360 Page #2

Synopsis: Screenwriter Peter Morgan and director Fernando Meirelles' 360 combines a modern and dynamic roundelay of stories into one, linking characters from different cities and countries in a vivid, suspenseful and deeply moving tale of love in the 21st century. Starting in Vienna, the film beautifully weaves through Paris, London, Bratislava, Rio, Denver and Phoenix into a single, mesmerizing narrative.
Genre: Drama, Thriller
Director(s): Fernando Meirelles
Production: Magnolia Pictures
  1 nomination.
 
IMDB:
6.2
Metacritic:
43
Rotten Tomatoes:
20%
R
Year:
2011
110 min
$49,328
Website
402 Views


how about we have breakfast

tomorrow morning,

you and me, and we renegotiate

whatever it is

you agreed with those

Estonian gypsies?

Let's say 7:
30 in the restaurant?

- Hi, Siobhan.

- Hello again.

Coming.

- Hi.

- You're half an hour late.

I know.

- Hi.

- I missed you.

- Rui?

- Hmm?

- I want to talk to you.

- Yeah?

- Can we talk?

- Can I kiss you?

Can we talk first, please?

I need to talk to you.

Why? What's wrong?

We-Will you stop? We can't-

We have to stop this.

You're kidding, right?

No. Can you put some clothes on, please?

- Put your clothes on.

- Okay.

Yeah, okay, I'm decent now.

- Rui!

- Let's-Let's talk.

What? It's not the first time

you see it, is it?

Please help me out here a little bit.

You are so beautiful. I missed you.

Rui.

What's wrong?

Do I make too many demands on you?

No, that's not what I'm talking about.

Do I make you-

I make you happy, right?

I make you feel good.

- Mm-hmm, yes.

- We have a good time together?

- Yes.

- So why change it?

'Cause you're 25 years old.

That's the beauty of it.

We're different.

I have so many responsibilities.

I love your responsibilities.

We don't have a future.

We have a beautiful present.

We can have a future

if you'll let me try.

- Rui.

- Let me be part of your life.

Mmm.

Must you dance

Every dance

With the same

Fortunate man?

You have danced with him

Since the music began

Won't you-

And what about work?

How should we do that?

I mean, like total strangers?

We-We have to stop that, too.

Oh.

You know you promised to-

to keep me in work, right?

Said you would make me-

a staff photographer and all that?

That was very irresponsible.

A little.

That's okay, I guess.

If you need help with money,

I can always do that.

What was that, now?

Rose, you just never understand,

you never accept

how I feel about you,

you know?

What this means to me.

I actually love you.

I'm sorry about that.

And finally,

the "Day in the Life of the City" spread.

We've locked down the text.

And with regard to the photos,

Rose, I know you've suggested

your Brazilian photographer again.

And I just want to confirm

we're all very happy with that idea.

Well, I actually wanted

to make a suggestion.

I feel that we've been using him

a lot recently.

So there are two photographers

here whose work

I think might suit

this story better.

Well, thank you, everyone.

Laura?

Laura?

Eh.

Hi, uh, Harriet?

This is Rui.

Is Laura there with you?

Did she call you or something?

Because she's gone.

I don't know what happened.

She packed up everything

and she is gone.

I mean, she's really gone.

Yeah, okay,

if she calls you or anything,

just, uh, call me. Yeah.

Yeah, okay. Thank you.

Here's 80. Keep the change.

I'm in the kitchen!

- Hi.

- Hi, darling.

- You all right?

- Fine.

- You look lovely.

- Thank you.

- Um, have I got time for a shower?

- No, absolutely not. We're very late.

All right, fresh shirt.

There's one in the utility room.

Esther left it there.

When did you get home?

Oh, about half an hour ago.

I forgot, in the first year,

what was she?

A cloud.

And then,

memorably, a comet.

What is she this year?

A tree?

You've been away too much.

No, she's Shprintze.

Shprintze?

What is that?

Does it at least have a pulse?

It's a Ukrainian Jewess.

They're doing "Fiddler on the Roof."

And she-she's also got a line.

Well?

"I think he has a pleasing air."

Is that it?

Uh, well, they-

she was going to say,

"Mama, Yente's coming," but they thought

that might be a bit much for her, so...

You're right.

I have been away too long.

How can Grandma's recipe

be world famous?

She never left the village

once in her life.

Don't be clever, Chava.

- Why not? I'll never be pretty...

- Excuse me.

- Or a good singer. Allow me to excel in something.

- Sorry.

I've seen Mosha outside.

He's so handsome.

Isn't he a little bit cross-eyed?

This is it.

This is her cue.

No, I think he's gorgeous.

Don't be silly.

He's hideous.

Shprintze, we need you to cast

the deciding vote.

What is he like?

Oh, God, she's dried.

"I think he has a pleasing air."

Since you have nothing

to say, Shprintze,

Tzeitel, what do you think?

- I think he has a pleasing air.

- Excuse me.

Motel's coming

and he's with Yente.

...seeing all the audience.

Feel a bit better?

Yes.

Okay. I don't remember

you wearing this in the play.

- No.

- You've stolen it from someone?

No.

It's a bit tight.

Suits you.

Mom, look what I have.

I have a beard.

I look like a man.

Yes, she was all right.

She did-

She went out like a light.

Mmm.

She was totally exhausted.

You must be too.

Mmm.

Yeah.

It's been a crazy few days.

How did it go in Vienna?

Fine.

Did you get your deal done?

You did have a deal to do there,

didn't you?

- I did and I did.

- That's good. That's great.

That means a trip to Estonia

in the near future.

Berlin, actually.

Do you know,

I've never been to Berlin.

- How was it here?

- It was fine.

I got your messages last night.

You sounded emotional.

Did I?

Am I wrong?

No.

Well, I tried to call you straight back,

but it went to voice-mail so...

Anyway, it was very nice what you said.

What did I say?

You said that you wished I was there.

It's true, I did.

That's nice.

Morning, Tyler.

So you asked to see me.

Clear.

I'm so pleased you agreed

to do this halfway house.

- Clear.

- Miss Olsen, I believe-

I believe I've done everything

you've asked me here.

You have. You've worked hard.

Yeah.

But what if I'm no different?

You know,

after everything we've done,

what if-

what if I haven't changed?

The way I'm feeling right now

is that maybe you were right-

maybe I should go

to that halfway house first...

for my own protection.

Because like you said,

I've been in-I've been

in an all-male situation here

for six-six years.

And it's going to be quite a shock

being on the outside with all the-

the temptations and distractions.

Yes, it is.

And I would hate for everything

that we've done together

to be undone.

You said you'd spoken

to some people in Louisville

who have experience

working with people like me?

If I remember, they were even

happy to fly over here

to collect you and accompany you

on the plane.

On the plane?

No, they can-they can spare

themselves that.

They can just meet me

at the Louisville airport.

Tyler, I am so happy

that you've agreed to do this.

You think it's right?

- Yes, I do.

- 'Kay.

I never want to end up

in a place like this again.

Hi.

- Oh.

- Thank you.

I wasn't sure if you were hungry.

So the choice is chicken or fish.

I got you chicken.

Though now I'm eating it myself,

I'm not sure which one I got.

- I'm not hungry.

- You sure?

They said they wouldn't

be coming around again.

Maybe some wine.

Okay, have mine as well.

You don't want it?

No, I've got some work to do.

Going direct to Denver?

- Miami.

- Oh.

Then home to Rio de Janeiro.

Rate this script:0.0 / 0 votes

Peter Morgan

Peter Julian Robin Morgan CBE (born 10 April 1963) is a British film writer and playwright. Morgan is best known for writing the historical films and plays The Queen, Frost/Nixon, The Damned United and Rush. more…

All Peter Morgan scripts | Peter Morgan Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "360" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/360_1704>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of a "beat sheet" in screenwriting?
    A To provide camera directions
    B To write character dialogues
    C To outline major plot points
    D To describe the setting in detail