WINSTON", skitters tree to tree.

                             WINSTON
                Keep your head down, Tex. The Muj' got
                snipers too.

                             CHRIS
                A sniper won't aim for your head.

      A DOZEN MARINES are posted outside an apartment complex.

                             WINSTON
                They got this sniper that's been hitting
                headshots from 500 yards out--


46    INT. APARTMENT COMPLEX                                      46

      An open atrium eight stories tall. CHRIS and WINSTON walk
      past a giant pile of furniture and debris tossed down.

                             WINSTON (CONT'D)
                --they call him "Mustafa." He was in the
                Olympics.

                             CHRIS
                They got sniping in the Olympics now?

      They start up the stairs.


46A   OMITTED                                                    46A


47    INT. APARTMENT, SIXTH FLOOR                                 47

      Chris walks from APARTMENT TO APARTMENT, some vandalized,
      others untouched, checking sight-lines out windows.

                             WINSTON
                       (trailing Chris)
                What're we looking for?

                             CHRIS
                You ever hunt?

                             WINSTON
                I ain't that kind of red-neck.

      He unzips and peels off into the bathroom.
                               (03.18.14)                       28.


                              WINSTON (OS)
               Fuck, fuck--

     WINSTON FIRES TWO ROUNDS in the bathroom. Chris pulls a
     Springfield .45 as--

     A GOAT

     Bounds out of the bathroom, runs out the apartment door
     and leaps OVER THE RAILING, falling six floors.

     RAILING

     CHRIS and WINSTON look down to the lobby, where Marines
     stand around the DEAD GOAT.

                            CHRIS
                      (laughing)
               You just got your first kill, Goat.

     "GOAT" (not Winston) will be his name from here out.

                            CHRIS
               I'm going to the roof. You stay here and
               be on the lookout for farm animals.


48   EXT. ROOFTOP/ SNIPER NEST - DAY                            48

     Under a corrugated piece of steel, a ritual unfolds--

     Chris packs a dip. He lays out his Bible and flag. Loads
     bullets in a wrist-sheath. Starts to marshal his breath.

     Time slows as he lowers his eye to the glass.

     (NOTE: we are back to the beginning of the film.)

     CHRIS SCOPE POV

     TRACK ACROSS bombed-out buildings, twisted metal and
     golden-domed mosques. Ragged curtains flutter out a
     window. Cat-tails on the river sway the same direction.

     SFX: A LOW FREQUENCY BUZZ escalates over picture as his
     concentration deepens. Cross-hairs land on--

     A MAN ON CELL PHONE watches the convoy from a rooftop.

                            CHRIS KYLE
                      (keys mike)
               I got a military-aged male, on a cell
               phone, watching the convoy. Over.
                        (03.18.14)                          29.


                       COMMANDING OFFICER (OS)
          If he's reporting troop movement you have
          a green-light. Your call. Over.

MAN ON CELL studies the convoy, his hair tossed by wind.
CROSS-HAIR push left of target, compensating for windage.

SFX: Chris takes a deep inhale, holds it, then expels.

His finger is taking up trigger-slack when MAN ON CELL
dips his shoulder, hangs up and steps away.

                       CHRIS KYLE
                 (keys mike)
          He stepped off.

Chris sucks air. Close. The ambient world floods back in.
Barked orders, diesel engines and--

A WOMAN AND KID exit the same structure. They're headed
up the sidewalk but cut sharply into the street.

                       CHRIS KYLE
          Hold up. I got a woman and a kid, moving
          toward the convoy.

(ECU)-- The woman cradles something beneath her robes.

                       CHRIS KYLE
          Her arms aren't swinging. She's carrying
          something.

CROSS-HAIRS ON WOMAN as she pulls a cylindrical object.

                       CHRIS KYLE
          She just pulled a grenade. An RKG Russian
          grenade. I think she gave it to the kid.

                       COMMANDING OFFICER (OS)
          --you say a woman and kid?

SFX: his heart-beat, THUMP-THUMP THUMP-THUMP THUMP-THUMP.

                       CHRIS KYLE
          You got eyes on this? Can you confirm?
          Over.

                       COMMANDING OFFICER (OS)
          Negative. You know the ROEs. Your call.

                       GOAT (OC)
          They fry you if you're wrong. Send your
          ass to Leavenworth.
                           (03.18.14)                       30.


THE KID moves toward the convoy with the grenade.

                         CHRIS KYLE (OC)
             Fuck--

MOTHER motions him to hurry along (ECU)-- her robes
flutter, trash blows in the street, the dust off her
son's footsteps; all blowing the same direction.

THE KID sprints toward the Marines.

IN THE STREET

YOUNG MARINES. Wading into war. Boots scuffing dirt.

CLOSE ON CHRIS

His eyes water with focus, his exhale hisses from tobacco-
stained teeth. Breathe it down. He struggles to get calm.
SFX: THUMP-THUMP THUMP-THUMP THUMP--

CROSS-HAIRS left of the running target, leading him,
compensating for a dozen different considerations as--

He pauses upon exhale. The world goes quiet. Landscape
pulses with color and focus. He stokes the trigger and--

THE BULLET

Leaps from the barrel. Cracks like a whip. The .300 round
hurls forward, glinting as it enters the flesh of--

CLOSE ON CHRIS

He winces, sickened, and struggling to swallow the little
piece of him that just died.

                          GOAT (OC)
             -Fuck that was gnarly.

CHRIS SCOPE POV

MOTHER flees down sidewalk, robes aflutter. CROSS-HAIRS
lead her. BAM. It pocks wall behind her. A round ejects.
CROSS-HAIRS swing forward, leads her more. BAM. She runs
into scope, reaches center, meets bullet. A red mist.

                          GOAT (OC)
             Shit yeah. Evil bitch!

                          COMMANDING OFFICER (OS)
             Nice shooting, Tex. Helluva call.
                             (03.18.14)                          31.


                            COMPANY COMMANDER (OS)
               Roger that. Good lookin' out Navy.

                            GOAT
               You hear that?

     He nudges Chris, trying to get a celebration out of him--

                            CHRIS
               Get the fuck off me.

     This is the reality of war. Not like he anticipated.

     CLOSE ON CHRIS

     Breath racing. Bleeding sweat. Trying to process his
     disgust. Trying to inject some purpose, mumbling:
     Protect the Marines. Protect the Marines. Protect...

     Clouds crawl over Chris like ghosts, swirling feverishly
     as HOURS SLIDE BY. His face takes on a preternatural
     blankness as he begins to slip into the shadows of self.

     Suddenly-- clouds halt, pupils flare, chest inflates.


49   EXT. ELIZABETH STREET - SAME                                49

     Sun flares as MARC LEE advances alongside 1ST PLATOON
     MARINES (40 men) when-- A SHOT SOUNDS. A BODY TUMBLES out
     of the sky and lands in their midst with a meaty thud.

                            1ST MARINE #1
               -Fuck, man! What the hell--

     The Marines duck for cover then look to the sky--

                            1ST MARINE #2
               -Where'd it come from?

                            MARC LEE
               That's your overwatch, Einstein. You can
               thank him later. Keep moving.

     Marines slowly return to standing, glancing up at
     surrounding structures trying to spot their protector.


50   INT. WINDOW - LATE AFTERNOON                                50

     Chris lays atop a baby crib. A scrim hangs in front of
     him. Sunlight burns through it, casting a thousand
     pinpricks of light across his face. SUN MARCHES ACROSS
     the sky and pixels twist over his cataleptic shape.
                             (03.18.14)                           32.


     Suddenly-- sun halts, chest inflates, eyes flare.


51   INT. STREET - SAME                                           51

     A CAR SPEEDS toward 1ST PLATOON. MARINES open fire with
     the feeble POP-POP of M4s. The car still coming--

     A SNIPER SHOT BOOMS across the sky like thunder. The
     windshield spiders, blood splattered, and the car stops.

     As Marines search rooftops for him-- THE CAR EXPLODES.


52   INT. LOOTED ROOM, ELIZABETH STREET - EVENING                 52

     CHRIS plants a loop-hole charge at the base of the wall
     and steps around the corner to trigger the charge.

                                                     CUT BETWEEN:

     INT. HALLWAY, DOWN ELIZABETH STREET - SAME

     Black robes draw across mosaic tiles as   "PHANTOM SNIPER"
     slips down a hallway. A Dragunov Sniper   Rifle over
     shoulder, he hears the loop-hole charge   detonate nearby
     and turns, entering a tiled washroom to   his left.

     This is "MUSTAFA".

     LOOTED ROOM / CHRIS

     CHRIS lays his kit in front of the blast-hole: gun, flag,
     Bible. Packs a dip, elbows meet cement, eye meets glass--

     WASHROOM / MUSTAFA

     MUSTAFA lays in front of a mortar-hole. In a leather
     satchel: ammo, oil, cell phones. His eye meets glass--

     LOOTED ROOM

     CHRIS finds his stillness. The instant he does-- SHADOWS
     CREEP over him and night swallows the room.


53   EXT. ELIZABETH STREET - NIGHT                                53

     A palm tree burns like a candle over Fallujah. Below it,
     head-lamps dance chaotic as VIPER TEAM MARINES exit a
     house spray-painting "X" on the gate.
                         (03.18.14)                         33.


                        MARINE VIPER #1
           --hot as Bigfoot's ballsack over here.
                  (knocks on next gate)
           Derka, derka, derka....

MARINE VIPERS laugh, bowling into a courtyard.

CHRIS SCOPE POV (N/V)

Glowing green hue. CROSS-HAIRS track the Marines entry,
sweep the street and push toward the rooftop, when--

A SHOT SOUNDS. A MARINE FALLS in a 2nd story window.

                        MARINE VIPER #4 (OS)
                  (over radio)
           --Fuck! Man down! It came through the
           window--

CROSS-HAIRS whip across rooftops, on a swivel.

                        CHRIS (OC)
           That was sniper fire. Shooter is on our
           side of Elizabeth street. Over.

                        MARINE VIPER CO (OS)
           Negative. East side of Elizabeth is
           locked-down. Over.

Viper Marines drag the soldier out. In the phosphorous
green glow, we watch his body tremor as he dies.

SFX: CHRIS' ELEVATED HEARTBEAT pounds over scene as--

WASHROOM

MUSTAFA flees down the hall. A fluttering shadow in
darkness, except for the reflective swoosh on his Nikes.

LOOTED ROOM

Chris lays on the gun, brow pinched with onus, silence
like a scream. This happened on my watch.

CHRIS SCOPE POV (N/V)

CROSS-HAIRS TRACK across the city-scape. TIME LAPSES and
the world (in scope) SPEEDS UP. Humvees and tanks streak
past, lights blur, trees blow in choppy havoc, then--

TIME SLOWS to a crawl as CROSS-HAIRS FIND A MALE hurrying
into a alley, pulling shit from a pack. We zero-in and--
a flame flickers. The male is smoking opium.
                        (03.18.14)                          34.


CROSS-HAIRS drift off him and TIME SPEEDS UP, dogs eat a
rotting body by the roadside, vicious in fast motion. TWO
WOMEN wobble down the road with buckets, wind whips
roadside grass into a tizzy and WE HALT ON--

CROSS-HAIRS ON A PERFECT CIRCLE in the grass, a rifle-
barrel? Stay on it. In stillness it finds context; a
RUSTY PIPE. TIME SPEEDS FORWARD, TWO BOYS zip by on a
Vespa, OLD MEN frantically bow to mecca on rooftops.
Clouds boil across dawn sky. His eye never leaves glass.

                       MARC LEE
          Smells like piss in here.
                 (no response)
          You covered our ass out there, man.
          Appreciate it. Those were ballsy shots.

                       CHRIS KYLE
          And they were clean. Right?

                       MARC LEE
          Hell yeah, they were.

                       CHRIS
                 (finally looks up)
          That sniper walked right up our ass.

                       MARC LEE
          I chewed out our security detail. It
          won't happen again.

                       CHRIS
          My shooter statements are on the dresser.

Marc Lee picks up a stack of YELLOW PAPERS on the desk.

                       MARC LEE
          Six?

                       CHRIS
          Should be eight. Two got dragged off.
                 (off Marc)
          Something wrong?

                       MARC LEE
          No... but you got more kills than the
          rest of the snipers combined.

Chris rubs red "shooter's strawberries" from his elbows.

                       CHRIS
          They still got one of our guys.
                             (03.18.14)                          35.


                            MARC LEE
               You can't shoot what you can't see.

     Marc's eyes land on piss-stained cement where Chris lay;
     this fucker didn't take his eye off the glass all night.


54   EXT. CAMP FALLUJAH -FORWARD OPERATING BASE(FOB)- EVENING 54

     Behind miles of wire, a twenty-acre BASE CAMP. Aluminum
     trailers, shithouses and tent farms. A Humvee pulls past--


55   INT. CHARLIE COMPANY BARRACKS, CAMP FALLUJAH - NIGHT        55

     Chris steps in, letting the air-conditioning blow down on
     him. Cots, lockers and cruise-boxes line the room.
     Biggles reads a PUNISHER graphic novel, doesn't look up.

                            BIGGLES
               Heard you got your dick wet.

                            CHRIS
               Where is everybody?

                            BIGGLES
               We're just picking our dicks here,
               training those fucking haji soldiers.

                            CHRIS
               Why ain't you out there?

                            BIGGLES
               I got the shits. Marc Lee said you were
               on fuckin fire out there.

                            CHRIS
                      (shedding gear)
               You still read comic books?

                            BIGGLES
               It's a fuckin graphic novel. Talk to me,
               man. Did you pop your cherry?

     A heaviness falls over Chris, then slowly--

                            CHRIS
               This kid didn't even have hair on his
               balls and his mom hands him a grenade--
               sends him running off to kill Marines.

                            BIGGLES
                      (sees his hurt)
               You saw his balls?
                          (03.18.14)                        36.


                         CHRIS
            It was evil, man. That was hate like I've
            never seen it before.

                         BIGGLES
            That kid could've taken out ten Marines--

                         CHRIS
                   (wrestling with it)
            I know.

                         BIGGLES
            You did your job. End of fuckin story.

                         CHRIS
            It's just not how you imagine the first
            one going down.

                         BIGGLES
            How about the other ones? What about the
            other kills?

                         CHRIS
            The other ones-- were righteous. Like God
            was blowing on my bullets.

He's joking but not. Biggles smiles, jealous.

SNIPER SEQUENCE

OVERWATCH

CROSS-HAIRS land on INSURGENT WITH RIFLE; INSURGENT
PEEPING three times; INSURGENT BURYING IEDs. BAM-BAM-BAM.

                         ANOTHER SNIPER (OS)
            --that you again Kyle?

CROSS-HAIRS are moving, no answer follows.

MARINE INTEL TRAILER

Chris is covered in dust, sitting in a small chair facing
two clean, well rested JAG OFFICERS.

                         JAG OFFICER
            Our task here is to make sure every kill
            is a righteous kill and conforms to ROEs.

                         CHRIS
            By every kill, do you mean just our kills
            or you're monitoring the bad guys too?
                          (03.18.14)                       37.


                         JAG OFFICER #2
            Your scores at sniper school were average
            at best, then you get here and you're
            just lighting the world on fire?

Chris opens a PLASTIC WATER BOTTLE, sips it, waits--

                         CHRIS
            Sorry, was that a question?

OVERWATCH

Chris takes over for a MARINE SNIPER in a window.

                         MARINE SNIPER
            Haven't seen shit all day. Maybe the war
            is over and they forgot to tell us.

Chris settles in, still going through his ritual when AN
INSURGENT crosses the street with CAR BATTERY and AK-47.

                         CHRIS
                   (keys mike)
            I got a armed military-aged male moving
            tactically with a car battery. Maybe he
            needs a jump?

                         COMMANDING OFFICER (OS)
                   (over radio)
            Negative. Bomb maker. Green-light.

Exhale, pause, pull. A SHOT RINGS OUT.

                         MARINE SNIPER (OS)
                   (just offstage)
            --are you fucking serious?


MARINE INTEL TRAILER

CHRIS scrunches that EMPTY WATER BOTTLE, gratingly, as
JAG OFFICERS continue the interrogation:

                         JAG OFFICER
            His wife said he was carrying a Koran.

                         CHRIS
            Well, I don't know what a Koran looks
            like but I can describe what he was
            carrying-- it was pressed metal, fired
            7.62s and looked just like an AK-47.

MESS HALL
                             (03.18.14)                          38.


     CHRIS, BIGGLES, D and DAUBER enter. Eyes find them, heads
     nodding to Chris, that the guy? Word spreading.

     Biggles sees it, hops up on a chair--

                            BIGGLES
               Listen up ladies and genitals. The Legend
               here would like you to know that when it
               comes to sniping it's better to be lucky
               than good! Our boy here has a Texas
               horseshoe crammed so far up his ass that--

     Chris flings a cafeteria tray at his head.


56   EXT. ROOFTOP - DAWN                                         56

     In murky predawn light, CHRIS sits on a SATELLITE PHONE--

                            TAYA (OS)
               Have you killed anyone yet?

                            CHRIS
               That's not how the call-home goes, babe.

                            TAYA (OS)
               Don't be weird with me. Seriously. I want
               you to tell me everything.

     Chris covers the phone as distant gunfire chatters.

                                                   INTER-CUT WITH:


57   INT. CHRIS & TAYA'S HOUSE, SAN DIEGO - SAME                 57

     TAYA sits in front of a partially assembled baby-crib
     with a six month baby bump. She turns down the TV.

                            CHRIS
               There are things we can't say over the
               phone.

                            TAYA
                      (playful)
               You knocked me up and now I'm stuck here
               by myself assembling baby-cribs and you
               can't talk to me? That's the big plan?

     HIS CROSS-HAIRS track across a distant rooftop. Socks
     sway from a clothesline in a 5 knot breeze.

                            TAYA
               You guys almost done over there yet?
                        (03.18.14)                        39.


                       CHRIS
          I can't stop thinking about that pink
          silky thing you wore on our honeymoon...

                       TAYA
          It's called a nightgown.

                       CHRIS
          Yeah--

                       TAYA
          And three days is not a honeymoon.

                       CHRIS
          It was a good three days. I miss you bad.

                       TAYA
                 (curls up in chair)
          You want me to talk dirty to you?

                       CHRIS
          Yeah. But I got my gun in one hand and
          the phone in the other--

                       TAYA
          Well, you'll just have to decide what's
          more important.

                       CHRIS
          You're horny preggers.

                       TAYA
          Fat and horny. It's kinda disgusting.

                       CHRIS
          You could be 300 pounds I'd still do you.

She's touched, hormonal, starts crying.

                       TAYA
          -So romantic.

                       CHRIS
          How's my boy?

                       TAYA
          Nobody said it's a boy--

CROSS-HAIRS TRACK INSURGENTS on the street; then linger
on a parked car, measuring distance by height--

                       CHRIS
          I can't wait to see the way you are with
          him. You're gonna be incredible.
                        (03.18.14)                         40.


                       TAYA
                 (harbors doubt)
          How do you know?

                       CHRIS
          I just know. I can see it.

                       TAYA
          I hope you're right.

Her face falls as-- TV NEWS shows the graphic of
"American Death Toll in Iraq." The number is 835.

                       TAYA
                 (suddenly)
          Did your dad get hold of you?

                       CHRIS
          I haven't checked any email.

CROSS-HAIRS follow insurgents as they slip out of view.

                       TAYA
          Shit. You need to call him. Hang up and--

                       CHRIS
          What happened?

                       TAYA
          I'm so selfish. I wasn't even thinking--

                       CHRIS
          Taya.

                       TAYA
          Your little brother deployed.

                       CHRIS
          What happened to jump school? I thought--

                       TAYA
          He didn't get in. Just call your dad--

                       CHRIS
          Deployed where? Where's he going?

                       TAYA
          Over there. He's headed to Iraq.

The news ricochets around inside him like razor blades.

                                              TRANSITION TO:
                             (03.18.14)                         41.


     FIVE MEN IN BALACLAVAS stand over an AMERICAN HOSTAGE in
     an orange jumpsuit. The thick Jihadist leader draws a
     machete to behead his hostage. VIDEO PAUSES.

                            COL. GRONSKI (OC)
               The man with the blade is a Jordanian
               radical funded by Bin Laden, trained by
               Bin Laden and loyal to Bin Laden.


58   INT. OP BRIEF TENT - DAWN                                  58

     COLONEL GRONSKI is an old-school bulldozer. 75 Marines
     study an OLD PHOTO OF AL-ZARQAWI, bushy black eyebrows.

                            COL. GRONSKI
               His name is "Zarqawi" and he is the
               prince of al-Qaeda in Iraq. AQI, his
               mercenary army, are 5000 strong. They're
               trained well, paid well and waging the
               heaviest urban combat since Vietnam.

     FIND CHRIS in back, scanning heads for his brother Jeff.

                            COL. GRONSKI
               Zarqawi and his Lieutenants are our
               highest priority. Only way to root them
               out is to go house-to-house until we find
               them, or someone who will reveal their
               whereabouts. We need to clear ten
               structures an hour. It's aggressive so
               we'll loosen things up with air support--

     Chris looks to Marc Lee, ten structures an hour?


59   EXT. CAMP FALLUJAH - MORNING                               59

     The sun hangs like a blood-clot in the sky. Chris and
     Marc Lee are walking, TALKING LOW--

                            CHRIS
               These Marines rush in like they been
               doing, they'll get their asses shot off.

                            MARC LEE
               They're Marines. They don't get the
               training we do. Half of them were
               civilians six months ago.

     Chris reacts, hearing him describing Jeff.
                             (03.18.14)                          42.


                            CHRIS
               So let's coach them up. I'll show them
               how Team Guys do it and lead a unit in
               the street.

                            MARC LEE
               Can't do. We need you on overwatch.

                            CHRIS
               But if I was down in the street--

                            MARC LEE
               House-to-house is the deadliest job here.
               You got some kind of savior complex?

     Maybe.

                            CHRIS
               I just wanna get the bad guys. And I
               can't shoot them if I can't see `em.

                            MARC LEE
               You got a hot hand. These Marines all
               know your name now and they think they're
               invincible with you up there.

                            CHRIS
               They're not--

                            MARC LEE
               They are if they believe they are. Just
               keep banging on the long-gun and let
               these ground-pounders sniff out Zarqawi.

     Marc walks off leaving Chris biting at a shamal wind.

                                                          CUT TO:

     AN F-18 RIPS OVERHEAD firing 500lb JDAMs into the next
     block. Smoke and dust billow outward--


60   INT. ROOFTOP                                                60

     Under a fluttering canopy, CHRIS lays on the gun, cursing
     zero visibility. GOAT camps nearby, on a GameBoy.

                            CHRIS
               You said that AQI sniper was in the
               Olympics-- but Iraq hasn't qualified a
               shooter in the last three games.

                            GOAT
               Mustafa's not Iraqi. He's from Syria.
                             (03.18.14)                       43.


     Chris steals a glance at him, processing this as--

     CHRIS SCOPE POV

     KILO COMPANY MARINES JOG to a pink house with windows
     boarded up. One of the Marines looks like Jeff Kyle.

                            CHRIS
                      (keys mike)
               Once you make entry I can't see shit, so
               keep it slow and push through the target.

     "Jeff Marine" sets a charge, turns-- not Jeff.

     The door blows off. Marines rush in. GUNFIRE POPS.
     Marines rush back out, dragging a WOUNDED MARINE.

                            CHRIS
               Fuck this-- I'm going down to clear
               houses with the Marines. You coming?

                            GOAT
               No man. No. I like my life. I wanna make
               it home. I go fishing and do all kind of
               cool shit. It's not my job to knock down
               doors. Those guys picked the wrong
               fucking job. I ain't doing that shit.

                            CHRIS
                      (smiles)
               If I don't see you down there, you make
               sure I don't see you again.


61   INT. STREET, SOLDIER'S DISTRICT - MINUTES LATER          61

     KILO COMPANY firing on the structure. "CPT. GILLESPIE"
     (smart, sunburned) is shouting "hold your fire" as--

                            CHRIS
                      (bowls up)
               You wanna be a sniper? Swap me guns.

                            "JEFF" MARINE
               Really?

                            CHRIS
               I'll roll with you guys if that's cool?

                            CPT. GILLESPIE
               Hey, any Navy Seal is cool by me.

     "THOMPSON" (big, wobbly voice) nods, lugging an M240G.
                             (03.18.14)                          44.


                            THOMPSON
               You're that guy. They're calling you The
               Legend. You got like 24 confirmed kills.

     He recognizes his way to gain entry, so he plays it up.

                            CHRIS
               It's 32. But who's counting.

                            THOMPSON
               That's badass.

     "SANCHEZ" (neck tattoos, Catholic) chimes in.

                            SANCHEZ
               There's some boy in Bravo catching up.

                            CHRIS KYLE
                      (packs a dip)
               Y'all are meateaters for sure but I got a
               little training I could show you, some
               simple shit, that might just keep us
               above ground. What do you say?

     His need to protect cloaked beneath cool cowboy calm.


62   OMITTED                                                     62


63   EXT. MICHIGAN STREET - OUTSIDE THE WIRE - DAY               63

     KILO COMPANY are doing house-to-house. On the job
     training. Tension high, they're bunched around a doorway.
     CHRIS motions them back, not so close, sets a charge--


64   INT. HOUSE, DAY                                             64

     BOOM!-- KILO COMPANY ENTER a house with chandeliers and
     regal armoires. They clear the room, CHRIS teaching them
     how to move together, giving hand signals.

                            SANCHEZ
                      (low)
               -Whas that mean again?

                            GILLESPIE
               Cover and follow.

     He follows Chris into a room with sofas, exotic rugs and--
                          (03.18.14)                      45.


A KID(12) stands across the room with dark eyes and
pronounced forehead, staring at Chris.

                       CHRIS
          Down. Down! On the floor, now!

THE KID is rocking on his heels like he's going to run.

                       CHRIS
          I will fucking shoot you! Down! Get down--

                         FATHER OF KID (OS)
          No, please--

THE FATHER runs in, tall and bearded. Gillespie clocks
him and he drops. The Kid screams like he's deaf.

                       FATHER OF KID
                 (from the floor)
          Please! He can't understand. Look at him--

                       GILLESPIE
          He does look a little retarded.

                       CHRIS
          You were ordered to evacuate. Why are you
          still here?

                       FATHER OF KID
          This is our home. I won't give it to
          them. Or to you.

SANCHEZ pushes THREE WOMEN (in berkas) into the room.

                       SANCHEZ
          I found these bitches in the back closet.

                       FATHER OF KID
          I'm Sheikh al-Obeidi. You are my guest
          but please tell the others to come
          inside. If they are in the street he will
          know we have spoken.

                       SANCHEZ
          This sand nig' want us in here so he can
          blow us up. Check his ass for a vest.

A KETTLE whistles in the kitchen. Guns still trained.

                       CHRIS
          Who will know we've spoken?
                        (03.18.14)                          46.


                       SHEIK AL-OBEIDI/FATHER
          Your enemy is mine enemy. We share this.
          You understand?

Chris studies the women, and lowers his gun.

                       CHRIS
          Bring the other guys in.

TIME CUT - LATER

Chris and Gillespie sit with "SHEIK AL-OBEIDI" while the
kid ("OMAR") plays with his father's hair.

                       SHEIKH AL-OBEIDI
          If we talk to US soldiers he will come to
          our home and make examples of us--

                       CHRIS
          Who is he? I need a name.

The Marine Interpreter aka "TERP" (20s, in mismatched
camo, face bandanna) repeats the question.

                       SHEIKH AL-OBEIDI
          The man who comes we call The Butcher.
          He is the despaired one, son of Shaytan--

Sheik mumbles in Arabic, fearing the words on his tongue.

                       TERP
          He calls him - the pure flame of fire- .
          Basically, this man comes to their house
          and prey on the weak with hurt.

                       CHRIS
          So he's some kind of enforcer?

                       SHEIKH AL-OBEIDI
          Enforcer. Yes. Top soldier of Zarqawi.

                       CHRIS
                 (jumps)
          We want Zarqawi. Where do we find
          Zarqawi?

OMAR CACKLES like a crow, playing peeking games.

                       SHEIKH AL-OBEIDI
          If you find The Butcher you will see he
          reports direct to Zarqawi each day.

An F-18 rips overhead. RADIO CHATTER. THOMPSON steps out--
                        (03.18.14)                          47.


                       CHRIS
          How do we find him?

                       SHEIKH AL-OBEIDI
          You must understand the risk to us.

                       TERP
          He will ask for money.

                       SHEIKH AL-OBEIDI
          We need one hundred thousand US dollars.

THE BOOM of distant ordinance shakes the structure.

                       CHRIS
          We don't even have proof this guy exists.

The Sheik grabs his wife, pulls her arm from her robe--
her hand has been hacked off, the stump healing.

                       SHEIKH AL-OBEIDI
          Is this not proof?

                       CHRIS
          I'm sorry. I want to help you. I do. But
          I need names, places, phone numbers--

                       THOMPSON
                 (rushes in)
          Hey, we got a Marine unit pinned down in
          a house just uprange--

                       CHRIS
          Give me a name, Sheik. Give me something.

                       THOMPSON
          They're out of ammo. If we don't go now--

Sheik stonewalling, Chris stands to go, fuck--

                       SHEIKH AL-OBEIDI
          "Amir Khalaf Fanus". This is given name
          of The Butcher. But to help you find him--

Sheikh Obeidi SWEEPS A HAND across his open palm, pay me.

                                            TRANSITION TO:

Chris sweeps a hand across his open palm, pay me. We are--
                             (03.18.14)                         48.


65   INT. DIA TRAILER, CAMP FALLUJAH - DAY                      65

     CHRIS and MARC LEE sit in front of AGENT SHEAD, of the
     Defense Intelligence Agency. A game of solitaire open on
     his computer. CORNHUSKER football posters on his wall.

                             AGENT SHEAD
               I guess that translates to "pay me" in
               just about any language, doesn't it?

                            CHRIS
               Yes sir, it does.

                            MARC LEE
               And you're the secret squirrel with the
               cash, right?

                            AGENT SHEAD
                      (not amused)
               When you were having tea with Sheik al-
               Obedie did he tell you he ran a network
               of highway bandits before AQI moved in?

                            CHRIS KYLE
               He left that part out.

                            AGENT SHEAD
               That's AQI's racket now. Your Sheik got
               edged out. This could be blowback.

                            CHRIS
               Or he could be upset The Butcher cut off
               his wife's hand. Either way, seems like
               you'd wanna explore it.

     Shead would rather not enter into this with them but--
     he slides a white-board to reveal an AQI HIERARCHY.

                            AGENT SHEAD
               This is your guy here.
                      (points to photo directly
                       under Zarqawi)
               We believe The Butcher is Zarqawi's
               number two man.

     THE BUTCHER is a squat, rawboned man with eyebrows
     forming a grizzled line over dark bloodshot eyes.

                            CHRIS
               But you don't know his real name or you'd
               have it written up there.
                             (03.18.14)                          49.


                            AGENT SHEAD
               We have several aliases--
                      (picks up phone, dialing)
               If "Fanus" is legit we go see the Sheik.

                            MARC LEE
               He's asking for 100,000.

                            AGENT SHEAD
               If he delivers the Butcher he'll get it.
                      (into phone)
               This is Agent Shead, DIA, I need a name
               check on "Amir Khalaf Fanus." I'll wait.

     He kicks his feet up, like he runs the war.

                            CHRIS
               If we're going back out, TEAM 3 could
               pull security--

                            AGENT SHEAD
               If we're humping money the head-shed will
               want contractors on it.
                      (into phone)
               I'm here. What do you got?

     He listens a beat. His feet hit the floor. Eyes flick up.


66   INT. HUMVEE #2 - TWO DAYS LATER                             66

     An object thumps beneath the tires. SECURITY CONTRACTORS
     wear baseball caps, Oakley blades and grizzled beards.

                            CONTRACTOR
               Road-kill.

     They sit on benches opposite CHRIS and MARC LEE, a shrink-
     wrapped PALLET OF CASH between them. AGENT SHEAD sits
     closest the driver, playing big-dick with the mercs.

                            AGENT SHEAD
               The Butcher is Zarqawi's enforcer. They
               say his weapon of choice is a drill.

     Chris looks to Marc Lee, eyes closed in prayer. When he
     opens them he sees Chris looking. The rig sways.

                            MARC LEE
               I went to seminary school before I joined
               the Navy. Came close to being a preacher.

                            CHRIS
               Why didn't you?
                                (03.18.14)                       50.


                            MARC LEE
               I love to gamble, man. Love those dice.

     Their laughter is liberating. It bonds them.

                            CHRIS
               My kind of preacher.

     MORE LAUGHTER. A PHONE RINGS. Chris digs out a SAT PHONE.

                            MARC LEE
               It's like that now, huh?

                            CHRIS KYLE
               You haven't heard? I'm The Legend.
                      (laughs at self; into phone)
               Hey babe--

                            TAYA (OS)
               You were right, doctor says it's a boy.

                             CHRIS KYLE
               It's a boy!

                            MARC LEE
               Hell yeah. Congratu--

     WHAAP! Windshield spiders. CONTRACTOR/DRIVER'S brains
     spackle them. THE HUMVEE CRASHES into a storefront.

     RADIATOR HISSING, CONTRACTORS SCREAMING, "Call for
     backup" "Capel is down" "Dump the truck, cover us."


67   EXT. MEDICAL PLAZA, SAN DIEGO - DAY                         67

     A crowded quad. TAYA, ON THE PHONE, stops in her tracks.

                             TAYA
               Chris!--

     EXT. CITY SQUARE/ STREET

     Looted shops, burnt awnings, colorful signage. MARC LEE
     and CHRIS pile out. THE SAT PHONE falls in the dirt.

                            MARC LEE
               I heard one shot.

                            CHRIS KYLE
               Check. Large caliber. Came in at an
               angle, gotta be 300 or more out--
                                (03.18.14)                       51.


     They duck into a bomb-blasted storefront. They're looking
     downrange from the jagged orifice when-- A SHOT THUNKS
     into a painted Leo DiCaprio billboard overhead.

                            MARC LEE
                      (ducks back)
               He's all over us. You get a bead?

                               CHRIS KYLE
               Negative--

                            AGENT SHEAD (OC)
               Transfer the pallet. We're pulling back.


68   INT. DISTANT MINARET                                        68

     MUSTAFA sprawled on the balcony. PUSH past the swoosh of
     Nikes, up dark robes, along the cut of an unshaven cheek--

     MUSTAFA SCOPE POV

     UNIQUE CROSS-HAIRS wobble past CHRIS and MARC LEE'S
     position to CONTRACTORS SCRAMBLING SHEAD into the street.
     Mirage boils straight up. A breath exhales--


69   INT. STOREFRONT                                             69

     A BULLET SMOKES through CONTRACTOR #1, ejecting half his
     vertebrae. CONTRACTORS SCRAMBLING--

                            CHRIS
               Minaret, 11 o'clock!

                            AGENT SHEAD
                      (from Humvee)
               There's no room. We'll come back for you--

     Agent Shead and Contractors pull away in Humvee #2.

     An INSURGENT GUNNER steps from a door just uprange,
     BLASTING ROUNDS at the retreating vehicle.

                            CHRIS
               You got eyes on that?

                               MARC LEE
               Negative.

     Their cover prevents line-of-sight. Chris reaches his
     rifle out ADJUSTING A SIDE-MIRROR on the crashed Humvee--

     UPRANGE (IN REFLECTION)
                        (03.18.14)                         52.


THE BUTCHER drags OMAR from Sheikh Al-Obeidi's home by
his hair. The boy's strange screams echo down the block
as the Butcher revs a hand drill near his face--

                       CHRIS
          Eyes on The Butcher. He's got that
          Sheikh's kid in the street--

TWO INSURGENTS holds Sheik Al-Obeidi in the doorway as--

A SNIPER ROUND SHATTERS the Humvee mirror.

                       CHRIS
          Fuck!--

                       MARC LEE
                 (into radio)
          --requesting back-up. We're pinned down
          taking sniper fire on approach of high-
          value target, GRID 04536236. Over.

Chris tries to edge around the wall-- PHWAAAP! The wall
explodes above his head. He turns to the room. Debris
blocks a back-door. No way out.

                       MARC LEE
          We're on the wrong end of this.

                       CHRIS
          I'm gonna pop smoke for cover but don't
          move till I say.

Chris tosses smoke. A haze clouds the exit--

                       CHRIS
          Hold.

The drill revs. Omar is screaming. Smoke spewing.

                       MARC LEE
          We gotta go--

                       CHRIS
          Holding! Hold...

A SHOT RINGS OUT, CHUNKS CONCRETE near the exit.

                       CHRIS
          Move now. Go--

They slip out the storefront, around the building--

                       MARC LEE
          How you know he'd wait--
                               (03.18.14)                        53.


                            CHRIS
               Cause I'd wait.

     In the smoky haze, A SAT PHONE in the dirt--


70   EXT. MEDICAL PLAZA, SAN DIEGO                               70

     TAYA listens for gunfire as the lunch crowd teems past.

                            TAYA
                      (sobbing, into phone)
               Chris--

     CAMERA CIRCLES HER as her world comes unhinged. On the
     next revolution the scenery changes and--

     MUSTAFA POV / FROM MINARET

     CROSS-HAIRS TRACK past the doorway where--

     SHEIKH AL-OBEIDI

     Is held back by INSURGENT GUNMEN, weeping and pleading--

     THE BUTCHER

     He powers up the drill and drives it into Omar's thigh.
     OMAR SCREAMS and pitches, shrieking for help--

     ALLEY

     Chris and Marc racing down an alley, approaching stairs--

                            CHRIS
               Go around. I'll go high.

     Chris bounds up the stairs. Marc Lee keeps running--

     ROOFTOP

     CHRIS runs onto the exposed rooftop, running into-- A DOG
     SNAPS at him, BARKING and rabid, chained to a US sig M-
     60. He dives away from it, crouching behind the wall.

     SNIPER POV / IN MINARET

     CROSS-HAIRS FIND the barking dog, then CHRIS' BOOT.

     THE BUTCHER

     Powers up the drill, THE BUZZING rings over his words--
                                (03.18.14)                       54.


                               THE BUTCHER
                         (in Arabic)
                  You talk to them, you die with them.

     He steps on Omar's neck, lowers the drill toward his jaw.

     CHRIS

     Hears the drill and Omar's screams. He'll be exposed but--
     HE POPS UP to shoot The Butcher. Before he can get set--

     A SNIPER ROUND clips his helmet. He's knocked flat-back.
     Clouds strobe overhead. The dog barks viciously inches
     from his face. Saliva flying off incisors as--

     THE SHEIKH

     Watches the drill enter his son's face. The Sheikh breaks
     free of the Butcher's men, running towards his son. TWO
     AKs shred his back and he pitches forward, reaching--

     SNIPER POV

     As the Butcher and his men drive away, CROSS-HAIRS track
     across the rooftop, where--

     ROOFTOP / CHRIS POV (UPSIDE DOWN)

     His helmet, ruptured like a plum, wobbles to a stop.

     CHRIS

     Rage animates him. He staggers to his feet, FIRING HIS M4
     on the minaret until the clip expires. Then--

     A FLUTTER of cloth sweeps across an alley a block north.
     MUSTAFA slows, rounding the corner, and glances back--

     Chris draws his .45, but Mustafa slips into the shadows.
     Women sob over dead bodies in the street below.


71   EXT. STREET - LATER                                         71

     TEAM THREE SEALs hold perimeter. The sheet draped over
     Omar is marked by a dozen blood spots. Chris is buzzing
     with remorse, looking to the minaret.

                               CHRIS KYLE
                  He had line-of-sight 500 meters out.

                               BIGGLES
                  Colonel Gronski is all over Marc, bro.
                             (03.18.14)                          55.


     In the distance, COLONEL GRONSKI barks at MARC LEE then
     climbs in a Bradley. As MARC approaches--

                            CHRIS
               We need to work up a squad to pursue him.

                            MARC LEE
               They're shutting us down.

                            CHRIS
               What do you mean?

                            MARC LEE
               We're confined to base pending an
               incident review.

                            CHRIS
               Can he do that? Just shelf us like that?
               I ship home in three weeks.

     Wind blows the sheet off Omar.

                            BIGGLES
               It's gonna be a long three weeks.


72   EXT. WEIGHT LIFTING CAGE, CAMP FALLUJAH, FOB - SUNSET       72

     Chris stalks the cage, shirtless and sweating. His eyes
     track the horizon as darkness falls on Fallujah.


73   EXT. NORTH AIRFIELD, CORONADO, CALIFORNIA - NIGHT           73

     Halogen spotlights illuminate tarmac. SOLDIERS emerge
     from darkness, pushing toward their waiting families.
     FIND TAYA in heels, 9 months pregnant. Chris limps toward
     her. She walks into his arms and STARTS SWINGING fists.

                            TAYA
               I thought you were dead. I thought--

     He holds her close until her rage gives way to tears.

                            CHRIS
               Shh. I'm know. I'm so sorry.

     They stand there long after everyone has gone.
                               (03.18.14)                        56.


74   INT. BEDROOM                                                74

     Taya lowers the lights, steps out of her dress and looks
     at herself in the mirror, 9 months pregnant, and not sure
     she's sexy. Chris exits the shower, stops, staring--

                            CHRIS
               You're the most beautiful thing I've ever
               seen.

                            TAYA
               I have an alien growing inside me--

     She deflates and sits on the bed. He kneels before her.

                            TAYA
               And there's a strange man in my bedroom.

                              CHRIS
               Our bedroom.

                            TAYA
                      (pulls his ring off necklace)
               Why isn't it on your finger?

                            CHRIS
               If it catches the light...

     He doesn't spell it out. She slips it on his finger.

                            TAYA
               Your hands feel different.

                            CHRIS
               They're mine. I swear...

                            TAYA
               Why am I so fucking nervous?

                            CHRIS
                      (kissing her belly)
               I'm nervous too.

                            TAYA
               No you're not. Don't lie.

                            CHRIS
               I am... What if that little alien reaches
               out and grabs me?

     She laughs and squishes his cheeks, making faces with his
     face.
                               (03.18.14)                        57.


                            TAYA
               Why are you so good with me.

     Her face opens in ecstasy.


75   INT. BREAKFAST TABLE, CHRIS' HOUSE - MORNING                75

     CHRIS, showered, shaven and ill-at-ease, picking at the
     calloused "shooter's strawberries" on his elbows.

                            TAYA (OC)
               --it might be nice to get out--

     His coffee steams like smoke off a barrel.

                            TAYA (OC)
               --are you listening to me? Chris--

                              CHRIS
                        (knee pumping)
               Huh?--

     A lawn-mower starts. His eyes track windows. Taya sees
     what's happening and-- she extends a naked leg into his
     sight line. His eyes follow her leg, to welcoming eyes.

                            TAYA
               What do you want to do today, hon'?

                            CHRIS
               Maybe we just relax here?

                            TAYA
               Okay, we do that. Let's relax.

     She eases into his lap, changing his chemistry.


76   INT. OBGYN OFFICE, SAN DIEGO - DAY                          76

     A room doused in sunshine. TAYA lays on the table. DOCTOR
     HOFFSTADER works the ultra-sound wand over her belly.

                            DOCTOR HOFFSTADER
               How you feeling?

                            TAYA
               I'm done being pregnant. I want to meet
               him.

                            DOCTOR HOFFSTADER
               It'll be any day now.
                         (03.18.14)                       58.


Chris pets his wife's hair but he's sweaty and flushed.

                       DOCTOR HOFFSTADER
          How about you Mr. Kyle? How're you
          feeling?

                       CHRIS KYLE
          Good. Doing good.

                       DOCTOR HOFFSTADER
          I imagine you're still decompressing.

                        CHRIS
          Not really.

                       TAYA
          Well, this is the first time we left the
          house.

                       CHRIS
          I'm just happy to be home.

Hoffstader studies him, reaches for a b.p. cuff.

                       DOCTOR HOFFSTADER
          Here, slip this on for me.

He awkwardly consents. The cuff tightens.

                       CHRIS
          If you wanna help, you should be looking
          at my knees. I don't know what I did but--

                       DOCTOR HOFFSTADER
          Are you a smoker?

                        CHRIS
          No, ma'am.

                       DOCTOR HOFFSTADER
          Do you drink?

                       CHRIS
                 (charming)
          Only when I'm thirsty.

                       DOCTOR HOFFSTADER
          170 over 110.

                       TAYA
                 (concerned)
          Jesus Christ Chris...
                             (03.18.14)                        59.


                            CHRIS
               Is that high?

                            DOCTOR HOFFSTADER
               Not if you just had 14 cups of coffee.
               But for someone who is sitting down--

                            CHRIS
               I'll look into it. Thanks doc.

     He's smiling but his tone quiets her. She overstepped.


77   INT. TRUCK, SOUTHBOUND FREEWAY - DAY                      77

     CHRIS is weaving through rush-hour traffic.

                            CHRIS
               You sabotaged me back there.

                            TAYA
               What am I supposed to do. You're not
               talking. You act like it's all okay--

                            CHRIS
               It is okay. I'm fine.

                            TAYA
               You're not fine. Your blood pressure--

                            CHRIS
               Babe, I'm driving down the freeway, it's
               sunny and 72 degrees. I'm fine. But there
               are people dying over there and I look
               around and it's like it's not even
               happening. It's barely on the news, no
               one talks about it. No one cares. And if
               I stay too long I'll forget about it too.

                            TAYA
               Chris--

                            CHRIS
               We're at war and I'm headed to the mall.

     She looks pained, ready to cry--

                            CHRIS
               I don't belong here. I can't help anybody-

     She's arching in the seat, MOANING as her water breaks.

                            TAYA
               --it's happening--
                             (03.18.14)                          60.


                            CHRIS
               Oh shit--

     Chris swerves from the SOUTHBOUND FAST-LANE across the
     dirt median and into the NORTHBOUND FAST-LANE.

                            TAYA
               What're you doing!

                            CHRIS
               I'm going back.

     Dust kicks up. Horns blare. He's speeding north.

                            TAYA
                      (laughing and crying)
               --oh my god, you're crazy! You're fucking
               crazy you know that?

     A look between them like spilled sunlight. He reaches and-

                                                 TRANSITION TO:

     Taya grips his hand. Her WAILING SCREAMS fall silent and--


78   INT. DELIVERY ROOM                                          78

     Taya stares blankly at Chris. He thinks he lost her.
     Then-- A SMALL CRY breaks the tension. Taya gasps.

     THE BOY lands in Chris' arms covered in vernix and blood.

                            CHRIS
               My little man...

     He holds him to the light and relief pours over him.

                            CHRIS
               Look at our boy. Look what we did.
                      (nuzzles close to her)
               I love you, baby. We made it--

     He holds his family close as BEDOUIN MUSIC SWELLS--

                                                        FADE TO:

     A THERMAL IMAGE. Cross-hairs on MARINES emerging from
     tall grass. A SHOT FIRED. A MARINE FALLS. An Arabic
     sickle & sword appears over the image. We are--
                                (03.18.14)                      61.


79   INT. DEN, CHRIS' HOUSE, CORONADO, CA - NIGHT               79

     PAN ACROSS an Iraqi parcel on the coffee table. FIND
     CHRIS staring at the TV, livid, lit by Christmas lights.

                            TAYA (OC)
               The baby is crying. I thought you were--

     Chris lunges for the remote as another KILL SHOT PLAYS.

                            TAYA
               Don't bother turning it off, I already
               watched it.

     He looks up at her, holding Colton.

                            TAYA
               I had to make sure you didn't have an
               Iraqi girlfriend sending sexy videos.

     He lightens, touching her, eyes drifting back to the TV.

                            CHRIS
               This sniper is recording his kills.
               Mustafa. They sell these in the street.

                            TAYA
               That day we were on the phone--

     Chris nods, it was him.

                            TAYA
               You're not protecting me by not talking
               about it.

                            CHRIS
               I don't want you thinking about it. I
               don't need you worrying.

                            TAYA
               My imagination is so much worse than
               anything you could tell me--

                            CHRIS
                      (cutting her off)
               No, it's not. They're savages.

                               TAYA
               Chris--

                            CHRIS
               They're fuckin savages.

     His blood pressure pulses on his unyielding face..
                               (03.18.14)                        62.


                            TAYA
               It's not about them, it's about us.
                      (hands him baby)
               You have to make it back to us.

     Her eyes trail off him as she steps into the kitchen.

     Chris holds his son, taken with his ruddy innocence. Then
     the BEDOUIN MUSIC swells, his arms tighten around his
     son, and his eyes are drawn back to Mustafa.

                              "SECOND TOUR"


80   EXT. AL TAQADDUM AIRBASE, IRAQ - DAY                        80

     The tail of a C-17 draws down. YOUNG MARINES file off
     leaving CHRIS, squinting into a dirty sunset as he tucks
     his ring away like he's stowing part of himself.

                            MASTER CHIEF MARTIN
                      (sharp-nosed, fit)
               Welcome home, Petty Officer Kyle. Colonel
               Jones is waiting. How was the flight?

                            CHRIS KYLE
               Slower than Christmas.

     Chris is following him toward a Blackhawk when--

                            CHRIS
               Can you give me a second--?

                            MASTER CHIEF MARTIN
               The colonel is waiting--

     Chris is already striding across the tarmac toward--

     A SQUAD OF MARINES

     Loading onto a C-17 weary, injured, heading home. JEFF
     KYLE doesn't see Chris until he has hands on him.

                              CHRIS KYLE
               Hey, grunt--

     Chris shakes him and pulls him into his arms.

                              JEFF
               Chris?

     Jeff is slow to react, like he can't see past the
     atrocity branded on back of his eyeballs.
                        (03.18.14)                       63.


                       CHRIS KYLE
          Y'alright? You in one piece?

He looks him over, undamaged but for the eyes.

                       MARINE LCPL
          Let's go, PFC Kyle. Move your ass.

Marines on-board the C-17. Jeff is anxious, shifting--

                       CHRIS
          You okay? Jeff?--

                       JEFF
          I heard you're kickin ass our here. All
          the guys, that's what they say--

Chris fixes Jeff's collar: a tender gesture.

                       JEFF
          You're my hero, bro. Always have been.

                       MASTER CHIEF MARTIN
          Lets go, Kyle. Colonel's waiting--

                       JEFF
                 (swollen with emotion)
          The Legend...

The four massive turbo-engines on the C-17 kick-on.

                       JEFF
                 (over deafening noise)
          I'm gonna miss my ride.

                       CHRIS KYLE
          What happened?

                       JEFF
          I'm just tired, man. I'm--
                 (swallows it)
          I'm going home.

                       CHRIS
          I'm proud of you. You hear me?

He can't hear shit over those fans.

                       CHRIS
          Dad too. He's proud of you.

                       JEFF
          Fuck this place--
                              (03.18.14)                         64.


                             CHRIS
                       (can't hear him)
               What?

                            JEFF
               Fuck this place.

     Chris ignites with rage at what they did to his brother.


81   INT. BLACKHAWK - DAY                                        81

     LT. COLONEL JONES is a clear-eyed Ivy grad: the new-
     school leadership changing of the guard.

                            COL. JONES
               You made Chief. Congratulations.

                            CHRIS KYLE
               Thank you, sir.

                            COL. JONES
               Gronski's gone. A lot of top-brass are.
               We're working off a new playbook now.

     The Blackhawk lifts off, ZOOMING across the desert floor.

                            COL. JONES
               I've studied insurgencies for the last
               decade. I know every stone thrown since
               before the first century. These wars are
               won and lost in the minds of our enemy.

     He hands over an AQI BOUNTY POSTER with an illustration
     of a SNIPER RIFLE and GALLIC CROSS and a reward.

                             COL. JONES
               That you?

     Chris rolls his sleeve, showing his Gallic Cross tattoo.

                            COL. JONES
               You're now the most wanted man in Iraq.

                            MASTER CHIEF MARTIN
               That's $80,000 on your head.

                            CHRIS KYLE
               Don't tell my wife, she might take that
               number right about now.

                            COL. JONES
               I understand you wanted to put together a
               direct-action squad to hunt The Butcher.
                               (03.18.14)                        65.


                              CHRIS KYLE
                 Yes, sir.

                              COL. JONES
                 We plugged the rat-hole that is Fallujah
                 and flushed them into Ramadi. We got some
                 intel indicating his area of operations.

     As they cross the Euphrates the SLUMS OF RAMADI are laid
     out before them like a blanket of chaos.

                              COL. JONES
                 I want you to put the fear of God in
                 these savages, and find his ass.


82   INT. OP SEC TENT, SHARK BASE - NIGHT                        82

     CHRIS stands in front of Team Three, armed with a 60-inch
     monitor and a TuffBook. They're chanting, "Power-point."

                              CHRIS
                 You guys know how I hate this shit so
                 shut your traps. Our target is Amir
                 Khalaf Fanus aka The Butcher.
                        (clicks first slide)
                 We'll be heading in under cover of
                 darkness, sector P13, north of the river--

     They're cracking up. He turns to see his slide has been
     hijacked with A PHOTO OF HIS BACHELOR PARTY; the "best
     men" pose with a spray-painted groom. They look so young.

     Chris turns back to his men and, for a moment, their
     smiling faces appear immortal in the feeble light.

     TIME FADE

     Brief finished, TEAM THREE file out past Chris--

                              BIGGLES
                 You give good power-point, Legend.

     --grabbing ass and cracking jokes until one remains.

                              MARC LEE
                 Is this thing bulletproof?
                        (holds Chris' Bible)
                 You never open it so I assumed...

                              CHRIS KYLE
                 God, country, family, right?
                             (03.18.14)                       66.


                            MARC LEE
               You got a God?

                            CHRIS KYLE
               You getting weird on me?

                            MARC LEE
               We had this electric fence around our
               property in Oregon and us kids used to
               see who could grab it and hang on the
               longest. War feels like that, it puts
               lightning in your bones, makes it hard to
               hold on to anything else.

                            CHRIS KYLE
               You need to sit this one out?

                            MARC LEE
               I just wanna believe in what we're doing--

                            CHRIS KYLE
               Evil lives here, we've seen it.

                            MARC LEE
               It lives everywhere--

                            CHRIS KYLE
               You want to invite these motherfuckers to
               come fight in San Diego? Or New York?
               We're protecting more than this dirt.

     Marc adopts his zeal, letting it fill him.

                            MARC LEE
               Hooyah then. Lets go kill this fucker.

     He bangs out. Chris is alone. Lightning in his bones.


83   OMITTED                                                  83


84   OMITTED                                                  84


86   OMITTED                                                  86


87   EXT. STREET/NEAR FAHIMA HALAL - PRE-DAWN                 87

     Neon shimmers across wet empty streets. TEAM THREE
     trundle past shops largely unbombed. TONY checks his GPS--
                             (03.18.14)                         67.


                            TONY
                      (whisper-mic, pointing)
               This building, any apartment on the east
               side, will look down Fahima Halal.


88   INT. HALLWAY, 4TH FLOOR, BUILDING - CONTINUOUS             88

     TEAM THREE push to a door. Biggles has a cat-claw, ready
     to breach-- A BABY CRIES behind the door. Chris waves
     them off. Another door.

                            CHRIS
                      (whisper-mic)
               Breacher-up.

     BIGGLES is ready to wedge the cat-claw when he sees keys
     hanging from the door. He grins and simply opens it--


89   INT. CORNER APARTMENT, SIXTH FLOOR                         89

     A modest apartment. TEAM THREE have seated the family;
     A PROTECTIVE FATHER hugs his BOY(6) as his WIFE frets.

                            CHRIS
               Tell em they won't be leaving till we do--
                      (hands Terp a photo)
               Ask if they seen him.

     TERP TRANSLATES, showing a PHOTO OF THE BUTCHER.

     LOOKING OUT WINDOW

     The RESTAURANT BELOW is boarded up with painted metal.

                            BIGGLES
                      (Hall & Oates song)
               --Private eyes, we're watching you,
               watching your every move...

                            "D"
               Why a restaurant?

                            MARC LEE
               Big freezers.

     Marc turns away, leaving them to wonder.

                            CHRIS
               Let's keep eyes on it get pictures of
               anyone coming and going.

     Biggles watches Chris collapse onto his ruck-sack.
                             (03.18.14)                         68.


                            BIGGLES
               Fucking Chief Nappy-nap.

     A challenging smile. Chris flips him off.

                            "D"
               Got some nice rugs up in here.
                      (thumbs up to Father)
               This shit is hand-knotted. Beautiful.

     Surveillance rolling, Chris closes his eyes.


90   OMITTED                                                    90


91   OMITTED                                                    91


92   TIME CUT - LATER                                           92

     In darkness, CHRIS bolts upright then sees his guys by
     the window. He joins them. Despite rolling blackouts,
     light is visible around plywood on Fahima Halal windows.

                            CHRIS
               What do we got?

                            MARC LEE
               16 military aged males have gone in.

                            CHRIS
               Sixteen?

                            BIGGLES
               They serve more customers than McDonalds.

                            MARC LEE
               And check this.

     ON DIGI-CAMERA, ZOOMS ON PHOTO of The Butcher entering--

                            CHRIS
               He still inside?

                            MARC LEE
               I'm only clocking one point of entry.
               He's in there, but it's no easy breach.

                            BIGGLES
               When they see it's The Legend they'll
               probably just invite him in--
                          (03.18.14)                        69.


                       CHRIS
          You got a problem? I didn't promote
          myself.

                       BIGGLES
          No, I did it for you. You'd never have
          made Chief if I nicknamed you "The Myth".

Chris snaps Biggles down, wrestles him into a choke.

                       "D"
          Myth becomes Legend when we occupy a
          house, get 23 kills, and 21 are his.

                       TONY
          Enough. It's everybody's Navy.

Chris releases him. Biggles is coughing.

                       BIGGLES
          --naw, it's Legend's Navy now. Just hope
          he leaves some for the rest of us.

                       CHRIS
          Hash out tactics. We go at zero-dark. And
          Big Giggles is making the coffee.

Biggles is flipping him off when the FATHER SPEAKS:

                       TERP
                 (translates)
          He invites you to join him for Eid al-
          Adha supper. He says -on this day
          everyone has a seat at my table-.

Chris nods dubious gratitude, meeting the Father's eyes.

                       CHRIS
          Tell him that's very generous of him.

DINING ROOM - LATER

A braised head of lamb eaten clean. TEAM 3 are chowing
down, in good spirits, as Chris watches THE FATHER teach
his SON to read. He is moved by their connection and
acutely aware of what this war is costing him.

That's when he sees-- (ECU) "SHOOTERS STRAWBERRIES" on
father's elbows. They're red and calloused, like his own.

Chris darkens, stands and slips down the hall--

BEDROOM - MOMENTS LATER
                                (03.18.14)                       70.


     CHRIS searches the closet, ripping through clothes,
     pressing wall panels. He's crossing to the bed when--

     FLOORBOARDS CREAK beneath the rug underfoot. He stands
     there, shifting his weight, floor creaking.

     DINING ROOM/HALLWAY

     BIGGLES is shoveling food in his mouth when a hand stops
     him. Chris signals, no more. FATHER'S eyes flick up as--

     CHRIS RIPS THE FATHER out of his chair, dragging him down
     the hall by his hair. WIFE and KIDS screaming. "D" holds
     them off as-- Chris dumps the father at a STASH HOLE in
     the floor. Inside, a CACHE OF AKs, RPGs, IED components.

                            CHRIS
               Tell him he's gonna be shipped off for
               detention and the Iraqi courts can decide
               what to do with him-- or he can help us
               get inside that restaurant down there.

                            MARC LEE
               That's a bad move--

                            BIGGLES
               He's our breech. He's a fucking way in--

                            MARC LEE
               If something happens--

                            BIGGLES
               He's AQI man, look what he's holding.

                            CHRIS
               It's his choice. Tell him.

     The Terp translates. Father reacts, pale with defiance.


93   EXT. FAHIM HALAL - NIGHT                                    93

     THE FATHER shuffles up the dusty street toward us--

                            "D" (VO)
               Approaching the door...

     IN ADJACENT ALLEY

     CHRIS, MARC LEE and "D" waiting...

                              "D"
               10 meters...
                                  (03.18.14)                     71.


     BACK ALLEY

     TONY and BIGGLES watching...

                                 "D" (VO)
                  5 meters...

     SNIPERS NEST

     DAUBER watches with cross-hairs.

                               "D" (VO)
                  He's knocking...

     AT THE DOOR

     A sliding grate opens and--

                               "D" (VO)
                  They're vetting him.

     GUARD'S POV

     FATHER attempts to alert the Guard, nodding to the TWO
     MEN in robes at the oil drum. Guard doesn't see it--

                                 "D"
                  Hold. Hold--

     CHRIS POV (N/V)

     As the door opens, the GUARD comes into view--

                                 "D" (OS)
                  Now.

     Chris fires and the GUARD'S HEAD explodes. FATHER dives
     for Guard's weapon, FIRING BACK at Chris when--

     GUNFIRE FROM INSIDE shreds him. He folds forward, dead.

     TWO MEN in robes (TONY & BIGGLES) rush the door tossing
     grenades, pulling the father out as the GRENADES EXPLODE.

     CHRIS, MARC LEE and "D" push inside--


94   INT. FAHIM HALAL - NIGHT                                    94

     A smoky banquet hall. GUNFIRE lights from far wall. A man
     we recognize as THE BUTCHER is ushered through a doorway.
                           (03.18.14)                       72.


                          CHRIS
                    (keys mike)
             We have eyes on the target. Flushing them
             out the back--

IN THE ALLEY

TONY and BIGGLES are posted in the alley, waiting.

                          BIGGLES
                    (keys mike)
             Negative. Nothing yet.

BANQUET HALL

CHRIS and COMPANY push through the doorway the Butcher
passed through, but it's not an exit. It is--

KITCHEN

An IRAQI MAN is hung up by a chain, the majority of his
skin carved off, still alive. A walk-in freezer ahead.

                          CHRIS
                    (to "D")
             Help him--

                          MARC LEE (OC)
             Down here.

Stairs lead down into darkness. Chris follows him into--

AN UNDERGROUND TUNNEL

A naked bulb illuminates a tunnel stretching to darkness.

                          CHRIS
                    (realizes; keys mike)
             They're coming back up! Watch your six--

THE TUNNEL DETONATES. Dirt and debris explode at them.

BACK ALLEY

BIGGLES and TONY are posted up. The RADIO STATIC--

                          BIGGLES
             --I can't hear you. Say again.

BEHIND THEM

TEN INSURGENTS pour out of another building, circling
back toward Biggles and Tony.
                           (03.18.14)                       73.


KITCHEN

CHRIS and MARC LEE bowl in, panicked, covered in dirt.

                          CHRIS KYLE
             Move.

"D" turns from a WALK-IN FREEZER full of bloody parts.

                          "D"
             Big freezers.
                    (sickened, following)
             Fuck--

SNIPER NEST

DAUBER SEES INSURGENTS approaching Biggles--

                          DAUBER
             Biggles! Watch your six. Roadies on you--

He starts downing them but more seep out downrange.

BACK ALLEY

BIGGLES and TONY are banging away but outgunned when
CHRIS, MARC LEE and "D" steps out, laying down fire.

                          CHRIS
             Pull back! Loading--

                          BIGGLES
             Got you.

Biggles is slaying combatants. Precise and deadly.

                          BIGGLES
             RPG!

AN RPG burns down the alley, screaming between them and
EXPLODES INTO SNIPER NEST. As dust clouds the night--

THE BUTCHER

Slips through smoke, shooting his way to a getaway truck.

                          CHRIS
             Contact. Eyes on The Butcher. 12 o'clock.

MORE INSURGENTS, push up the alley, covering him.

                          CHRIS
                    (keys mike)
             Dauber? You got visual? Confirm.
                             (03.18.14)                          74.


     SNIPER NEST

     Dauber struggles from under debris.

                            DAUBER
               Negative. No shot--

     CHRIS

     Advancing along the wall. The Butcher jumps into a truck.

                            CHRIS
               He's on the move. Crossing!

     Biggles side-steps into the street, attracting fire,
     downing MULTIPLE INSURGENTS as--

                            BIGGLES
               Got you. Got you. Go, go, go--

     Chris dodges behind him, running into the next street
     (parallel with truck) hoping for a shot--

     NEXT INTERSECTION

     As Chris arrives, the GETAWAY TRUCK roars past a block to
     the north. He continues at a dead-sprint but--

     At next intersection, he's lost more ground. He halts,
     sucking wind, GALLIC CROSS TATTOO visible on his forearm.

     ABOVE (LOOKING OUT)

     A YOUNG SHADOW stands in the window, watching the soldier
     below. She picks up an old Nokia Cellular, dialing--


95   INT. MUSTAFA'S ROOM, UNKNOWN BUILDING                       95

     Incense wafts over oiled components of a DRAGUNOV SNIPER
     RIFLE laid out on a prayer rug. A CELL BUZZES and is
     answered. A few words and-- HANDS ENTER FRAME, assembling
     the rifle. The metallic snap-and-slide escalating as we--

     PAN TO the wall, the GALLIC CROSS depicted beside a
     sniper rifle on a faded CHRIS KYLE BOUNTY POSTER there.

                                                         BACK TO:

     TIRE FIRES spit tendrils of black smoke. We are--
                                (03.18.14)                      75.


96   EXT. FAHIM HALAL - NIGHT                                   96

     A four way intersection, neighbors pouring into streets.
     An angry crowd hoists the FATHER'S BODY in the air as a
     MESSIANIC TRIBAL LEADER riles them with chants. THE SON
     stands up-front, small hands fisted, glaring at CHRIS.

                            CHRIS
                      (can't take eyes off son)
               I offered his father detention. I gave
               him a choice--

                            MASTER CHIEF MARTIN
               He picked the wrong fucking side. That's
               all there is to it. Fog of war.

     THE CROWD growing in tension and number.

                            PFC ALVAREZ
               Sir, we have armed insurgents moving this
               way. We need to make tracks.

                            MASTER CHIEF MARTIN
                      (hops in Bradley)
               Helluva an effort here, Chief. You keep
               after this bastard. We'll get him.

     As they roar off, Chris pulls Terp over to the TRIBAL
     LEADER whose SHOCKING GREEN EYES reflect firelight.

                            CHRIS KYLE
               Tell him this boy's father was fighting
               for the people that butchered the clerics
               we found in the freezer in there.

     DISTANT ALLEY

     A flutter of robes. A rusty gate pushed open by an OLD
     MAN. Mustafa slips past, brushing the man's shoulder in
     thanks. Breath in cadence with step, his head turns up--

     Smoke plumes into night, their signal leading him ahead.

     CHRIS/TRIBAL LEADER

     Terp translates, Tribal Leader responds violently--

                            TERP
               - This is our territory. If you want to
               come here, you ask me. If you want to
               find someone, I find them-
                        (03.18.14)                          76.


                       BIGGLES (OC)
                 (atop Humvee, on the .60)
          Fuck `em. Let's go. Shit's getting hairy.

                       CHRIS KYLE
                 (to Tribal Leader)
          If I ask for your help you're the one
          they carve up next. I've seen it happen.

A crowd of 300 chanting, as Terp translates.

ALLEY

TWO MEN stand by a 12 foot wall. A dark shape sprints
toward them. One man kneels, the other braces him. The
reflective swoosh catches light as--

Mustafa runs up the man's back, leaping onto the wall.

CHRIS/TRIBAL LEADER

Tribal Leader rages, crowd at his back, eyes on fire--

                       TERP
          -I am the seventh son of Isaac of
          Abraham. This is the land of my father,
          and I am not afraid.- He says your evil
          is greater than those you fight. He calls
          you white satan, devil of Ramadi.

Venom peels across Chris' face and makes it appear true.
A Nike swoosh reflects from a near rooftop.

NEARBY ROOFTOP

Nikes cross gravel. Mustafa kneels. Unfolds his bi-pod.

CHRIS/TRIBAL LEADER

                       CHRIS KYLE
          You tell him to deliver The Butcher to
          us, or the devil comes back.

MUSTAFA SCOPE POV

CROSS-HAIRS TRACK past smoke blown sideways, trash
gusting-- FIND CHRIS as he turns for the Humvee. Cross-
hairs leading him, compensating for windage.

As he pauses his exhale-- THE FATHER'S BODY is hoisted in
the air. Mustafa tries to adjust as his SHOT RINGS OUT--
                             (03.18.14)                          77.


97   EXT. HUMVEE (PULLING AWAY)                                  97

     THE ROUND HITS the shield. BIGGLES fires at the rooftop.
     Bullets strafing night as the Humvee door closes and they
     roar off. A PUNISHER SKULL drawn in grease on his shield,
     gleams in the moonlight. Mustafa's shot struck the
     Punisher in the eye. PUSH ON the teeth of the logo and--

                                                     DISSOLVE TO:

     CHRIS' LONG FINGERS pressed to the glass. SFX: his breath
     rattles quietly over following scenes. We are--


98   EXT. MATERNITY WARD, SAN DIEGO                              98

     CHRIS stares into the nursery window where his NEWBORN
     DAUGHTER CRIES. The air thick and dreamlike around him.

                            TAYA (VO)
               The news is saying the war is over.

                            CHRIS (VO)
               It's not over.

                            TAYA (VO)
               But are we winning?

                            CHRIS (VO)
               I don't know...

     TWO NURSES walk past his daughter. Chris bangs on the
     glass, trying to get their attention.

                            CHRIS
               Hey, some help here-- She's crying--

     He pounds the glass. The nurses don't hear him. SFX: THE
     MECHANISTIC BUZZ of power-tools overwhelms the scene--

                                                 TRANSITION TO:


99   INT. JIFFY LUBE - DAY                                       99

     PAN ACROSS GUMBALL MACHINES and TOY DISPENSERS on the
     wall. The POWER TOOLS whining as COLTON(3) holds a toy,
     pissed it's not the one he wanted.

                            COLTON
               But I want that one--
                        (03.18.14)                         78.


                       CHRIS
                 (the air still thick, his
                  words spoken from afar)
          You don't get to choose, bubba.

                       COLTON
          But I don't like it! I want that one--

THE DRILL BUZZES in the garage. Chris' nerves fraying.

                       CHRIS
          You get what it gives you. That's how
          this thing works.

Colton melts to the floor crying. CUSTOMERS looking now.

                       CHRIS
          Don't do this. Get up. Come on--

THROUGH VIEWING WINDOW-- THE MAN with the drill is
visible. Dark hair like The Butcher, turning toward us--

                       RECEPTIONIST (OC)
          Chris Kyle, your truck is ready.

                       CHRIS
                 (snaps-to; to Colton)
          Get off the floor. Right now--

                       MAN'S VOICE (OC)
          Excuse me, sir.

A YOUNG MAN steps too close. Chris rears up, defensive.

                       YOUNG MAN
          Are you... "Chief" Chris Kyle?

                       CHRIS
          That's me.

                       YOUNG MAN
          Sorry to intrude, sir, but we met in
          Fallujah. You saved my life.

                       CHRIS
          Did I--?

                       YOUNG MAN/VETERAN
          Yes, sir. My name is Mads. We were
          trapped in a house when you showed up
          with 1st Marines. You carried me out.
                        (03.18.14)                          79.


                       CHRIS
                 (lifetimes ago, but)
          Yeah. Right. Well, you Marines saved our
          ass plenty out there. How you holding up?

                       MADS/YOUNG VETERAN
          Great, sir. I'm grateful to be alive. It
          hasn't been easy but--

He lifts his pant-leg and shows an ARTIFICIAL LEG.

                       MADS
          It cost lots of guys more than a leg.

                       CHRIS
          Did you lose some friends?

                       MADS
          That too, but I'm talking about guys that
          lived. They made it back but they're just
          not back. They can't seem to get right.

DRILL STARTS UP again. Chris glances that direction.

                       CHRIS
          Yeah, I-- I'm sorry to hear that.

                       MADS
          You should come down to the VA sometime.
          The guys would love it. They all know who
          The Legend is.

Chris nods like he never will. Mads kneels to Colton.

                       MADS
          I bet you missed your daddy when he was
          gone. But can I tell you something? Your
          dad is a hero. He saved my life--
                 (eyes well up)
          He helped me get home to my little girl.

Colton looks up at his dad who swells with emotion. OTHER
CUSTOMERS watching now, captivated.

                       MADS
          So thank you for loaning him to us, li'l
          man. I wouldn't be here without him.

Mads stands and comes to attention, saluting Chris.

                       MADS
          My family thanks you for your service.

Chris bites back emotion, nods, and walks out.
                                 (03.18.14)                       80.


100   INT. NURSERY                                              100

      A pink cocoon of a room. Taya sits in a rocker, breast-
      feeding their daughter, MCKENNA. She's gentle, imploring--

                             TAYA
                I'm making memories by myself. I have no
                one to share them with.

                             CHRIS
                We have the rest of our lives for that.

                             TAYA
                When does that start? Even when you're
                here you're not here.

      Taya pulls McKenna off her breast. Chris scoops her up.

                             TAYA
                I hate the teams for it. I do. You're my
                husband and the father of my children--
                but they're the ones that pull you back.

                             CHRIS
                       (doesn't look up from his
                        daughter)
                We can wait. They can't.

      A long pause...

                             TAYA (OC)
                If you think this war isn't changing you
                you're wrong.

      He looks up and POV CHRIS-- Taya sits in her rocker on
      the side of a ROAD IN RAMADI, destruction all around her.

                             TAYA
                You can only circle the flame so long.

      SCORE BUILDS, a steely guitar over tribal drums.

                             "THIRD TOUR"

      A TRUCK speeds past a burnt rocker in the street. We are--


101   INT. TRUCK, RAMADI - DAY                                  101

      PUNISHER SKULL stenciled on flack jacket, CHRIS mans a
      suspended MK48 swinging where a passenger seat should be.
      A skull bandanna and sunglasses cover his grizzled face.

      The Punishers--
                          (03.18.14)                        81.


                       BIGGLES
                 (keys mike)
          --we are tailing the Butcher's courier,
          turning onto Maryland Street. Over.

BIGGLES DRIVES, trailing a BROWN VAN. The city goes from
light to shadow as they enter a built-up section called--

THE CHINESE APARTMENTS

                       BIGGLES
          I bought the ring.

                         CHRIS
          Here?

                       BIGGLES
          They're cheaper here.

                       CHRIS
          You want some savage's ring? What if it's
          a blood diamond?

                       BIGGLES
          What the fuck do you care? You spilled
          more blood than anyone!

                       CHRIS
          Not for a rock.

                       BIGGLES
          Whatever, man.

                       CHRIS
          Ease off, don't get too close.
                 (the van turns ahead)
          You gonna tell her where it came from?

                       BIGGLES
          Hell no! I'll tell her I got from Zales.

They're laughing, off the leash, cocky and invincible.

A BLOCK BACK - HUMVEE FOLLOWS

MARC LEE drives. "D" rides shotgun. DAUBER in back.
Uniforms bastardized; metal blasting in broad daylight.

                       BIGGLES (OS)
                 (over radio)
          Still with us cookie?
                        (03.18.14)                          82.


                       "D"
                 (keys mike, checking GPS)
          Half a block back and we are wet and
          ready, Big Giggles.

                       MARC LEE
          20 years from now, we'll have a reunion
          and you'll be married to a dude.

                       "D"
          As long as you cook and clean.

DAUBER sits in back, shaking his head.

UNDERCOVER TRUCK

STREET SPOTTERS reach for their cell phones. Chris glares
at them, ominous in skull mask, flipping the bird.

                       CHRIS
          The Butcher has his peepers out.

                       BIGGLES
          This motherfucker is Keyser Söze. Next
          time you got a shot try not to miss.

                       CHRIS
          I coulda taken him in that alley if I
          didn't have to save your ass--

                       BIGGLES
                 (accelerates)
          Whatever helps you sleep at night.

ON A ROOFTOP

A BAREFOOT TEENAGER races across gravel, aims a RIFLE
down at the taxi with The Punisher symbol--

UNDERCOVER TRUCK

                       BIGGLES
          You gonna be my best man?

                       CHRIS
                 (still masked)
          Is it just me? Or other guys too?

                       BIGGLES
          You fucking egomaniac--

A ROUND pierces the roof and goes through the floorboard--
                                (03.18.14)                          83.


                             BIGGLES
                Rooftop, twelve-o'clock--

      SIX INSURGENTS pop up on a rooftop, firing. Chris leans
      into the .60 spitting lead in pneumatic bursts.


102   INT. MUSTAFA'S APARTMENT - SAME                           102

      A dry hand spins   a SNIPER ROUND on a tabletop. It wobbles
      to a stop facing   the man who set it in motion-- MUSTAFA,
      head-on. A messy   beard and thousand-yard stare. Haunted
      but unrelenting,   he spins the round again.

      An IRAQI WOMAN appears, shushing an infant. She says
      something to Mustafa but he doesn't respond. A phone
      vibrates. He grabs a duffel and steps out. By the door, A
      PHOTO OF MUSTAFA on a medal stand at the Olympic Games.


103   INT. UNDERCOVER TRUCK                                     103

      Biggles speeds after the van, taking fire from above.

                             CHRIS
                Get me a shot, grandma.

      Biggles stomps the accelerator, whips around a corner--

      A SHORT STRAIGHTAWAY

      CHRIS BLASTS 200 ROUNDS (MK48) into the van; pulverizes
      the thing and watches it hiss to a stop.

                             BIGGLES
                That should do it.

      COURIER bounds out of the van, diving into a building.

                             CHRIS
                What the fuck!? How'd he survive--

                             BIGGLES
                Rubber junk-man's got your horseshoe.

      They roll out in pursuit. The Humvee pulls up. Inside--

                             "D"
                       (into mike)
                --need a two block perimeter around the
                area. No one gets in or out.
                               (03.18.14)                         84.


104   EXT. DISTANT ROOFTOPS                                      104

      MUSTAFA crosses rooftop-to-rooftop with fluency.


105   INT. HALLWAY, APARTMENT COMPLEX                            105

      BLOOD DROPLETS lead to a door. Biggles kicks-in.


106   INT. APARTMENT - CONTINUOUS                                106

      Biggles and Chris dance around each other like smoke.

                              BIGGLES
                Clear.

      An open window. Stairs climb the wall outside.

                             CHRIS
                       (keys mike)
                We're headed to the roof. Secure the van.

      THE VAN

      DAUBER and TONY cover MARC LEE and "D" as they open the
      back of the van. Inside, flats of RED CLAY TILES.

                             "D"
                The Butcher is building a 7-11?

      Marc rips off the top layer, finds: 200,000 ROUNDS AMMO.

                             MARC LEE
                No ammo, no jihad.

      ROOFTOP

      Drying sheets billow on crisscrossing wires. Chris tracks
      blood-drops to the ledge. The next roof 15 feet off.

                             BIGGLES
                How the hell'd he make that?

                              CHRIS
                He didn't--

      Two stories below, COURIER lays face down in his mess.

                             BIGGLES
                So much for leading us to the Butcher.

                             CHRIS
                So much for him having my horseshoe.
                        (03.18.14)                         85.


Chris pulls his mask down. He has a beard and the sturm
und drang of war are writ loud on his face.

DISTANT BALUSTRADE

MUSTAFA lays prone, mumbles a prayer and takes two deep
breaths before putting his eye to the scope.

MUSTAFA SCOPE POV

CROSS-HAIRS TACK to fluttering sheets, the wind revealed
in their billow. TWO FIGURES are cloaked there,
indistinguishable heads peaking over laundry lines.

He aims left-and-above the head closest to him.

ON THE ROOF

Chris and Biggles stand among the billowing sheets.

                       CHRIS
          She'll take it to Zales and try to find
          out how much your spent.

                       BIGGLES
          She's not like that.

                       CHRIS
          They're all like that.

                       BIGGLES
          It's giant, bro. Four karats. It had to
          belong to one of Saddam's bitches--

Chris is laughing when he sees a FLASH OF GLASS in the
distance. Before he can utter a warning--

A GUNSHOT SOUNDS

The bullet flays the muzzle of Biggles M4. Shrapnel
enters his face. Biggles goes down in a red mist--

                       CHRIS
          No!--

The right side of his face is a pulpy cavity. His eye
socket obliterated. He appears mortally wounded.

                       CHRIS
                 (dives on him, keys mike)
          Biggles is down. Man down.
                 (pulls Biggles close,
                  chiseled with grief)
          No, buddy. No! Stay with me--
                                (03.18.14)                        86.


      He drags him one way, then another. He can't see past the
      blood-spackled sheets. A SHOT pocks the roof at his feet.

                             CHRIS
                       (keys mike)
                Cover! I need cover. He's picking us off.

      ANOTHER SHOT inches from his head. They are being hunted.

                             BIGGLES
                       (gargled)
                I'm got it. I got it-- I can walk--

      Biggles pulls himself up, tilting his head forward to not
      choke on his own blood. With heroic effort, he stumbles
      to the stairs. Chris, stunned he's alive, ducks an arm--


107   EXT. STREET                                                107

      TWO MARINE UNITS provide cover as the Humvee speeds off.


108   INT. HUMMER                                                108

      MARC LEE drives. DAUBER applies gauze to hold Biggles
      face on. CHRIS kneels there, holding his hand.

                             BIGGLES
                       (gargling blood)
                --I'm sorry--

                             CHRIS
                You got nothing to be sorry for. I
                shouldn't have had us up there--

                             BIGGLES
                Am I gonna die?

      Chris looks to Dauber--

                             DAUBER
                We'll rub a little dirt in it, get you a
                sip of water, you'll be fine.

      Dauber shakes his head, he's not going to make it.

                             BIGGLES
                --it was always gonna be me--

                             CHRIS
                Coulda been any of us. Just hang on--
                              (03.18.14)                          87.


                             BIGGLES
                Not you. Not the Legend. You lucky fuck--

      His body goes into shock. Chris comes unwound.

                             CHRIS
                Don't die, Ryan. You hold on--


109   INT. MEDICAL TENT                                          109

      LOW ANGLE- plywood floor littered with needles, blood and
      latex gloves. A cart is rushed past. MEDICAL PERSONNEL
      shouting, "we're losing him." The picture pulses, blurs--


110   EXT. MEDICAL TENT                                          110

      THE PUNISHERS stand around the Humvee, still as a photo.

                             "D"
                Did you see where it came from?

                             CHRIS
                He was 1000 meters out. Only one enemy
                sniper makes that shot.

      A jeep pulls up. COLONEL JONES and MASTER CHIEF MARTIN
      step out.

                             COL. JONES
                Will he make it?

      Chris turns away, choked up.

                             DAUBER
                Doesn't look good, Master Chief.

                             MASTER CHIEF MARTIN
                That's the first SEAL hit, sir.

                             "D"
                Fuck!

      The sun high.

                             COL. JONES
                A Shi'a cab driver we source is saying
                there's a stronghold seven doors down.

                             MASTER CHIEF MARTIN
                Marine units that covered your exfil are
                still engaged there.
                                (03.18.14)                        88.


                             COL. JONES
                I can understand if you want to stand-
                down and regroup. It's up to you.

      The wind blows.

                             MARC LEE
                Lex talionis...
                       (looks up)
                Eye for eye, tooth for tooth.

      They all agree.

                             CHRIS
                We're going back.


111   EXT. STREET, RAMADI                                       111

      METALLICA, "Master of Puppets" blasts as an M1A2 ABRAMS
      TANK speeds 45 mph down a street, bad as fuck. TWO
      BRADLEY TRANSPORT vehicles follow.

      A CAR pulls into the road ahead. INSURGENT PASSENGER
      leans out, FIRING AN RPG. It explodes across the tank but
      does no damage. Tank still coming, Insurgents pull away--

      But the tank catches them. Treads climbing the back of
      the car, overtaking it. INSURGENTS are trying to get out,
      screaming, as steel folds around them and flattens them.

      And the ABRAMS vaults off the other side--


112   INT. BRADLEY TRANSPORT VEHICLE                            112

      THE PUNISHERS. Ears pinned back. Metal blasting. Amp'd to
      kill. FIND CHRIS consumed by rage; he pulls the BIBLE and
      AMERICAN FLAG out and sets them aside. This is personal.

                             MARC LEE
                Two clicks out. Lock and load.

      He glances at Chris, feeding off him. They all are.

                               CHRIS
                For Biggles.

      IN THE STREET

      The tank skids to a stop. The turret spins to a castle-
      like structure and BA-BOOM!
                             (03.18.14)                     89.


THE PUNISHERS pour out of their Bradleys, rolling in both
directions, arcing toward the point of entry--

THE COURTYARD

Punishers pour in. FOUR INSURGENTS lay dead, dispatched
by the tank. Zero resistance.

                          MARC LEE
             Courtyard is clear. Moving.

                          CHRIS
             Some stronghold. Move.

DAUBER and TONY follow them up a crumbled staircase--

LONG HALLWAY

Ominously still. Sunlight spills through grated windows
facing the street. Chris and Marc move to the first door--

FIRST ROOM

A sleeping mat. A TV plays an Al Jazeeri game show. Marc
pushes toward the bathroom, coming around the corner---

BATHROOM

The faucet runs on a straight-razor.

                            MARC LEE
             Clear.

FIRST ROOM

MARC steps back in, golden dust motes float around him.

                          MARC LEE
             Somebody left in a hurry.

                          CHRIS
                    (keys mike)
             You sure we got the right address--

CANON-FIRE HITS the outer-hallway from across the street.
Brrrrrb-Brrrrb!! Rounds banging with seismic force.

                            DAUBER (OS)
                      (from hallway)
             Fuck--

TIME SLOWS as Chris bounds toward the door. Marc Lee gets
there first, steps through it, into--
                              (03.18.14)                          90.


      LONG HALLWAY

      GUNFIRE RAINS through grated windows. The hall is coming
      apart in dusty chunks of plaster.

      DAUBER and TONY are pinned between windows. MARC LEE
      steps to the nearest window to lay suppressive fire.

                             MARC LEE
                Contact--

      GUNFIRE STRAFES IN AT AN ANGLE, HITTING MARC LEE IN HIS
      OPEN MOUTH. HE'S BLOWN BACKWARDS, HITTING THE WALL AND--

      MARC LEE is down. Blood pooling. A forever stare.

                             CHRIS
                Marc--

      CHRIS is staggered but his training takes over and he
      steps into the same window, BLASTING FIRE.

      DAUBER is trying to intubate Marc but the back of his
      head is gone. He was dead before he hit the wall.

      THE ABRAMS TURRET SPINS. THE CANON BOOMS. THE EARTH
      TREMBLES AS THE BUILDING ACROSS THE STREET IS FLATTENED--

                                                    TRANSITION TO:

      The trembling is the turbulence. We are--


113   INT. C-17 GLOBEMASTER (IN FLIGHT) - NIGHT                  113

      In dim red-glow, FIND BIGGLES in a tented gurney, stable
      but critical; his head caved in. CHRIS stares ahead--

                             MARC LEE'S MOM (VO)
                "Glory is something some men chase and
                others find themselves stumbling upon."

      REVERSE TO MARC LEE'S CASKET draped in stars and stripes.


114   EXT. FORT ROSECRANS NATIONAL CEMETERY - DAY                114

      A pasture of tombstones overlook the Pacific. CHRIS, with
      a chest-full of medals, stands with TAYA, COLTON(4) and
      MCKENNA(2). TAYA watches MARC'S WIFE weep as--

      MARC LEE'S MOM reads his LAST LETTER HOME:
                              (03.18.14)                          91.


                             MARC'S LEE MOM
                "My question is when does glory fade away
                and become a wrongful crusade?"

      CHRIS HEARS MARC'S VOICE:

                             MARC LEE (VO)
                "When does it become an unjustified means
                by which one is completely consumed."

      COLTON reaches for his father's hand. Chris jumps,
      startled. He looks at Colton, then Taya. He's caught with
      his guard down and it appears he may let them in...

      But he quickly returns his gaze to the flagged casket.

      CLOSE ON CASKET

      NAVY SEALS bang their Tridents into the coffin. A hollow
      thump, like fists trying to revive a heart.


115   INT. TAYA'S CAR (MOVING) - LATER                           115

      San Diego traffic. THE KIDS chatter in back. CHRIS
      drives, in a fugue-state when he spots--

      A BROWN VAN, four cars back, same as the one in Ramadi.

                             TAYA
                Marc wrote that letter two weeks ago. Did
                he say any of that to you?

      VAN ROARS up the turning lane. It's pulling alongside
      them. Chris grips the wheel, ready-- the van roars past

                             TAYA
                Chris? I want to know what you thought of
                his letter...

                             CHRIS
                       (slow, absent)
                An AQI informant called in a tip. Biggles
                had just been shot. We were operating off
                emotion and-- we walked into an ambush.

      The kids grow quiet. The air sucked from the car.

                             CHRIS
                But that's not what killed him. That
                letter did. That letter killed Marc.
                       (looks to her)
                He let go and he paid the price for it.
                              (03.18.14)                         92.


      Taya turns away, wrecked. They drive in silence.


116   INT. BEDROOM - NIGHT                                       116

      TV lights the dark room. NEWS GRAPHIC: "Americans killed
      in Iraq: 3932". CHRIS and TAYA talk to the ceiling.

                             CHRIS
                If something ever happened to me-- you'd
                meet someone else. You'd be alright.

      His detachment is unearthly.

                             TAYA
                Do you want to die? Is that what it is?

                             CHRIS
                No.

                             TAYA
                       (cheeks shine with tears)
                Then tell me why do you do it. I want to
                understand.

                             CHRIS
                I do it for you. To protect you.

                             TAYA
                No you don't. I'm here. Your family is
                here. Your children have no father--

                             CHRIS
                Without this, there's nothing.

                             TAYA
                Bullshit. It's not about us anymore. You
                don't know when to quit. It's over-
                       (violent)
                You did your part! We sacrificed enough.
                Let somebody else go--

                             CHRIS
                I could never live with myself.

                             TAYA
                You find a way! You have to. I need you
                to be human again. I need you here.
                       (no response, she calms)
                If you leave again, we might not be here
                when you get back.

      It startles him and he seems suddenly alert to her
      suffering. He reaches for her, holding her to his chest.
                               (03.18.14)                         93.


                              CHRIS
                 I know.

       Her eyes sink into a well of ruin.


116A   OMITTED                                                116A


117    INT. NAVY HOSPITAL, SAN DIEGO - DAY                        117

       A DUST MOTH flutters around the wall sconce. Wilted
       flowers and "get-well" cards cover the windowsill.

                              CHRIS
                        (enters)
                 Hey, buddy--

       BIGGLES lays in bed. Part of his head caved-in and badly
       marred, one eyelid open on a milky-white eyeball.

                              BIGGLES
                 Chris? Where are you?

                              CHRIS
                 I'm right here just give me a minute--
                        (hobbles around the bed)
                 Just blind as a bat, huh?

                              BIGGLES
                 Yeah... It fucking blows. They're gonna
                 fix my face though.

                              CHRIS
                 That's good. Your face always needed a
                 little fixing.

       Chris sounds upbeat but his eyes betray him.

                              CHRIS
                 I heard you proposed? Did you tell Kelly
                 the diamond was from Zales?

                              BIGGLES
                 Naw, I bought a new one. A small one. Her
                 dad helped me out.

                              CHRIS
                 Nice.

                              BIGGLES
                 She wouldn't leave me, bro. I told her to
                 go-- but she wouldn't leave.
                              (MORE)
                              (03.18.14)                    94.

                             BIGGLES (CONT'D)
                       (voice cracking)
                She's getting a raw fucking deal.

                             CHRIS
                No she's not. How can you say that? She's
                getting you.
                       (eyes welling up)
                All four inches.

      Biggles laughs and tears roll from his vacant eye.

                             BIGGLES
                I'm glad this happened to me and not you.
                No way you could've handled it.

                             CHRIS
                You're probably right.

      There is a pause.

                             BIGGLES
                They say you're the deadliest sniper in
                U.S. Military history.

                             CHRIS
                Is that what they say?

      Biggles grows quiet.

                             CHRIS
                The bad guys fled up into to Sadr City.

                             BIGGLES
                You're not going back?

                             CHRIS
                We're gonna wall `em in and hunt `em
                down.

                             BIGGLES
                You don't have to do this.

                             CHRIS
                Yes I do. You're my brother and they're
                going to pay for what they did to you.

      His mind made up. Biggles moved by it.

                             BIGGLES
                Hooyah, Legend. Hooyah--


118   OMITTED                                               118
                                 (03.18.14)                       95.


119   OMITTED                                                   119


120   OMITTED                                                   120


121   OMITTED                                                   121


122   OMITTED                                                   122


123   OMITTED                                                   123


124   INT. C-17 GLOBEMASTER -    DAY                            124

      75 Marines packed in. CHRIS hobbles up the isle like
      Achilles. His import draws the attention of soldiers he
      passes. He settles into a seat. Across from him--

                             MARINE LT.
                The Legend, right? I heard you killed 101
                men your last tour. The hajis call you
                The Devil of Ramadi.

      Chris removes his wedding band, hangs it from his
      necklace.

                             MARINE LT.
                So how many kills you got now?

                             CHRIS KYLE
                You have to ask the Navy. I lost count.

      His reserve silences the Lieutenant. ENGINES ROAR as--

                                "FOURTH TOUR"


125   OMITTED                                                   125


126   OMITTED                                                   126


127   EXT. FOB COWBOY - DAY                                     127

      This base feels like a remote outpost. CHRIS and "D" walk
      past a boneyard of charred vehicles.
                        (03.18.14)                         96.


                       "D"
          We been shot off position three nights in
          a row. Fallujah was bad, Ramadi was worse
          but this shit is fuckin biblical.

                       CHRIS
          Any other Punishers here?

                       "D"
          Squirrel cycled out. Dauber was coming
          back but his wife knocked him up. And if
          I bring home another rug my old lady'll
          murder my ass. Teams and shit.

                       CHRIS
                 (nostalgic)
          Teams and shit.

                       "D"
                 (a beat)
          That Biggles news hit hard.

                       CHRIS
          I know. I visited him before I left. That
          fucker can't see shit.

                       "D"
                 (stops walking)
          Bro... Biggles is gone. He was in surgery
          yesterday and he died on the table.

Chris stares at him, ruined, waiting for him to take it
back. SFX: A PHONE RINGS thousands of miles away as--

CHRIS SCOPE POV

CROSS-HAIRS track along Jamila street, past cranes
assembling the T-wall that will stretch across the city.

The phone stops ringing, VOICEMAIL picks up.

                       TAYA VOICEMAIL (VO)
          -This is Taya, I can't get to the phone
          so please leave a message.

A car pulls into an intersection, ominous in inactivity.
Dust blows sideways off its halted tires.

                       CHRIS MESSAGE (VO)
          It's me. I'm just calling to hear your
          voice. I'm missing you guys. I been
          thinking about some things you said.
                              (03.18.14)                          97.


      The car disappears down a side-street. CROSS-HAIRS linger
      at that spot, knowing the routine.

                             CHRIS MESSAGE (VO
                Tell the kids I love them.

      AN INSURGENT darts out, flips the sight-finder on an RPG.
      Mirage boils off the street, same as dust, 45 degrees.

                             CHRIS MESSAGE
                I love you too.

      CROSS-HAIRS compensate left for windage. A SHOT RINGS
      OUT. Red mist. CROSS-HAIRS scan the sector, they won't
      leave an RPG. Finally, ANOTHER FIGURE runs out--

      A YOUNG KID

      No older than Colton. He grabs the RPG, shoulders it.
      CROSS-HAIRS zero on him, center-mass. SFX: Chris'
      heartbeat bangs like a 800lb hammer. Not again.

                             CHRIS (OC)
                Don't do it--

      CROSS-HAIRS tremor as Chris' hands start to shake.

                             CHRIS (OC)
                --please God--

      Young Kid takes aims and-- suddenly discards the RPG in
      the street and runs off.

      CHRIS

      He rolls off the gun, gasping for air, biting back tears.
      After nearly a decade of war he's finally breaking down.


128   INT. OP TENT - DAY                                        128

      Wind batters the tent. A squad of 16 SPEC OPS GUYS from
      different branches study a map with--

                             MASTER CHIEF MARTIN
                Brass believe this T-wall will end the
                war by trapping remaining AQI inside. But
                we got a sniper picking off contractors
                from deep behind the wall.

                             CHRIS (OC)
                How deep?

      Every man looks to the back wall where Chris stands.
                              (03.18.14)                          98.


                             MASTER CHIEF MARTIN
                Roughly 1000 meters.

                             CHRIS
                Is it Mustafa?

                             RANGER ONE
                Moo-who?

                             "D"
                The sniper who shot our boy Biggles.

      That's a warning. Ranger One backs off.

                             MASTER CHIEF MARTIN
                He can be whoever you need him to be, we
                just need him dead.

      Chris nods, eyes ablaze. Martin points to a map, south of
      the wall is green, north of wall is red.

                             MASTER CHIEF MARTIN
                       (points to red-zone)
                We'll shuttle you six blocks north into
                enemy territory which will put you right
                up under his nose when he takes his shot.

      Storm winds blast the tent flap open--

                             DELTA SNIPER
                In the middle of a fucking sandstorm?

                             MASTER CHIEF MARTIN
                Bring your goggles, Bambi. We need to
                shut this shooter down.


129   EXT. FORWARD OPERATING BASE                                129

      A Stryker rumbles out, headed across the desert floor.


130   INT. STRYKER                                               130

      CHRIS sits up front, eyes drawn to an OLD MERCEDES
      speeding across the desert toward them. A train of dust
      plumes behind it. As the vehicles pass-- (ECU) TWO IRAQI
      MEN in the Mercedes hide their faces behind keffiyehs.

                             CHRIS
                What was that--

      Chris whips around in his seat but can't look back.
                                 (03.18.14)                       99.


131   EXT. GUARD POST - CONTINUOUS                               131

      MARINE GATE-GUARD studies the approaching OLD MERCEDES.

                                MARINE GATE GUARD
                          (keys mike)
                   This is east gate. We've got an unknown
                   vehicle coming up fast.

      Guards roll out, guns up. Mercedes skids to a stop
      outside the serpentine barriers. Dust blooms from it.

                                MARINE GATE GUARD
                   Get out of the car! Now--

      INSIDE MERCEDES

      TWO IRAQI MEN eye the guards. THE DRIVER mutters
      something to the passenger and pops the trunk--

      GUARD POST

      GUARDS, lit with urgency, react as-- BOTH MEN STEP OUT of
      the Mercedes, hands in air, circling toward the trunk.

                                GATE GUARD
                   Step away from the car!

                                GATE GUARD #2
                          (FIRES WARNING SHOT)
                   --move for the trunk you will be shot.

      GUARDS POV

      THE TWO IRAQI MEN duck behind the trunk. After a
      painfully long moment, they reemerge with--

                                GATE GUARD (OC)
                   Drop it! Right there! Drop him now--

      They drop A MAN BOUND in blood-smeared plastic. GUARDS
      BARKING orders. THE DRIVER unwinds his scarf to reveal--

      MESSIANIC TRIBAL LEADER (shock green eyes) who confronted
      Chris in Ramadi; the one tasked with finding The Butcher.

                                TRIBAL LEADER
                          (in Arabic)
                   Tell the devil we found his Butcher. We
                   will protect ourselves now.

      He waits for response. Guns stay on him. The wind howls.

      CLOSE ON BUTCHER
                              (03.18.14)                         100.


      Beaten to within an inch of his life. Bloody plastic
      suffocates his mouth as he tries to inhale.


132   EXT. SADR CITY - AERIAL SHOT - MOMENTS LATER               132

      The Stryker speeds up a side-street into insurgent
      territory (north of wall). Next street over, PACKS OF
      INSURGENTS push south, toward the construction site.


133   EXT. STREET, SIX BLOCKS NORTH OF T-WALL - DAY              133

      Stryker slows. Boots hit dirt, silently slipping into--


134   EXT. BANANA FACTORY, SIX BLOCKS NORTH OF T-WALL - DAY      134

      PUSH UPSIDE a five story building. Bombed-out walls
      reveal conveyors and fruit lockers inside.

      ROOFTOP

      An open rooftop, RANGER ONE is concealed under a vent as
      INSURGENTS pass in droves in the street below.

                             RANGER ONE (OS)
                The streets are crawling. Hold your fire.

      Across the roof, "D" on a .50 BMG looking at the MILE-
      WIDE SANDSTORM pushing toward Baghdad.

                             "D"
                Enter the fuckin sandman.

      CHRIS

      3rd floor. In a fruit locker. Breath racing. Hands
      tremoring. Electricity coursing through him.

      Gun pointed north, Chris searches nearby buildings for
      the sniper. PUSH BEHIND HIM, SIX-BLOCKS SOUTH to--

      T-WALL

      A CRANE lowers a T-block. ARMY ENGINEERS guide it in.

      ENEMY CROSS-HAIRS ENTER FRAME (REVERSE ANGLE)

      ARMY ENGINEERS in the street signal success and ANOTHER
      ENGINEER scurries up the neck of the crane to release the
      chain. The cross-hairs track the MOVING ENGINEER and--
                        (03.18.14)                         101.


BOOM! A shot echoes across the landscape and TOPPLES THE
ENGINEER from the crane. He lands dead in the street.

CHRIS

Hears it, pulls off the gun, looking behind him.

                       CHRIS
          No--
                 (keys mike)
          It came from behind us. We went the wrong
          way. He's south of the wall.

                       RANGER ONE (OS)
                 (over mike)
          Doesn't matter. Hold your fire. We got
          uglies right below us--

Chris repositions himself, FACING SOUTH-- he lowers his
eye to glass, bleeding sweat, aiming toward Baghdad.

CHRIS SCOPE POV (BOTH EYES VIEW)

CROSS-HAIRS track to distant rooftops. Everything wobbles
and fumes. Trash blows, fronds sway, curtains flap,
mirage boils-- all gusting different directions.

Almost by accident, he lands on an IMPOSSIBLY SMALL
SHAPE. Person? A bag of trash? Or nothing at all. As
small as a pepper-flake inside the radius of his scope.

                       CHRIS (OC)
                 (into mike)
          I got something. 1900 yards out.

                       RANGER ONE (OS)
          You can't even see that far out. Hold
          your fire. You'll expose us all.

He twitches and wobbles off-target by a city block.

                       "D" (OS)
          He's right, Legend. No bueno.

CROSS-HAIRS tracking back, measuring between mil-
reticals, calculating for distance. Back on target:

                       CHRIS (OC)
          Correction. 2100 yards out.

                       "D"
          That's a mile. Impossible shot.
                            (03.18.14)                     102.


                           CHRIS (OC)
                  (beat)
           It's him.

ENEMY SNIPER HIDE

THE SNIPER is covered in a black Hefty bag disguising his
presentation, and identity. Ready to kill again.

                        CHRIS (OS)
                  (over radio)
           This is Charlie 7 Bravo. We have eyes on
           the target. Initiate QRF. Over.

                        "D" (OS)
           Can you confirm it's him.

ON CHRIS

Trying to breathe it down, please god, breathe it down--

                        CHRIS (OS)
           He has eyes on our guys.

                        RANGER ONE (OS)
           Quick Reaction Force is 20 minutes out.
           You will stand the fuck down--

Chris scoops dust off the floor and watches with his off-
eye, as it blows off his palm and plumes outward.

                        "D"
           It's your call, Chris.

SNIPER SCOPE POV

CROSS-HAIRS track to the cluster of MARINE ENGINEERS.

CHRIS' SCOPE POV

CROSS-HAIRS wobble on the dark shape a mile away.

                        "D" (OS)
           If you got it, take it.

                        RANGER ONE (OS)
           Negative, negative--

                        CHRIS (OC)
           Aim small. Aim small.

We zero-in on a small fold on that black bag. SFX: A LOW
FREQUENCY BUZZ escalates as concentration deepens.
                          (03.18.14)                       103.


CLOSE ON SNIPER

Face obscured, a PRAYER HISSES from his bearded mouth.

CLOSE ON CHRIS

Both eyes open, a PRAYER WHISPERS across his lips.

                         CHRIS
          For Biggles.

CLOSE ON SNIPER/CLOSE ON CHRIS

SFX: Thump-thump....Thump-BAM!

Chris fires first. The shot echoes across eternity. One,
two, three seconds later. A red-mist paints the wind.

THE SNIPER tumbles off his platform and out of view.

                         CHRIS KYLE
          Tango down.

The world rushing back in, he hears INSURGENTS below.

STREET BELOW FACTORY

INSURGENTS point up at the building, yelling, rushing in--

ROOFTOP

Chris bangs onto the roof, shaken, joining a 6 MAN SQUAD.

                       RANGER ONE
          You just fucked us, Legend--
                 (screams into mike)
          We need Stryker and QRF units, ASAP.

                       CHRIS KYLE
          He was on our boys and I took him out.

                       RANGER ONE
          We are fucked like a football bat.

                       "D"
          Mission accomplished. Biggles be proud.

A look between them, fully aware of what comes next.

SIDE VIEW (FACTORY)

INSURGENTS clear the second floor, bounding toward--

ROOFTOP
                        (03.18.14)                        104.


CHRIS and Squad set-up firing stations.

                       CHRIS
          There are two ways onto the roof. We
          cover both stairways and conserve ammo.

Muted nods all around. Footsteps coming. This is it.

                       "D"
          If you FNGs shit your pants, don't stop
          shooting. Scoop and shoot. Scoop and--

GUNFIRE POPS behind them. MARINE GUNNER lights it up.

                       CHRIS
          Conserve--

OPPOSITE DOOR bangs open across the roof. Chris hammers
the INSURGENT but he keeps coming, drugged up. TWO MORE
roll out behind him, on the same glue.

This is close-quarter contact, visceral and savage.

IN THE STREET

INSURGENTS enter surrounding buildings in droves.

ROOFTOP

Wind kicking up. Ammo running out. Insurgents keep
coming. Worst environment imaginable.

                       RANGER ONE
                 (into mike)
          Negative, negative, danger-close, they're
          all over us--

                       "D"
          Drop motherfucker! Drop!

CHRIS laces bad guys. Pure brutality. They fall at his
feet. Tracers light from the next roof.

                       "D"
          3 o'clock. Loading. Last mag.

                       RANGER ONE
                 (screams)
          QRF is stuck three blocks out.

                       MARINE GUNNER
          I'm out of ammo--
                               (03.18.14)                        105.


      INSURGENTS use rebar to cross from a nearby rooftop. Two
      ways just became three. They're swarming them.

      Hand-to-hand chaos. A bad way to die.

                             RANGER ONE
                I don't wanna get dragged in the street--

                             "D"
                Call it in. Light us up.

      Chris wields his .45, spackled with blood--

                             CHRIS
                Do it. Call in our coordinates.

                             RANGER ONE
                       (keys mike)
                This is Rio Two Bravo, requesting
                ordinance drop. GRID 04837959.
                       (gunfire)
                I know my fucking position! They're right
                on top of us. Drop it!

      RADIO GOES STATIC, he nods, it's done.

                              MARINE SNIPER
                White-side!

      INSURGENTS crossing the gap. Chris pivots--

                                                    TRANSITION TO:

      DRONE FOOTAGE of Chris on the roof of the Banana Factory.
      Surrounding streets are filled with bad guys. We are--


135   INT. COMM-OP TENT                                          135

      Wind battling tent. MASTER CHIEF MARTIN stands over a
      NAVY DISPATCH OPERATOR, staring at the footage.

                             MASTER CHIEF MARTIN
                Tell the pilot to turn it loose.

      DISPATCH OPERATOR looks up, realizing what's happening.


136   EXT. F-18 HORNET                                           136

      PILOT looks to his wing as STINGER MISSILES engage.

                             PILOT
                3-4, copy that. 30 seconds out.
                         (03.18.14)                        106.


ON THE ROOFTOP

TWO DOZEN insurgents surround them on the rooftop. CHRIS
waits till a guy gets right up on him and-- BAM!

                        "D"
          You're up--

"D" trades the SATELLITE PHONE for Chris' Springfield.

                       CHRIS
          --you got four rounds.

In their exchange, an unspoken goodbye. Then--

Chris struggles to dial, hands shaking. IT RINGS. He
squints north. RINGS AGAIN. F-18 rocketing toward him--

                        TAYA (OS)
          Hello?

Chris is stunned. She answered. He's speechless.

                        TAYA
          Hello?

                       CHRIS
                 (struggles)
          Hey baby--

                       TAYA
          Chris-- What's the noise?

Wind howls. F-18 closing.

                       TAYA
          I can't hear you--

                       CHRIS
          I'm ready to come home. I'm ready...

She starts crying. The F-18 almost upon them.

                       TAYA
          What's happening--

                       CHRIS
          --I'm coming home. Can you hear me?

                        TAYA
          Chris--

F-18 seconds out. Chris looks up and sees--
                        (03.18.14)                         107.


THE SANDSTORM

Has shifted. A tsunami of dirt is about to swallow them.

F-18 RAPTOR

THE PILOT flying into the storm. Sensors screaming. He
can't hold his line. 4, 3, 2-- He pulls up early.

ROOFTOP

HELLFIRE MISSILES scream over the Banana factory and
EXPLODE INTO the next building. Fire and dirt engulf
them. The blast recedes but the sand-storm escalates.

                       CHRIS
          Go, go, let's move--

He leads "D", RANGER ONE and FOUR OTHERS across the roof.
They stumble past INSURGENTS, blinded by sand.

STREET BELOW

CHRIS and SQUAD stagger into HOWLING CHAOS, clinging to
each other, trailing Chris as GUNFIRE POPS behind them.

                       CHRIS
                 (choking, into mike)
          Stryker-3, what's your location--

AN INSURGENT is blown right into them. "D" wrestles his
gun away and beats him with it.

                       CHRIS
          Hold there! We are 30 seconds out--
                 (pointing ahead)
          Go. Straight ahead. Go--

They run for their lives. Unable to see two feet ahead.
Sand shredding their skin. Chris is struggling--

Squad passing him. Knees failing him. He can't keep up.

INT. STRYKER

THE GUNNER stares at REMOTE WEAPONS SCREEN when SIX
FIGURES EMERGE from the dust. He's about to fire--

                       GUNNER
          BDUs-- That's them! Drop the ramp.

The ramp drops. STORM HOWLING. RANGER-ONE dives in,
MARINES follow, then "D" rolls in. The rig pulls off.
                                (03.18.14)                       108.


                               "D"
                  Where's Chris? He was just--

      IN THE STREET

      Chris falters forward. Insurgents pursuing. The Stryker
      just visible ahead-- pulling away.

      IN THE STRYKER

      M2 GUNNER can't see shit on his monitor.

                               "D"
                  --stop the rig, man! Stop--

                               DRIVER
                  I don't see him--

      IN THE STREET

      Chris is   ten feet behind the rig, sprinting. Bullets sing
      past. He   sheds flack-jacket and webbing, Bible and flag.
      He drops   his gun in the dirt and dives. His hand clutches
      the last   rung of slat-armor and--

      Chris Kyle is dragged off the battlefield.

      IN THE STREET

      Sand buries the METALLIC TOY SOLDIER that followed him
      since childhood. Wind whips pages of the Bible and pulls
      at the flag until it flaps unfolded. WE'RE BLOWN AWAY
      with it, twisting and clapping into an otherworldy beige.

      IN THE STORM

      We catch glimpses of the city below: graffiti'd T-walls,
      a cracked expanse of desert floor and the lanky body of
      an enemy sniper splayed across a rooftop.

      Wind rips the Hefty bag away and sand pocks the DEAD FACE
      OF MUSTAFA-- before we're swept up into the howling rage.

                                                        LONG FADE:


137   OMITTED                                                    137


138   OMITTED                                                    138


139   OMITTED                                                    139
                                  (03.18.14)                   109.


140    OMITTED                                                 140


140A   INT. AIRPORT BAR - NIGHT                               140A

       CHRIS sits hunched at the bar, his eyes track patrons and
       staff (ECU) their hands, torsos, eyes. HIS PHONE RINGS.

                              CHRIS
                        (into phone)
                 --hello?

                              TAYA (OS)
                 Where are you? I got a weird message that
                 you were on a plane?

       He can HEAR THE KIDS in the background.

                              CHRIS
                        (into phone)
                 Yeah, I got out early.

                              TAYA (OS)
                 So are you in Germany, or--

                              CHRIS
                 I'm here, I'm stateside.

                              TAYA (OS)
                 You're home? What are you doing?

                              CHRIS
                        (looks around for answer)
                 I guess I just needed a minute.

                              TAYA (OS)
                 Chris, the kids are dying to see you.
                 It's been nine months.

                              CHRIS
                 Yeah, I know... Me too. I'm coming.

                              TAYA (OS)
                        (pause)
                 Are you alright?

                              CHRIS
                 Yeah. I'm good.

                              TAYA (OS)
                 Then come home. We miss you.

       He nods silently, listens to his kids.
                               (03.18.14)                         110.


                              CHRIS
                 Okay.


141    OMITTED                                                    141


141A   INT. KYLE HOME                                           141A

       CLOSE ON- the back of Chris' head. He watches a WAR MOVIE
       on TV. As CAMERA CIRCLES the room, we glimpse THE MOVIE;
       an injured soldier calls for help amid shocking gunfire.

       TRACKING BEHIND THE TV, we see Chris' wrought face and a
       household bustling around him. COLTON carries party
       plates outside, MCKENNA fights to get cowboy boots on and-

       TAYA CALLS to him from the kitchen but we can't hear her
       until the CAMERA TRACKS to HER POV-- the gunfire is gone,
       the TV IS OFF. That war movie is playing in his head.

                              TAYA
                 Chris...?

       He finally looks up, slick with sweat, affecting calm.


142    EXT. BACKYARD - DAY                                        142

       Streamers twist against gunmetal sky. COLTON and MCKENNA
       set up birthday decorations. The family dog, A PYRENEES
       SHEEPDOG, bounds about. TAYA AND CHRIS, on back steps.

                              TAYA
                 --his game is Saturdays. He's the tallest
                 kid on the team. The doctor said he could
                 be six-four. I can't wait for you to see
                 him play. Maybe you could even coach?

       Chris looks past his kids, looking a thousand yards out.

                              TAYA
                 McKenna's about to lose that tooth and
                 I'm worried she's going to swallow it.
                 She said she'd let you pull it. But only
                 you.

       His head falls. When he looks up--

       COLTON'S BIRTHDAY PARTY UNDERWAY

       6 YEAR OLDS and PARENTS mill around but all WE HEAR--
                              (03.18.14)                         111.


                             TAYA (VO) (CONT'D)
                I wish you'd talk to me, Chris.

      COLTON AND TWO FRIENDS chase each other around the yard.

                             TAYA (VO) (CONT'D)
                I just feel this dark space between us
                and I don't know how to reach you.

      THE SHEEPDOG jumps on the back of COLTON'S FRIEND. The
      boy goes down hard, gets up crying, running from the dog.

      The Sheepdog does it again. THE BOY FALLS AND HIS CRYING
      is cuts into scene. THE BOY'S MOM runs over. His back
      clawed up.

                             BOY'S MOM
                Get him off! Get away--

      Chris rips the dog off by its collar. The dog snaps at
      him and in an instant he whips out his .45 to shoot it.

                             TAYA (OC)
                No! He's a puppy. He doesn't know!

      Chris looks up, bent with animus, and he's looking at the
      face of his children, their friends, and their parents--

      They look at him, terrified. He releases the dog. Lost.


143   OMITTED                                                    143


144   OMITTED                                                    144


145   OMITTED                                                    145


146   OMITTED                                                    146


147   OMITTED                                                    147


148   INT. VETERAN'S HOSPITAL - DAY                              148

      Harsh light. Water-stained walls. CHRIS looks beaten,
      afraid and dubious of this BUTTONED-DOWN DOCTOR.
                              (03.18.14)                         112.


                             DOCTOR
                Maybe you saw things, or did some things
                over there that you wish you hadn't--

                             CHRIS
                That's not me.

                             DOCTOR
                What's not you?

                             CHRIS
                I was just protecting my guys. They were
                trying to kill our soldiers and-- I'm
                willing to stand before my creator and
                answer for every shot I took.
                       (struggles)
                The thing that haunts me are all the guys
                I couldn't save.

                             NAVY DOCTOR
                You want to save more guys, walk down any
                hall in this hospital. We got plenty
                soldiers that need saving.
                       (pulls prescription pad)
                I'm going to recommend Zoloft and--


149   OMITTED                                                    149


150   EXT./INT. REC ROOM                                         150

      CHRIS steps to a window looking in on TEN YOUNG VETERANS
      sitting around a TV; wounded, edgy, in need. A legless
      Marine with a jelly-roll face looks up; this is "WYNN".


151   EXT. SHOOTING RANGE, UNIDENTIFIABLE LOCALE - DAY           151

      CHRIS kneels before WYNN (wheelchair) who's armed with a
      .300 resting on Chris' shoulder. Wynn takes aim, FIRES--

                             CHRIS
                How's it feel?

                             WYNN
                Feels like The Legend is trying to fuck
                up my shot. Stay still, man.

      Gun on shoulder, Chris is calm, he's found peace. BAM!

                             WYNN
                Bulls-eye, boy! Damn, if that don't feel
                like I got my balls back.
                               (03.18.14)                         113.


       Chris dusts himself off. There's healing here.

                              WYNN
                 Why you spend all this time with us? I
                 know you got a family.

                              CHRIS
                 I heard you had a nice boot collection
                 before the war and--

                              WYNN
                        (laughs)
                 Seriously man. Why do you do it.

                              CHRIS
                 We gotta take care of our own.

       Chris squints into the falling sun and time passes with--

                                                        LONG FADE:


151A   EXT. ROADWAY                                             151A

       The black F350 roars past a "Welcome to Texas" sign on
       the interstate.


152    OMITTED                                                    152


153    EXT. KYLE HOME - MIDLOTHIAN, TEXAS - DAY                   153

       A residential neighborhood. Texas flags wave from stoops.
       CHRIS and COLTON carry boxes inside. "MAX THE SHEEPDOG"
       bounds along with them and never leaves Chris' side.

       BEDROOM

       Chris enters to find Taya has placed his old COWBOY BOOTS
       at the foot of the bed. He takes a seat and looks down at
       the combat boots on his feet. He bends to unlace them--


153A   EXT. PASTURE, TEXAS - DAY                                153A

       A pale Stallion gallops through prairie grass. Chris and
       McKenna admire it from a rustic fence. Her pink cowboys
       boots kick Texas dust onto his old boots.
                               (03.18.14)                         114.


153B   INT. BATHROOM, KYLE HOME - DAY                            153B

       Chris is showering when Taya sneaks in and flushes the
       toilet. He howls at the scalding water and she's
       laughing, rushing for the door when-- he lunges out and
       grabs her, pulling her in with all her clothes on.


154    OMITTED                                                    154


155    OMITTED                                                    155


156    EXT. FIELD - DAWN                                          156

       Under a watercolor dawn, CHRIS leads COLTON across a
       prairie, hunting rifle on shoulder, teaching as they go.
       THE SCORE BUILDS and follows them into morning.




157    INT. KYLE HOUSE - DAY                                      157

       Dust motes drift across blades of light falling through
       blinds onto CHRIS. He wears the BELT BUCKLE he won long
       ago, pleated Levis, and twirls an antique six-shooter.

                              CHRIS
                 Get `em up, lil' lady. Hands in the air.

       TAYA is at the window gazing at their kids in the yard.

                              TAYA
                 Can I tell you something.

                              CHRIS
                 Tell it to the judge.

                              TAYA
                 I'm proud of you and I don't say it
                 enough. I feel blessed. You're an
                 incredible father and-- I feel lucky to
                 have my husband back.

                              CHRIS
                 We could lock the doors. They can't get
                 out of the yard.

                              TAYA
                 I know how hard you fought to get here.
                        (03.18.14)                    115.


                       CHRIS
          You're worth fighting for.

She crosses to him, running a hand up his leg.

                       TAYA
          Did you pleat those jeans?

                       CHRIS
          Yes, ma'am. Right up the middle.

                       TAYA
          Well, you're just a regular old cowboy
          again, aren't you?

He kisses her, lifting her--

                       CHRIS
          I meant what I said about locking the
          doors.

                       TAYA
          Aren't you and Chad going to the range?

                       CHRIS
                 (checks watch)
          Not for four minutes.

                       TAYA
          Is that all it takes.

                       CHRIS
          It'll take half that. Then I got two
          minutes leftover just to look at you.

He sways with her, dancing a little two-step.

                       TAYA
          Who are you taking out?

                       CHRIS
          This Marine. His mom does parking at
          school and she asked for my help.

                       TAYA
          Well don't be late for dinner.

COLTON and McKENNA race in, hugging on their dad.

                       COLTON
          Dad, you want to play Skylander? Please--
                               (03.18.14)                         116.


                              CHRIS
                 I gotta go do something but when I get
                 back, okay? But you have to let me win.

                              COLTON
                 No way.

                              MCKENNA
                 Poke the bear--

       McKENNA pokes Chris and he BARKS like a dog.

                              MCKENNA
                 No. You're supposed to roar. Like Grrr.

       She pokes him again and Chris emits a RUMBLING ROAR. She
       giggles and hugs him so he'll save her.

                              CHRIS
                 I should get going...

       He kisses his daughter and tosses his son's hair.

                              CHRIS
                 Look after our women, Bubba.
                        (turns to Taya)
                 Love you, babe.

                              TAYA
                 Love you too.

       Chris kisses Taya and lingers, worshiping her. Dust motes
       drift past and he appears immortal in the bladed light.

       Then--

       He walks out the door for the last time. The house grows
       quiet. Colton plays video games. McKenna colors. The dog
       lays by the door. And Taya stands in the golden light.

                                                   FADE TO BLACK:

        CARD(1): "On February 2, 2013, Chris Kyle was killed by
       a former Marine he was trying to help. He died as he
       lived... looking after one of his own."

                                                      OUT OF BLACK:


157A   EXT. TEXAS HIGHWAY                                       157A

       Rain falls to Randy Travis singing Amazing Grace.
                        (03.18.14)                        117.


ACTUAL FOOTAGE: A funeral procession appears over a
distant ridge. Police escorts lead a white hearse and 300
vehicles down a highway lined with people waving flags.

The last car finally passes. An UNKNOWN CIVILIAN stands
alone in a muddy field saluting a fallen hero.


                                             CUT TO BLACK.

American Sniper



Writers :    Jason Hall
Genres :   Action  Drama


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