conversations.from: human
conversations.value: Give me a plot for a book about Wynant, Nick, Dorothy entitled The Thin Man.. Start with the sentence 'The Thin Man (film): Nick Charles (William Powell), a retired detective, and his wife Nora (Myrna Loy) are attempting to settle down'.
conversations.from: assistant
conversations.value: The Thin Man (film): Nick Charles (William Powell), a retired detective, and his wife Nora (Myrna Loy) are attempting to settle down.\nThey are based in San Francisco but decide to spend the Christmas holidays in New York.\nThere Nick is pressed back into service by Dorothy Wynant (Maureen O\'Sullivan), a young woman whose father was an old client of Nick\'s.\nThe man, Clyde Wynant (the title\'s "thin man"), was supposed to be on a secret business trip and promised to be home before his daughter\'s wedding, but has mysteriously vanished.\nShe convinces Nick to take the case, much to the amusement of his socialite wife.\nIt starts out as a missing person case, but when Wynant\'s former secretary and love interest, Julia Wolf, is found dead, evidence points to Wynant as the prime suspect, but Dorothy refuses to believe that her father is guilty.\nThe detective begins to uncover clues and eventually solves the mystery of the disappearance through a series of investigative steps.\nThe murderer is finally revealed in a classic dinner-party scene that features all of the suspects.\nA skeletonized body, found during the investigation, had been assumed to be that of a "fat man" because it is wearing oversize clothing.\nThe clothes are revealed to be planted, and the identity of the body is accurately determined by an old war wound to the leg.\nIt turns out that the body belongs to a "thin man": the missing Wynant.\nThe double murder has been disguised in such a way as to make it seem that Wynant is the killer and still alive.\nThe real killer is uncovered at the dinner party, before he almost takes the life of someone who knows too much.
conversations.from: human
conversations.value: Give me a plot for a book about Nora, Nick, Charles entitled The Thin Man.. End with the sentence '\nAs they attempt to solve the case, Nick and Nora share a great deal of banter and witty dialogue, along with copious amounts of alcohol.'.
conversations.from: assistant
conversations.value: The Thin Man: The story is set in New York City in December 1932, in the last days of Prohibition.\nThe main characters are a former private detective, Nick Charles, and his clever young wife, Nora.\nNick, son of a Greek immigrant, has given up his career since marrying Nora, a wealthy socialite, and he spends most of his time cheerfully getting drunk in hotel rooms and speakeasies.\nNick and Nora have no children, but they own a female Schnauzer named Asta.\n(In the film adaptation, Asta is a male wire-haired fox terrier) Charles is drawn, mostly against his will, into investigating a murder.\nThe case brings them in contact with a rather grotesque family, the Wynants, and with various policemen and lowlifes.\nAs they attempt to solve the case, Nick and Nora share a great deal of banter and witty dialogue, along with copious amounts of alcohol.
conversations.from: human
conversations.value: Give me the first long scene for the screenplay.. Start with the sentence 'The Thin Man
  
  CLOSEUP OF A CHRISTMAS WREATH'.
conversations.from: assistant
conversations.value: The Thin Man
  
  CLOSEUP OF A CHRISTMAS WREATH.
  The wreath is enormous, and under the conventional greeting: "A MERRY CHRISTMAS", which is in silver across it, there is a current unconventional greeting also in silver, which reads:
  On sound track behind the shot an orchestra is playing gaily. Possibly an arrangement that Lombardo would make on "JINGLE BELLS, JINGLE BELLS". There is also the sound of gay chatter and jingles of many cocktail shakers. 
  NOW CAMERA PULLS BACK TO REVEAL THE BAR OF A SPEAKEASY, or, to be more up to date, the bar of a Biltmore or a Waldorf Astoria Hotel. It was against the glass of the bar that the Christmas wreath was first shown. It is about three o'clock in the afternoon. Almost all of the people sitting on the high stools in front of the bar are women. Several bartenders are shaking cocktails. The music, which, by the way, comes from an adjoining tea dansant room, continues. There is a holiday air about the whole place. A sophistication and a gaiety belonging to thirsty New York of the present moment. 
  CAMERA RUNS DOWN THE LINE OF THE BAR AND HOLDS AT THE END, where a bartender is placing two cocktails on a tray held by a waiter. 
  WE TRUCK ON THE WAITER as he takes the tray into the adjoining room. The room is quite filled with the afternoon tango crowd, and several couples are dancing on the floor. 
  WE HOLD as the waiter stops at a small table along the wall. Dorothy and Andrew are seated there. Dorothy is looking very glum.
  ANDREW (putting his hand on hers) Cheer up, darling.
  DOROTHY I'm sorry.
  Dorothy tries to smile, but it's a dreary attempt. The waiter puts down the cocktails and leaves.
  ANDREW (holds up his glass) Here's to us!
  He drinks his cocktail. Dorothy takes a sip of hers. Andrew goes on talking, trying to get her out of the doldrums.
  ANDREW By this time next year, we'll be two old married people... trimming the tree... hanging up the stockings for the children... (then as she looks up)... well, the child, then.
  Dorothy tries to smile, but she is worried, and cannot enter into his fun. She puts her drink down.
  ANDREW What's the matter, darling... not sweet enough?
  DOROTHY (listlessly) It's all right.
  ANDREW (leaning forward -- serious now) Darling, your father's all right. He'll turn up in time.
  DOROTHY (turns to him -- suddenly distraught) But tonight is Christmas Eve!
  ANDREW He's just forgotten. You know he forgets everything.
conversations.from: human
conversations.value: Give me another long scene.. End with the sentence '
  Guild (to one of the policemen)'.
conversations.from: assistant
conversations.value: GUILD What'd he think it was to you?
  NICK Ask him. I don't know.
  GUILD I'm asking you.
  NICK Keep on asking.
  Guild (to one of the policemen)
conversations.from: human
conversations.value: Give me the last long scene.
conversations.from: assistant
conversations.value: As he enters, Asta on one arm, flowers in the other. He is about to put Asta down on the blanket for the night when he stops -- looks o.s. 
  CAMERA PANS OVER to show another dog of the same breed as Asta in a small crate. The dog is looking up at Asta eagerly. And Asta's ears go up and his tail begins to wag as he anticipates the possibilities of a transcontinental romance.
  PORTER (getting it) Asta -- meet Fifi --
  And he puts Asta into the crate with Fifi.... places the BRIDAL BOUQUET on top of the crate... turns and shuffles out as we are --
  FADING OUT:
conversations.from: human
conversations.value: Reverse the sentences.
conversations.from: assistant
conversations.value: turns and shuffles out as we are --
  FADING OUT:... places the BRIDAL BOUQUET on top of the crate....
  PORTER (getting it) Asta -- meet Fifi --
  And he puts Asta into the crate with Fifi. And Asta's ears go up and his tail begins to wag as he anticipates the possibilities of a transcontinental romance. The dog is looking up at Asta eagerly. 
  CAMERA PANS OVER to show another dog of the same breed as Asta in a small crate.s. He is about to put Asta down on the blanket for the night when he stops -- looks o.As he enters, Asta on one arm, flowers in the other