conversations.from: human
conversations.value: Do you know the first long scene for a screenplay with the title 'American Sniper'?
conversations.from: assistant
conversations.value: American Sniper
  
  DISSOLVE TO:
  CHRIS' LONG FINGERS pressed to the glass. 
  SFX: his breath rattles quietly over following scenes. We are--
  EXT. MATERNITY WARD, SAN DIEGO
  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:
  INT. JIFFY LUBE - DAY
  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--
conversations.from: human
conversations.value: Do you know another long scene?
conversations.from: assistant
conversations.value: 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.
conversations.from: human
conversations.value: Do you know the last long scene?
conversations.from: assistant
conversations.value: 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.
  Back to IMSDb
conversations.from: human
conversations.value: Do you know the first long scene for the screenplay?
conversations.from: assistant
conversations.value: American Sniper
  
  DISSOLVE TO:CHRIS’ LONG FINGERS pressed to the glass. 
  SFX: his breath rattles quietly over following scenes. We are--
  EXT. MATERNITY WARD, SAN DIEGO9898CHRIS 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. 
  CHRISHey, 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:
  INT. JIFFY LUBE - DAY9999PAN 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)77.CHRIS(the air still thick, his words spoken from afar)You don’t get to choose, bubba. 
  COLTONBut I don’t like it! I want that one--THE DRILL BUZZES in the garage. Chris’ nerves fraying. 
  CHRISYou get what it gives you. That’s how this thing works. Colton melts to the floor crying. 
  CUSTOMERS looking now. 
  CHRISDon’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 MANAre you... 
  “Chief” Chris Kyle? CHRISThat’s me. 
  YOUNG MANSorry to intrude, sir, but we met in Fallujah. You saved my life. 
  CHRISDid I--?YOUNG MAN/VETERANYes, 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)78.CHRIS(lifetimes ago, but)Yeah. Right. Well, you Marines saved our ass plenty out there. How you holding up? MADS/YOUNG VETERANGreat, sir. I’m grateful to be alive. It hasn’t been easy but--He lifts his pant-leg and shows an ARTIFICIAL LEG. 
  MADSIt cost lots of guys more than a leg. 
  CHRISDid you lose some friends?MADSThat 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.
conversations.from: human
conversations.value: Do you know another medium length scene? End with the sentence 'The phone stops ringing, VOICEMAIL picks up.'.
conversations.from: assistant
conversations.value: “D”(a beat)That Biggles news hit hard. 
  CHRISI 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 POVCROSS-HAIRS track along Jamila street, past cranes assembling the T-wall that will stretch across the city.The phone stops ringing, VOICEMAIL picks up.
conversations.from: human
conversations.value: Do you know the last long scene?
conversations.from: assistant
conversations.value: CHRISLook after our women, Bubba. (turns to Taya)Love you, babe. 
  TAYALove 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:
  EXT. TEXAS HIGHWAY157A157ARain falls to Randy Travis singing Amazing Grace. (03.18.14)116.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.(03.18.14)117.
conversations.from: human
conversations.value: What could be a category for this book?
conversations.from: assistant
conversations.value: A category could be 'MemorialED book'