conversations.from: human
conversations.value: What is a description for a book titled Youth about Nobody, Youth, Palme with the genre: Literature & Fiction, Genre Fiction?
conversations.from: assistant
conversations.value: "Nobody else is making such operatic films half so well as the author: Youth makes nearly all the other contenders for the Palme d'Or this year seem to lack conviction." David Sexton, Evening Standard
conversations.from: human
conversations.value: What is the first scene for the screenplay?
conversations.from: assistant
conversations.value: Youth
  
  FADE IN: The two guitar notes float in he re, without developing further. A flowered wall, Englis h style. In front of it is a small table with a m agnificent silv er tea service. A women’s purse, flung by who knows whom, crashes into the tea set. Everythi ng ends up on the floor. The purse tumbles open. It’s empty. After a moment, the Queen's emis sary enters the frame. He is very distraught. He say s in a whisper. 
  QUEEN’S EMISSARY Your Majesty, you nearly hit me! QUEEN ELIZABET H’S VOICE Yes, Mr. Bale, I nearly hit you. The devastated em issary sighs. It’s as if the whole universe were going to hell in a handbag. 39.
  INT. HOTEL RESTAURANT. 
  EVENING The two guitar no tes die softly during this scene. The German couple is silent a gain. They eat ser enely, their eyes never meeting. The hippy moun taineer looks d ejected, as if all his hopes have been dashed as he steals glances at Lena, sittin g with Fred and Mick. She doesn’t ev en notice him. 66.Jimmy Tree is din ing with Mark K ozelek and o ther friends. They’re laughing at Jim my’s perfect imita tion of Marlon Brando. Sushi tonight. Everyone’s using chopsticks. Fred, Mick, and L ena dine in silence. Lena says r outinely. 
  LENA The French called again. They really want to do that book with you... your me moirs, everything about your work, you r life. What shall I tel l them? FRED BALLINGER (reflects) Tel l them... He doesn’t kno w what else to say. Silence. L ena and Mick wait. 
  LENA What? FRED BALLINGER To forget m e! Tell them that. I'm retired! I’m done! With work and life. Mick raises his eyes heavenward, as if he knew this "song" all too well and can’t stand it anymore. 
  FRED BALLINGER (CONT’D) I have nothing to say, and what’s more, I'm n ot interested. 
  MICK BOYLE Will you cut the crap? Your music conveyed su rprising, ne w emotions. 
  FRED BALLINGER But emotions a re overrated too, Mick. Mick throws his chopsticks onto the table. He’s really pissed off. 
  MICK BOYLE You're real ly unbearable when you play the depresse d cynic, Fred. It’s a mystery how I managed to be your friend all these years. 
  FRED BALLINGER You're a man of much patience, Mick.67.MICK BOYLE And you're an idiot. 
  FRED BALLINGER That's for sure! Lena is about to say something b ut Mick cuts her off. 
  MICK BOYLE A book about your work, life your experiences - it would last forever. It would be a help to young musicians, to everyone. It's important... 
  FRED BALLINGER (interrupts hi m) Important!... Preserve your memory for posterity, pass on your know ledge. I've been hearing the same old tune for years now, but it’s just an excuse, Mick, a way of ig noring the r eal problem.
conversations.from: human
conversations.value: What is another scene? Start with the sentence 'FRED BALLINGER Hey Mick'.
conversations.from: assistant
conversations.value: FRED BALLINGER Hey Mick. 
  MICK BOYLE Yeah? FRED BALLINGER Why are we dresse d like this? Mick sniggers.There in that imm ense silence, F red starts rubb ing the candy wrapper in time to s ome inner music. M ick casts a sidelong glance at his friend’s fingers. 
  MICK BOYLE That’s not so great. 
  FRED BALLINGER What? MICK BOYLE The piece you’re playing with that candy wrapper. You’ve done a lot better than that in your lifetime. Now it’s Fred who sniggers a bit. Then he turns serious. 58A.
conversations.from: human
conversations.value: What is the last scene?
conversations.from: assistant
conversations.value: HOSPITAL. 
  DAY... as if he’s seeing her. His w ife Melanie. Sumi Jo’s high note continues in this scene. The camera zooms in slowly on th e hospital mezz anine. A close up of Melanie. Her loose whit e hair, her fac e ravaged by disease, her eyes lost in an abyss, and her mou th open, as if she were singing. 75.
  INT. TH EATER. 
  EVENING A close-up of Sumi J o, mouth open, still hit ting that high note. Fred Ballinger lo oks at her, skillfully hidi ng any emotion. Sumi Jo looks at Fred B allinger. She waits. And, at the crisp closing of his hand, she suddenly, ski llfully, end s that crazy high note. The orchest ra moves to the conclusion. With a sharp, clear movement of his wand, Fred Ballinger brings the mus ic to a close. The orch estra stops. Absolute silence. The world has stopped spinning.110.The Queen’s emissary lets out a huge s igh of relief. It’s over. Jimmy Tree is sit ting upright in his chair, his mouth half- open, as if suspe nded in astonishment and excitement. He waits to see what will happen next. Slowly, with lear ned gestures, F red Ballinger turns toward the audience. No sel f-satisfaction, at least not now. He is impassiv e, a sphinx, a professional. Yes, that’s what he is, a professional. The members of th e audience f an out below him. Their eyes wet, deeply moved. Fred Ballinger, i mperturbable, wait s for them to recover from the emotion. He know s that they need a fe w more se conds for emotion to give way to applause. We know they will applaud, but n ot now. Not yet. And in the silenc e, FADE TO BLACK. Slowly, calmly, the closing c redits begin. Paolo Sorrentino April 2014111.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: HOSPITAL. 
  DAY... as if he’s seeing her. His w ife Melanie. Sumi Jo’s high note continues in this scene. The camera zooms in slowly on th e hospital mezz anine. A close up of Melanie. Her loose whit e hair, her fac e ravaged by disease, her eyes lost in an abyss, and her mou th open, as if she were singing. 75.
  INT. TH EATER. 
  EVENING A close-up of Sumi J o, mouth open, still hit ting that high note. Fred Ballinger lo oks at her, skillfully hidi ng any emotion. Sumi Jo looks at Fred B allinger. She waits. And, at the crisp closing of his hand, she suddenly, ski llfully, end s that crazy high note. The orchest ra moves to the conclusion. With a sharp, clear movement of his wand, Fred Ballinger brings the mus ic to a close. The orch estra stops. Absolute silence. The world has stopped spinning.110.The Queen’s emissary lets out a huge s igh of relief. It’s over. Jimmy Tree is sit ting upright in his chair, his mouth half- open, as if suspe nded in astonishment and excitement. He waits to see what will happen next. Slowly, with lear ned gestures, F red Ballinger turns toward the audience. No sel f-satisfaction, at least not now. He is impassiv e, a sphinx, a professional. Yes, that’s what he is, a professional. The members of th e audience f an out below him. Their eyes wet, deeply moved. Fred Ballinger, i mperturbable, wait s for them to recover from the emotion. He know s that they need a fe w more se conds for emotion to give way to applause. We know they will applaud, but n ot now. Not yet. And in the silenc e, FADE TO BLACK. Slowly, calmly, the closing c redits begin.