Note: This is the overall critique. For scene by scene critique click here
Note: This is the synthesis. See scene by scene analysis here
|Characters||8.9||98||Silence of the lambs: 8.8||Black mirror 304: 8.9|
|Emotional Impact||8.5||92||Pan's Labyrinth: 8.2||the sweet hereafter: 8.5|
|Overall||8.5||80||Thor: 8.4||Inception: 8.5|
|Dialogue||8.0||72||Silence of the lambs: 7.9||Inception: 8.0|
|Concept||8.0||69||Narcos: 7.9||Avatar: 8.0|
|Plot||7.7||24||The whale: 7.6||groundhog day: 7.7|
|Conflict Level||5.1||2||The Good place release: 4.8||Black mirror 304: 5.1|
|Story Content||Character Development||Scene Elements||Audience Engagement|
|Scene Number||Full Analysis||Tone||Overall Grade||Concept||Plot||Characters||Character Changes||Conflict||High stakes||Story forward||Emotional Impact||Dialogue|
|1||San Junipero||"nostalgic, immersive "||8||8||7||7||0||3||0||0||4||6|
|2||First Meeting at Tuckers||"Nostalgic"||8||7||7||9||0||2||0||0||7||8|
|3||Meeting Kelly||"quirky and surreal"||7||8||6||8||0||4||0||0||6||7|
|4||Meeting at the Bar||"Light-hearted"||8||7||6||9||0||3||0||0||5||8|
|5||Yorkie Learns to Dance||"uplifting"||9||8||7||10||0||5||0||0||8||8|
|6||Yorkie and Kelly's Dance||"Playful, Flirty, but with an underlying sadness"||8||7||7||9||0||7||0||0||8||8|
|7||Yorkie and Kelly Bond||"Reflective"||8||7||6||9||0||3||0||0||8||8|
|8||Yorkie and Kelly's Encounter||"Intense, emotional"||9||8||9||10||0||8||0||0||10||9|
|9||A Moment of Uncertainty||"Intense"||9||8||8||10||0||7||0||0||10||9|
|10||The Confession||"Intimate and Emotional"||9||8||8||9||0||5||0||0||10||9|
|12||The Search for Kelly||"Intense"||8||9||7||8||0||9||0||0||8||9|
|14||San Junipero - Heartfelt Goodbye||"Emotional"||8||7||7||9||0||6||0||0||8||8|
|16||San Junipero: Elder Kelly Visits Greg||"emotional"||9||8||9||10||0||4||0||0||10||9|
|18||San Junipero Wedding||"Hopeful"||9||9||9||8||0||5||0||0||10||8|
|20||Elder Kelly's Passing||"Peaceful"||9||8||8||8||0||2||0||0||8||7|
|21||Heaven is a Place on Earth||"Bittersweet"||9||8||9||9||0||4||0||0||10||7|
FINAL SHOOTING SCRIPT
INCLUDING THE FOLLOWING REVISIONS:
** PINK REVISIONS - DATED 23.11.15 **
** BLUE REVISIONS - DATED 02.12.15 **
C/o House of Tomorrow
London W14 0EE
(c) 2017 Black Mirror Drama Limited. All Rights Reserved
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This screenplay contains confidential information and therefore is given for the
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BLACK MIRROR "SAN JUNIPERO" 1.
1 EXT. SHORELINE - NIGHT 1
It’s 1987. Coastal California. Silhouetted mountains, moonlit
sea. Lights twinkling near the shoreline.
We move closer to see the lights of the town of San Junipero.
Streetlights. Nightclubs and bars. Cars drifting up and down
the main street.
The vehicles date from 1987. There's a billboard advertising
the movie The Witches of Eastwick.
We move closer:
2 EXT. BARKER STREET - CONTINUOUS 2
This is San Junipero's main drag.
Along the sidewalk we follow YORKIE, a slightly awkward woman
in her early 20s, dressed so as not to stand out. Jeans.
Sweatshirt. She wears glasses with black rims.
She's looking around, a little like a tourist, taking in the
sights. There's a TV in a store window, showing a news
report. The sound is inaudible, but the anchor introduces a
clip of Ronald Reagan giving a speech about the Berlin Wall.
Yorkie looks at this for a moment until her attention is
snatched away by a voice, a young male voice.
Yorkie looks round. There's a couple striding along the
sidewalk. At least they look like a couple. The young man is
called WES -- he's conventionally dressed, in a baseball
jacket. The woman looks individual, almost arty. Intriguing.
Attractive. This is KELLY. She's walking a step ahead of Wes,
looking straight ahead, while he buzzes around her.
I'm still walking Wes.
We only got a couple of hours, you
know, so let's use it-
I am using it.
They walk through the door of a large bar / music venue
BLACK MIRROR "SAN JUNIPERO" 2.
Yorkie looks up at the sign for the bar. Then at the door.
Gingerly, she pushes it open.
3 INT. TUCKER'S - CONTINUOUS 3
This place is a cavern. There's music playing on a sound
system somewhere. C'est La Vie by Robbie Nevil or equiv.
Yorkie looks around. No sign of Kelly or Wes. It's bustling
in here. Everyone dressed in the fashions of the day; a real
mix of archetypes. Everything from preppy kids to prototype
goths. It's like the cast of every John Hughes movie blended
Yorkie is a bit overwhelmed. She walks to a corner containing
a number of video arcade machines.
There's Rolling Thunder. Top Speed. Double Dragon.
Yorkie is drawn to Bubble Bobble, a platform game in which
the players control cartoon dragons that squirt bubbles.
She reaches into her pocket and seems almost surprised to
find some quarters in there. She drops one in the slot and
hits the 1 Player button.
We close in on the game screen. Catchy 8-bit music pipes up.
Black starlit backdrop. Two cartoon dragons and a whirlwind
of bubbles. And the following poorly-translated message:
NOW, IT IS BEGINNING OF A
FANTASTIC STORY!! LET'S MAKE A
JOURNEY TO THE CAVE OF MONSTERS!
The game begins. Yorkie seems to know what she's doing.
Shortly afterwards, a young guy called DAVIS spots Yorkie on
the Bubble Bobble machine. He's faintly nerdy. A bit like a
young Rick Moranis. He's holding a drink with a straw which
he seems ill-at-ease with. He's nodding his head in time to
the music, badly.
Moments later, he's standing beside her, watching her
progress over her shoulder. It takes him a while to pluck up
the courage to speak.
You're good at this.
Yorkie doesn't look up.
BLACK MIRROR "SAN JUNIPERO" 3.
Thanks. I've played it before.
Davis is thinking of something to say.
It's got different endings
depending on if you're in one or
She's focussing on the game.
Kind of the first game to do that.
Yorkie's just lost her last life.
Davis tries to interest her in the Top Speed cabinet.
(holding a quarter)
Oh. Do you want (to try) --?
Yorkie looks at the game. The racing game, depicts a red car
thundering along a highway. The vehicle spins out of control
in a shower of dust.
Yorkie stares at that for a moment -- it disturbs her. Then:
Uh, no -- thank you -- sorry it's
not you. I'm sort of...
(she gestures around)
Just want to get my bearings.
Uh okay. See you around.
Yorkie wanders off. Davis watches her leave, then drops a
quarter in Bubble Bobble.
Yorkie now has a drink -- a Coke in a glass -- and is
wandering deeper into the bar, looking around. Heart and Soul
by T’Pau is playing.
She sits down at a table to people-watch.
Sipping her Coke, she checks out the comings-and-goings.
Young couples. Preening jocks. Cool kids.
BLACK MIRROR "SAN JUNIPERO" 4.
Suddenly Kelly walks past. She spots something in the
distance, rolls her eyes a little, and abruptly sits down
beside Yorkie. Yorkie looks at her, a little surprised.
Go along with whatever I say.
Whatever I say, go along with it.
Just then, WES appears, nearby. He opens his mouth to speak.
Okay, Wes? You're just pestering
now. Do I have to red light you?
Two hours thirty-five -- there's
not much time left.
Last week, we had the most amazing--
(cutting him off)
Last week was last week.
I need to talk to my friend here,
okay? Haven't seen her in a while.
Kelly puts a supportive arm round Yorkie. Yorkie is surprised
but puts on a smile for Wes.
Wes goes to speak but Kelly interrupts--
Wes, she's sick. Like six months to
Kelly looks at Yorkie, amused and impressed -- but then
immediately having to hide this. She looks back at Wes.
I need to catch up with her.
BLACK MIRROR "SAN JUNIPERO" 5.
Wes looks, considers protesting, then thinks better of it.
Hey I'm sorry.
I'll see you around.
The girls watch him leave.
Sorry for killing you. The whole
six months to live thing. Sorry --
five. Five was a nice touch.
(she holds her hand out)
Like the dog breed?
Kelly thumbs in the direction of Wes.
He's not a bad guy. I feel kinda
bad. Met him at the Quagmire, so...
What's a Quagmire?
Kelly looks at her. She decides Yorkie looks a little
BLACK MIRROR "SAN JUNIPERO" 6.
If you don't already know what the
Quagmire is, you probably don't
want to know.
Kelly looks at Yorkie's empty glass.
You want another one?
Uh, I'm not sure --
Yeah you do. Come on.
She stands up, beckons Yorkie to follow.
Do I have to tug your leash?
A few moments later, the girls are at the bar, on bar stools.
Kelly leans forward to get the attention of the barman, who
has blonde hair. Walk Like An Egyptian is playing.
Mock-offended, the barman points to himself.
You are. Jack and Coke, times two.
Oh no. Mine was just Coke.
(ignoring that, to barman)
Blondie starts fixing the drinks. Kelly turns to Yorkie, and
looks at her slightly strangely.
What are you doing?
I'm ‘regarding’ you.
BLACK MIRROR "SAN JUNIPERO" 7.
Feel like I'm being... analysed.
(she's reached a
Why the glasses?
Self-consciously, Yorkie touches her glasses.
I mean I like them, they totally
work on you, but do you need them?
I mean do you --
Yeah the lenses don't do anything.
I wore glasses back in school but I
guess now they’re kind of a comfort
Old times' sake.
I’d figured they were kind of a
fashion statement --
- but then the rest of your outfit
Yorkie looks down at her clothes, a tad self-conscious.
Don't take that wrong. It’s
refreshing. I mean look around.
People try so hard to look how they
think they should look.
The clientele do look like they're trying too hard.
Looks they probably saw in some
Kelly lightly touches Yorkie's glasses.
BLACK MIRROR "SAN JUNIPERO" 8.
But I like these. They’re
Yorkie is shy.
To be honest I think I wear them
for something to hide behind.
Something transparent to hide
Just then Blondie puts the drinks on the bar.
Yorkie clinks glasses and takes a sip. The taste of the Jack
Daniel's makes her cough a little.
Never tasted it before?
Yorkie doesn't answer at first. Sips more, a bit embarrassed.
No. I just-- haven't had it in a
while. It's good.
Kelly is 'regarding' her again.
Do you live here?
No, but --
Yorkie waves her head as though to say "kind of yes, kind of
no", uncertain how to answer.
We'll go with tourist. So you're
BLACK MIRROR "SAN JUNIPERO" 9.
First night! Well okay.
She clinks her glass against Yorkie's.
The music changes. The opening of What Have You Done For Me
Lately by Janet Jackson (or equiv). Kelly laughs and claps.
Oh my God! Ha!
We HAVE to dance to this.
She takes a huge gulp of her drink.
With each other?
Yorkie glances at the dance floor. People uninhibited,
laughing, enjoying themselves. Then she looks back at Kelly.
Dance floors are not ‘me’.
Ah let’s not limit ourselves...
She takes Yorkie's hand and starts to lead her toward the
dance floor. Yorkie pulls back, hesitant.
My ass you can’t, c’mon--
I’ll look dumb and-
Just follow my lead.
And she leads Yorkie toward the dance floor.
The chorus of the track is in full swing. Kelly dances --
carefree. Yorkie is quite awkward. Almost just standing,
watching. She looks around, trying to vaguely move her
shoulders in time but it's painful to watch. Kelly leans in.
BLACK MIRROR "SAN JUNIPERO" 10.
(raised voice over music)
She starts to perform a dance move, pretty much lifted from
Janet Jackson -- nothing too elaborate -- indicating Yorkie
should copy her.
Yorkie starts to follow suit. She’s getting better. Kelly
laughs and nods.
You got it!
Yorkie starts to smile. Hesitancy giving way to enjoyment.
Kelly shows her another move - she copies it -- and another.
It's almost like Simon Says.
Then Kelly ups her game, performs a more flamboyant, somewhat
provocative, writhing move.
Other people on the dance floor start to notice. They’re
enjoying the scene -- not in a malicious or mocking way --
but laughing appreciatively.
Yorkie can't match that. She glances around, self-conscious.
Kelly is oblivious. For a moment we hold on Yorkie as she
watches Kelly lost in the moment, enjoying the attention of
the other dancers.
Yorkie, a little sadly, backs away, then leaves.
Kelly doesn't notice at first. Then she looks around just in
time to see Yorkie leaving.
Yorkie opens a fire door and exits the building - to discover
it's raining. She stays beneath the awning. Kelly emerges.
Hey. Why'd you run away?
Sorry -- I said I’m not much of a
No shit. Like a frightened horse on
a frozen lake back there.
Yorkie goes to walk off.
Yorkie turns to look at her, an eyebrow raised.
BLACK MIRROR "SAN JUNIPERO" 11.
Sorry I pushed you into it.
Saturday night's once a week, it's
like no time, I get impatient.
Yorkie sits down on a low wall (or equiv), with a sigh.
It’s not that; everyone was
(indicating the two of
You know? Two girls, dancing.
Okay: one, folks are way less
uptight than they used to be, and
two, this is a party town, no-one’s
Kelly looks down at herself, at her own body. Does a slightly
ridiculous ‘sexy’ move.
Face it, if they were staring it’s
because I. Am. Bodacious.
That makes Yorkie laugh a little.
Yorkie looks up at the night sky.
I've never been on a dance floor
Never? As in whole time you've been
BLACK MIRROR "SAN JUNIPERO" 12.
What are you, like, Amish? That's
one sheltered existence you got
As far as my family's concerned I
can't do anything.
Kelly sits down beside Yorkie.
Yeah. Well. No-one knows about even
half the shit I get up to.
With your folks, it's from a place
of love, though right? They worry.
They don't worry. Just the concept
of me enjoying myself... That would
blowwww their minds.
Kelly looks at Yorkie for a moment. Yorkie is kicking her
legs against the wall, absentmindedly. Kelly looks at her
What would you like to do? That
you've never done?
She sidles in, a little closer. Yorkie smiles, a little
excited, a little shy.
Oh so many things.
San Junipero's a party town. All up
Midnight's two hours away.
Kelly's inched in a little more. Yorkie is almost shaking
now, with nerves and excitement.
That's not long.
Kelly brushes some hair away from Yorkie's neck. Then leans
in and talks quietly, almost in her ear.
Why waste time sitting here?
BLACK MIRROR "SAN JUNIPERO" 13.
She puts her hand on Yorkie's inner thigh. Yorkie exhales, as
if with vertigo.
Then she abruptly stands up, very flustered.
I - uh -- I -- listen --
Kelly isn't offended, immediately takes it with good grace.
No, I mean --
(hand over eyes)
(eyes open again -- trying
to get words out)
Look, I -- ah -- you seem --
Really, it's okay.
I'm engaged. I have a fiancé.
At your age?
Yes. I know. Yes.
Kelly is almost amused by Yorkie's embarrassed flustering
He's a good guy. He's a nice guy.
Good guy nice guy--
He is a good guy
Rootin' tootin' straight up guy--
Greg, he's called Greg-
And is Greg here?
No he's --
(she indicates "somewhere
BLACK MIRROR "SAN JUNIPERO" 14.
You want to go to bed with me? We
could be back at mine like--
She clicks her fingers.
I never did anything like that.
All the more reason.
Yorkie agonizes for a moment.
I... You're nice. I can't.
I can't. I-
Kelly is still good-natured.
I get it.
I have to go.
(indicating the rain)
It's been great to meet you.
She holds out her hand. To shake hands. Kelly looks at her
hand, amused. Then shakes it.
Then Yorkie turns and starts to walk away, quickly. Kelly
watches her leave for a moment, still slightly amused.
BLACK MIRROR "SAN JUNIPERO" 15.
We follow with Yorkie for a few moments, tight on her face,
as she strides away, through the rain, murmuring to herself.
Okay. Okay. Okay. Shit. Shit.
She stops. She looks up at the sky again. Closes her eyes.
Exhales. Opens her eyes again. Makes a decision.
She turns on her heel to look at Kelly. But she's not there.
Yorkie just catches a glimpse of Kelly walking back in
through the fire escape, the door closing behind her.
Yorkie hovers for a moment, then decides not to follow.
She turns around again and walks away, a little crushed.
We see the moon hovering in the sky. Perfect circle.
10 EXT. APARTMENT BUILDING - NIGHT 10
CAPTION: ONE WEEK LATER
Golden hour. Amber light cast on mountains in the background
as the sun bows behind the ocean.
In a low-rise apartment block, a light is on. We close in
11 INT. YORKIE'S APARTMENT - BEDROOM - CONTINUOUS 11
The room is small and sparsely decorated. Panic by The Smiths
is playing on a small tape deck.
Yorkie stands in front of a full length mirror, wearing
similar dowdy gear to last week. She’s looking at herself.
She takes off her glasses.
Next she’s trying on a dress. Magenta, figure-hugging. A
little like Whitney Houston in the video for I Wanna Dance
She looks at herself and wrinkles her nose. It's not her.
A quick cut and she's trying another look. A pink dress, her
hair tied back. Not dissimilar to Ally Sheedy's makeover in
The Breakfast Club.
Again, she decides against it.
Next she's in the bathroom, looking closely into a cabinet
mirror at her face.
BLACK MIRROR "SAN JUNIPERO" 16.
Her hair is slicked back, her face is now heavily made-up --
reminiscent perhaps of the 'band of supermodels' in Robert
Palmer's Addicted to Love video.
She looks at her face. It's not her.
Finally she tries something else. A bit more confident, a bit
more glam than before, but still "her". She puts on her
12 EXT. KELLY'S PLACE - EARLY EVENING 12
Meanwhile, elsewhere, Kelly is leaving a house -- a kind of
clapboard beach house -- and walking towards her car, a red
She climbs in, revs the engine.
Sign O' The Times starts playing on the stereo.
She reverses out of the driveway and goes to drive forward,
but suddenly Wes is there, in the road.
She pulls a face. Not entirely unkind, but unimpressed and
impatient. She guns the engine and drives around him.
13 I/E. KELLY'S CAR - HIGHWAY - SUNSET 13
Kelly's car roars along the highway, Prince at full volume.
She taps the steering wheel in time.
14 EXT. TUCKER'S - REAR CAR LOT - LATER 14
Now it’s getting dark. Kelly's jeep rolls into the car lot
and pulls to a halt. She climbs out, locks the door, turns
around -- and there's Wes.
What the hell, Wes?
She starts to head for the bar. Wes follows.
Look, okay, I know--
I'm red-lighting you. For real,
BLACK MIRROR "SAN JUNIPERO" 17.
Then stop this.
Just hear me out.
Kelly stops. This is no fun now.
How many girls you think there are
in San Junipero? Hundreds?
I don't care --
I'm saying there's plenty of other
girls for you Wes. Ones you could
actually settle down with.
The locals, they're like dead
Just then a nearby party-going group walk past -- a woman,
A little lively for dead people-
I don't want some boring romance
like, Jesus, put us in the
retirement home, deal--
Well if you just want someone to
fuck, there's options, hang out at
The Quagmire again --
It's not just sex--
It was just sex--
We made a connection--
Wes? Truly: it was just sex.
Wes is a little wounded.
BLACK MIRROR "SAN JUNIPERO" 18.
Kelly takes his hand.
I'm done with attachments. I went
down that road. For a long time.
And it's -- I can't do that again.
She puts a hand on his cheek.
We had fun. I'm sorry.
Enjoy the town for God's sake.
Wes nods. He knows he's beaten. Kelly heads for the bar.
Living in a Box by Living in a Box is playing.
Kelly is at the bar. A dude called HARVEY, who looks like
he’s trying to emulate Miami Vice era Don Johnson but not
quite nailing it, sidles over to her. She looks up.
Kelly’s not too interested. But she’s polite.
Waiting for someone?
Harvey sits beside her.
Get you a drink?
A small distance away, we find YORKIE, dressed in her regular
attire, watching Kelly, plucking up the courage to approach.
From Yorkie’s perspective, Kelly is listening to Harvey. When
we’re closer up, we can see Kelly is a tad bored. Harvey’s
saying stuff like:
... so it was micro-surgery I
guess, I mean both my kneecaps were
just kinda worn down...
BLACK MIRROR "SAN JUNIPERO" 19.
Back to Yorkie. She seems to be exhaling, calming herself,
mentally counting down.
Then she starts walking over.
Meanwhile, Harvey has noticed the chorus to Living in a Box.
Never got this song; kinda weird.
Kelly looks around and spots Yorkie. She smiles and holds her
arm out to Harvey.
Shall we dance?
Uh, sure --
She leads him toward the dance floor. Yorkie stops walking
and watches. As they approach the dance floor, Need You
Tonight by INXS comes on.
Kelly dances to the chorus. Aware she’s being watched.
Yorkie watches, wanting to walk over, and failing.
16 INT. TUCKER'S - BOOTH AREA - LATER 16
Kelly sits in a booth with Harvey, while he talks sports.
Yorkie sits alone at a table across the way, with a drink.
The jukebox is playing Club Nouveau's cover of Lean On Me.
Yorkie glances over at Kelly. Kelly is looking at the table.
Yorkie looks back at her drink.
Then back at Kelly. This time Kelly is looking at her.
Sipping on a straw.
Flustered, Yorkie looks back down. Kelly smiles faintly.
She leans in to Harvey, interrupting him.
... I mean I guess if at the time
I'd put that money into, like
computing, caught that first wave,
woulda been a different story -
Gotta use the bathroom.
She stands up and walks toward the ladies restroom.
BLACK MIRROR "SAN JUNIPERO" 20.
Across the way, Yorkie watches her go. Kelly glances at her
as she leaves.
Yorkie gets up.
17 INT. TUCKER'S - LADIES RESTROOM - MOMENTS LATER 17
There's no-one else here. Kelly is standing in front of the
mirror checking her hair. Yorkie enters. She stands beside
her. Just stands there for a moment.
No-one says anything.
I don't know how to do this.
Kelly is still looking in the mirror. Mock innocent:
Just help me. Can you just --
Kelly looks at her.
Can you make this easy for me?
Kelly touches her face.
You want to get in my car?
Yorkie, looking at the floor, nods.
Then let's do that.
Kelly leads Yorkie out via the fire escape. Walks to the car.
She opens the passenger door. Yorkie hesitates, staring at
the car a moment.
I got to lift you up and put you
Yorkie gets in.
BLACK MIRROR "SAN JUNIPERO" 21.
19 I/E. KELLY'S CAR - FREEWAY - LATER 19
Kelly is racing, at speed, down the freeway. A coastal road.
Yorkie winces slightly as they skid around a bend.
(voice raised over the
Relax. What's the worst that's
Yorkie looks out of the window. Then back at Kelly.
How long have you been here?
How long you been here?
In San Junipero?
Plan is: long enough to enjoy
(she looks at Yorkie)
Guess I'm a tourist like you.
Yorkie looks out the window again.
She looks a little troubled. Kelly can't see this. But after
a few beats she notices Yorkie is facing the other way.
BLACK MIRROR "SAN JUNIPERO" 22.
Yorkie turns around. Kelly is looking straight at her, not
watching the road.
Suddenly Yorkie sees headlights coming straight for them.
Their car has drifted into the oncoming lane.
Kelly quickly tugs the wheel, sending the car off the road,
along a dusty bank.
Yorkie looks terrified.
The car skids to a halt.
Kelly looks at Yorkie, who's ruffled, breathing fast.
Suddenly Kelly claps her hands, laughs once.
Sorry but --
Man your face.
Yorkie laughs nervously.
Kelly starts the engine again.
20 EXT. KELLY'S HOUSE - LATER 20
Kelly's jeep is parked outside her home. Kelly and Yorkie are
entering the front door.
21 INT. KELLY'S HOUSE - CONTINUOUS 21
They walk inside. Yorkie looks around. It’s a nice place.
Yorkie looks around a moment.
You like it?
Yorkie is looking around.
It’s just so big -
Reminds me of where I grew up.
Yorkie spots a small photo of a woman aged around 40 on a
mantelpiece. A photo of a dark-haired woman smiling, beneath
a handmade sign reading HAPPY BIRTHDAY ALISON.
BLACK MIRROR "SAN JUNIPERO" 23.
With your mom?
Kelly gently turns Yorkie away from the photo, to face her
instead. Then she starts kissing Yorkie. After a moment's
hesitation, Yorkie reciprocates.
22 INT. KELLY'S HOUSE - BEDROOM - MOMENTS LATER 22
It's dark in here. The two women lay down on the bed, Kelly
Kelly's hand moves to unbutton Yorkie's jeans.
You'll have to show me --
They kiss passionately.
Afterwards, they lie side by side in the darkness, looking up
at the ceiling.
You never slept with a woman
(beat; strokes Yorkie's
That's not a critique. I mean that
was fucking awesome.
Never with a woman.
Never with anyone.
Kelly is astonished.
Not anyone? What, in town, or --
She turns, smiling.
Guess you deflowered me.
BLACK MIRROR "SAN JUNIPERO" 24.
I "deflowered" you?
What is this, Merrie England?
You've had relationships though?
Hello, you got a fiancé...
It's - that's - complicated-
Yeah I’ll say.
There's a silence. They hold hands.
When did you know? That you liked
Uh, I like men too.
(jokey raised fist)
Okay. But when did you know? Did
you always... know?
Kelly looks at her. She doesn't usually open up to conquests.
But there's something about Yorkie.
I was married to a guy. A long time
I was married.
I always 'knew', I mean, I would be
attracted to other girls, co-
workers, friends. Some waitress
who'd serve me...
(she laughs at the memory)
There were crushes. My God were
Her face hardens slightly.
BLACK MIRROR "SAN JUNIPERO" 25.
Never acted on any of it. Never did
anything. I was in love with him. I
really was in love with him.
This is hard for her.
But he chose not to stick around.
Yorkie slides closer. Strokes Kelly's hair. There are tears
glistening in Kelly's eyes now.
So now it's me. And I'm passing
through. And before I leave I'll
have a good time.
I'm just gonna have a good time.
Yorkie leans over and gives her a kiss. Kelly is embarrassed,
possibly even annoyed by the vulnerability she's just
She glances at a clock radio by the bed. It's 11:59 PM.
Time's nearly up.
Then let's lie here.
They lie, in the dark, without speaking, for a full fifteen
The clock radio hits 12:00 AM and we cut abruptly to black.
24 EXT. BARKER STREET - NIGHT 24
CAPTION: ONE WEEK LATER.
The Witches of Eastwick billboard has been replaced by a
poster promoting Spaceballs.
Yorkie, smiling, passes the store window with the TV in it.
There's a trail for the Max Headroom TV show on it.
She heads for Tucker's.
25 INT. TUCKER'S - CONTINUOUS 25
Yorkie heads into the bar and looks around. There's no sign
She explores the arcade section. No sign of her there either
(or DAVIS, come to that).
BLACK MIRROR "SAN JUNIPERO" 26.
She checks out the booth area and the dance floor. Nope.
Finally she sits by the bar, sipping a Coke and looking
around. But Kelly's still not there.
I Wanna Dance With Somebody is playing, loudly.
Eventually she leans to speak to Blondie, the barman. Has to
shout to be heard.
You seen Kelly?
Haven't seen her all night.
Yorkie looks around again.
You tried the Quagmire?
What is the Quagmire?
Yorkie stands beside the road, almost the middle of nowhere.
She looks at a napkin in her hand, with a scribbled map on
it, given to her by the barman.
In front of her is a gate, with a dirt track behind it.
Beside it, on a small pole, is a sort of entry buzzer with
the word ‘QUAGMIRE’ where the residential name would be.
She pushes the button.
Hi -- I’m looking for someone --
Good luck with that.
Click. They’ve gone. Yorkie pushes the button again.
INTERCOM VOICE (CONT’D)
You want in?
BLACK MIRROR "SAN JUNIPERO" 27.
Uh, yeah -- I -
There’s a buzz. The gate is unlocked. She opens it and steps
through. In front of her, down the end of the track, in the
distance, she sees The Quagmire.
27 EXT. THE QUAGMIRE - NIGHT 27
This must be the place. For one thing, it has a big neon sign
that says QUAGMIRE.
The Quagmire looks and sounds hard-core. Like a roadhouse
from an 80s action film mixed with a German techno club.
Harley Davidsons parked outside. You Gotta Fight For Your
Right To Party blaring from within.
Two men are making out in the back of a pickup truck parked
to one side.
Yorkie looks at all this, daunted. What the fuck?
28 INT. THE QUAGMIRE - MOMENTS LATER 28
Yorkie walks in and almost leaves immediately. The interior
of the club looks like a transgressive music video. There are
people dancing in cages. With snakes.
It’s steamy, transgressive and weird in here. Like walking
into the video for Relax by Frankie Goes to Hollywood.
A man with a shaved bald head, wrapped in chains, wearing
nothing but a tight jockstrap, and pulling an absurdly
serious face, dances directly in Yorkie's path, like he
thinks he's a frickin' art installation. She goes to step
round him and he dances in her way.
She steps the other way and he finally relents.
Yorkie looks around, in search of Kelly. This is part pick-up
joint, part fantasy-fulfilment dive bar. People making out in
the corners. Exploring / flaunting their sexuality any way
Yorkie looks at all this, daunted. What the fuck?
A couple sidle over to Yorkie. A man and a woman, both in
their mid-twenties. Both dressed as sailors.
BLACK MIRROR "SAN JUNIPERO" 28.
(loud over the music)
Wanna have fun?
I'm okay thanks.
She walks away. Now the music is Something Against You by The
It’s claustrophobic. Stuffed corridors. She finds herself
squeezing past more people. The further she ventures in, the
more warren-like it gets. At one point she passes a room in
which some kind of orgy seems to be taking place.
Then another area -- from the doorway, glimpsed over
shoulders, and between arms, she can see there’s some sort of
bare-knuckle fight going on. (NB no blood.)
29 INT. THE QUAGMIRE - CONTINUOUS 29
Yorkie turns away and almost walks straight into WES, who's
striding past clutching a bottle of beer.
Their eyes meet.
I know you from somewhere.
Kelly’s friend, huh?
You know where to find her?
How would I know that?
He starts to walk away.
You’re her friend.
Was a friend.
BLACK MIRROR "SAN JUNIPERO" 29.
Has she been here?
A beat. He looks at her. A penny drops for him.
You too, huh? Well --
He drinks his beer in a kind of toast.
Yorkie looks flat. This is no use. She's about to leave when
Wes takes pity on her.
Try a different time. Seen her in
'80. Mid 90s. '02 one time.
She's worth a shot, right?
He raises his bottle again. Yorkie turns toward the exit.
30 EXT. BARKER STREET - 1980 - EVENING 30
CAPTION: ONE WEEK LATER
But on Barker Street, as the evening sun burns amber, earlier
period cars are driving by. They date from 1980.
The billboard now advertises the doomed Village People movie
Can't Stop The Music.
Yorkie, exactly the same age, but dressed subtly differently,
her styling befitting the year 1980, strides past the store
with the TV in the window, which is showing a scene from the
Who Shot J.R? storyline in Dallas.
She heads purposefully for Tucker's.
Funkytown by Lipps Inc pounds from the speakers as Yorkie
looks around. Everyone is dressed in the styles and fashions
But there's no sign of Kelly.
She walks past the arcade section, which features Pac Man,
Rally-X and Missile Command.
And there's DAVIS, the games nerd. He's styled like a young
Bill Gates, and has just completed a game of Battlezone when
he spots Yorkie.
BLACK MIRROR "SAN JUNIPERO" 30.
Yorkie recognizes him.
Davis indicates the Pac Man cabinet.
Golden age, right?
She's still looking around.
You playing, or..?
Sorry. Looking for someone.
Maybe next time?
There's a brief cut to black. Then:
32 EXT. BARKER STREET - 1996 - NIGHT 32
CAPTION: ONE WEEK LATER
The billboard? Independence Day.
A '96 Ford Contour slides by.
Yorkie -- again, the same age, but now styled almost like a
slacker - walks past the store, which now has a Sony
Trinitron in the window, relaying a news story about the
Yorkie looks up at the Tuckers sign. Which has changed. It
looks more... 90s.
33 INT. TUCKERS - CONTINUOUS 33
Full screen, we see part of the intro to the Namco arcade
game TIME CRISIS, which looks like an early Playstation
attempt to recreate the movie Die Hard. We pull out just as
Yorkie walks past.
Deeper into the bar, the music system is playing Killing Me
Softly by The Fugees.
BLACK MIRROR "SAN JUNIPERO" 31.
In almost a shot for shot repeat of a scene we saw moments
ago, Yorkie seeks Kelly in the club. Everyone's dressed and
styled ala 1996.
Again she looks. Again no sign.
Yorkie sighs. No dice.
34 EXT. KELLY’S HOUSE - LATER 34
Yorkie is standing outside Kelly’s house. The lights are off.
She looks through the window -- nothing.
Checks the door.
Stands back at a distance and calls up at the upper windows:
35 EXT. BARKER STREET - 2002 - SUNSET 35
CAPTION: ONE WEEK LATER
There's a billboard for The Bourne Identity.
A Chrysler PT Cruiser thrums past.
Yorkie -- styled for the era -- passes a shop window with a
widescreen TV showing footage from 2002.
Into Tuckers she goes.
36 INT. TUCKERS - CONTINUOUS 36
The music system is blaring Can't Get You Out of My Head by
Kylie Minogue. (or Hot in Herrre by Nelly)
Yorkie scans the bar, the booths, the dance floor -- nothing.
She's walking out, past the arcade section, past a Namco
Dance Dance Revolution 7th Mix machine -- one of those huge
two-player 'dancing games' where you step on pads on the
floor to progress - when she suddenly stops.
Kelly's dancing on it. With Davis. Whose geeky look suddenly
seems quite chic.
BLACK MIRROR "SAN JUNIPERO" 32.
Yorkie walks over to watch as they dance to some hi-energy
Kelly's doing well, as is Davis.
As the music comes to an end -- they're both awarded a GREAT!
ranking. Kelly high-fives Davis, and looks around.
She locks eyes with Yorkie. Looks unsure of herself for a
moment. Her smile drops. Then she turns to Davis.
Excuse me. Ladies' room.
She starts to head off. Yorkie is in hot pursuit.
By the restroom, she catches up with her.
No. You wait a minute.
Why are you here?
I was looking for you. Where did
Felt like a change of music.
She starts fiddling with a Nokia 7650. Yorkie immediately
snatches it from her and throws it across the room.
How the hell is this your era?
(pointing after phone)
I was looking at that.
You hid from me.
1) I did not, 2) I owe you zero and
3) see point 2.
She storms into the ladies restroom.
Yorkie is right on Kelly's heels.
BLACK MIRROR "SAN JUNIPERO" 33.
It's not about who owes who, it's
You don't know who I am. You don't
know what this means.
(indicating "the world")
This means fun. Or it should do.
(indicating "you and me")
And this. This is not fun. Okay.
This is not fun.
Yorkie stops fighting. Her eyes are wet.
Okay. Look. Don't (do that).
So you don't feel bad?
Kelly doesn't know what to say.
Maybe you should feel bad. Or at
least feel something.
She turns and leaves. Kelly sighs.
Turns and looks at herself in the mirror.
Then she punches the mirror, hard. It splinters. Shatters.
Kelly looks down at her hand. No blood.
She looks at her reflection in the mirror, which is now
38 EXT. TUCKERS - ALLEYWAY - MOMENTS LATER 38
The fire door is flung open as Yorkie stomps out. She paces
in a circle for a moment, upset and uncertain, not knowing
what to do.
She spots the fire escape, snaking up the side of the
39 EXT. TUCKERS - FRONT - SHORTLY AFTERWARDS 39
Shortly afterwards, Kelly emerges from Tuckers, looking for
Yorkie. She looks around and can't see anything.
BLACK MIRROR "SAN JUNIPERO" 34.
She starts heading for the main street to see if she can find
her. All she can see is a couple, sitting on the hood of a
car, looking up at something high up, behind her. She paces
over to them.
You seen a girl, mid-twenties,
brown hair, glasses?
The girl half of the couple just points up and behind Kelly.
Kelly turns. Standing on the roof of Tuckers, on the very
edge, is Yorkie, looking down at the sidewalk.
As Kelly turns to head for the fire escape, the GIRL turns to
Why's she up there anyhow?
He shrugs a little.
Newbie testing the boundaries.
Dumbasses pull that shit a lot.
(he nudges her)
Not that I'm against tourists.
The girl giggles.
40 EXT. TUCKERS - ROOF - MOMENTS LATER 40
Kelly clambers off the top of the fire escape. Yorkie is
sitting on the edge now, calmly, legs dangling over the side.
Kelly makes her way towards her.
Please tell me you got your pain
slider set to zero.
Yorkie continues to stare out at San Junipero.
Kelly takes off her heels and sits down beside her.
Okay, listen --
BLACK MIRROR "SAN JUNIPERO" 35.
Yorkie cuts her off. Points down at the sidewalk, the people.
How many of them are dead? Like
As in full timers?
I'm not gonna jump--
I know, I'm sorry whatever. It's --
in the time I've been here --
I'm just visiting, you know? And
it's -- I didn't want to... I said
I wouldn't -- I don't know --
You freaked me out.
She takes Yorkie's hand.
I don't want to 'like' anyone. So
... just totally fucking
(beat; squeezes her hand
Is that -- I mean --
Kelly is getting emotional now.
I don't know how long there is, and
I can't -- I -- I wasn't prepared
for this, for you, for wanting
Abruptly Yorkie turns to her, and they kiss passionately.
Clock reads 11:55 PM. The decor in Kelly's room is slightly
different. 2002 style. There's a poster for the Salt Lake
City Winter Olympics on the wall.
BLACK MIRROR "SAN JUNIPERO" 36.
The bed is in disarray. We move toward the balcony.
On the balcony, the women stand, Yorkie wrapped in a bed
sheet, Kelly in just a man's white shirt. Hair ruffled. San
Junipero in the distance. Kelly leaning over the side,
smoking a cigarette. Yorkie breaks the silence.
Can't believe I'm getting married
Next week? To 'nice' Greg. Sure
you're going through with that?
I have to.
You have to?
Yorkie thinks for a moment.
He really is a good guy. I mean my
family don't approve but they can't
I know he pities me, that pisses me
off, and that's not fair...
Kelly kisses her cheek.
Yorkie thinks for a moment.
You said you didn't know how long
there is. Back on the roof. "I
don't know how long there is". What
Kelly tenses up a little. Leans back and exhales.
They tell me three months. It's
spread basically everywhere.
They've said three months before,
six months ago, so y'know, what do
She looks at the cigarette in her fingers.
Doesn’t even taste of anything.
BLACK MIRROR "SAN JUNIPERO" 37.
She flicks it over the edge. There's a silence. Yorkie
strokes Kelly's hair.
So -- you're gonna stay here? Pass
over, go full time?
Kelly shakes her head.
No. When I'm done, I am done.
But that's -- I mean why --?
Richard -- that's -- my husband's
name was Richard -- he died just
two years ago. So he had the
opportunity to stay in San
Junipero, pass over. Didn't take
it. Didn't want to take it.
Why wouldn't anyone take it?
He -- we both -- he had his
viewpoint. There were things he
believed, and things he didn't
believe in, and this place was one
of them. Wouldn't even visit, take
the trial run.
Shit, I wasn't sure I wanted to try
it out, but -- like without this
place I'd never have met someone
like you --
Yeah you could have --
I wouldn't --
We could've met outside all this--
You would not have got me at all.
If you really met me, I mean if you
REALLY met me, you wouldn't like me-
BLACK MIRROR "SAN JUNIPERO" 38.
-- or you wouldn't -- you wouldn't
spend time with me -- you'd --
Yorkie looks at her.
There's no point. Where are you?
Carson City. Nevada.
Yorkie says nothing.
So come on, I “showed you mine”.
Where are you?
I can just look it up--
Santa Rosa. CA.
That's no distance--
It's, what, 200 miles--
I like to travel. When they let me,
which is not often.
So they won't let you anyway and--
Oh I’ll make them let me-
I don't want you to. I don't want
you to see me.
I mean I'm scared-
And I'm dying. I am dying. Whatever
you are can't scare me.
Let me come visit. I wanna say hi.
BLACK MIRROR "SAN JUNIPERO" 39.
Yorkie stares at her. Slowly, almost imperceptibly nods.
In the bedroom, the clock radio clicks from 11:59 to 12:00.
Outside a care home for seniors, a frail woman in her early
70s is being helped into a slightly futuristic-looking
vehicle by a kindly young nurse named Laura.
Okay Kelly... take my hand... Here
43 I/E. DRIVERLESS VEHICLE - LATER 43
As the nurse, Laura, sits reading some kind of translucent
tablet, ELDER KELLY (because yes, that's who it is), looks
out of the window, watching the scenery, a faint smile on her
44 EXT. ST. BIRINUS HOSPITAL - LATER 44
The vehicle has come to a halt outside a hospital in Santa
Rosa. Laura helps Kelly down the steps of the vehicle. A
doctor in his 30s holds out a hand to greet her.
You must be Kelly.
I guess I must.
She's waiting for you.
45 INT. PRIVATE ROOM - LATER 45
The doctor leads Kelly to a small private room. He opens the
door for her, then waits outside the room.
We follow Kelly as she walks inside.
We can hear the soft beep of a monitoring device.
The percussive rise and fall of a mechanical ventilator.
She won't be able to physically
respond in any way, but she can
I'll give you some privacy.
BLACK MIRROR "SAN JUNIPERO" 40.
Kelly looks down. There, lying in bed, is an exceptionally
frail woman in her 60s.
Grey hair, and not much of it. She's in a neck brace. She
can't move. Her eyes are open. Her mouth is frozen in a blank
expression -- neither a smile nor a grimace. She's looking at
Kelly from her fixed position.
Kelly, for a moment, doesn't know quite what to do.
She walks nearer. Takes a seat beside the bed.
She looks at Yorkie.
Takes her hand.
She squeezes her hand.
ELDER KELLY (CONT’D)
It's good to see you.
She strokes Yorkie's hair and kisses her on the forehead.
46 INT. HOSPITAL CORRIDOR - LATER 46
A little later, Laura is helping Kelly along the corridor
when a kindly, overweight hospital porter named GREG (mid
40s), catches up with them.
Hi -- is it -- Kelly?
He holds out a hand.
Kelly stares at him for a moment.
Well holy shit.
You know I think it's great you
came in person before she passes
over; I mean even her folks don't
visit no more so --
BLACK MIRROR "SAN JUNIPERO" 41.
Kelly is shocked.
She's passing over?
There's a beat. Kelly looks lost in thought. Greg looks at
Laura -- "what do I do?" -- Laura looks back -- "I don't
ELDER KELLY (CONT’D)
Greg waves an arm in the direction of the hospital canteen.
Uh let's go grab a coffee.
Elder Kelly sits opposite Greg at a small table. They both
have trays in front of them. The detritus of snacks nearby.
Disposable coffee cups.
She didn't tell you.
No she did not.
Said she was just visiting.
More like sampling the trial
Kelly stares down into her coffee. Greg fills the silence.
I mean I only known her the past
three years. We talk on the combox.
She told you how she ended up
quadriplegic? And how long she's
been that way?
Kelly’s face says no, she didn’t.
So one night, she's 21 -- comes out
to her folks. They’re a little
‘uptight’ about it you might say.
Tell her they don't want a gay
BLACK MIRROR "SAN JUNIPERO" 42.
It’s not natural and so forth. They
fight, she gets in her car, runs it
off the road. Boom.
When she was 21?
More'n 40 years back. It’s been her
whole lifetime basically.
So the whole San Junipero system's
been a big deal for her. The
He takes a bite of sandwich.
The hospital didn't have a
subscription -- some of us held a
crowd-sourcing campaign. Took us a
year but we got the money.
Course till she passes over, goes
permanent, she's got the five-hour
weekly limit - but I guess you're
They ration it out. They don’t
trust us with more.
I mean they say you go crazy if you
have too much. Never leave your
seat, disassociate your body from
Kelly is warming up slightly.
Like that doesn't happen in every
senior home already.
System's there for therapeutic
reasons, officially, at my place.
"Immersive Nostalgia Therapy".
“Plunge you into a world of
memories”; helps with Alzheimers.
That's what they say.
Greg stops eating for a moment and looks at her.
ELDER KELLY (CONT’D)
That's not my problem incidentally.
He smiles and raises a coffee cup.
BLACK MIRROR "SAN JUNIPERO" 43.
Kelly wants to address something.
So. This ‘marriage’..?
Greg finishes his coffee and exhales.
State's got a triple-lock on
(counting on fingers)
You gotta have sign off from the
doc, the patient, and a family
member. Stops people passing over
just 'cause they prefer San
Junipero flat out.
Elder Kelly sardonically looks around the dowdy canteen.
Who'd want to leave all this
Greg chuckles lightly.
Heh. Anyhow Yorkie's family? Big
time religious. Don't come fuckin'
see her -- pardon my tongue -- but
they're big time religious. And
they won't sign.
But a spouse can override that.
Hence the wedding bells.
You got it.
Got a pastor coming in tomorrow
A.M., she's scheduled to pass
'Scheduled to pass'. Let's just
call it dying.
If you can call it dying.
Uploaded to the cloud. Sounds like
BLACK MIRROR "SAN JUNIPERO" 44.
You gonna wear a suit?
(laugh, shaking head)
Ceremony's in my coffee break.
I never married, so I figured
what's the harm?
Kelly watches him eat for a moment.
You're a good man.
Least I could do, right?
You think you could hook us up to
the system, now, just for a little
while, before she passes?
You can still see her afterwards. I
mean then she's 'no limits', she's
full-fat permanent San Juniperan--
I know, but -- can you?
Greg stops eating.
We're meant to stick to the five
hour cutoff. Once a week--
But you can bend that. They let us
have more on birthdays and
Thanksgiving. Special occasions.
Seriously, it's so tight they--
Night before her wedding, that's a
BLACK MIRROR "SAN JUNIPERO" 45.
ELDER KELLY (CONT’D)
I only want a moment.
You brought your...
Connector with you?
I call it a 'bipper'.
Kelly sits in a chair in the corner of the room, a box about
the size of a paperback book in her hands. She opens it up
and there's a small, extendable device within, something like
a cross between a set of earphones and a stethoscope.
Greg, meanwhile, is affixing an identical device to Yorkie, a
nodule touching her temple, in the bed.
He looks at Laura, the woman who accompanied Kelly here.
Ma'am, watch the door.
You got five minutes. No more.
Kelly positions the device in place and touches the button on
a small handheld controller.
A small blue LED embedded in the device nodule starts to
49 EXT. KELLY'S HOUSE - DAY 49
1987. It's Kelly's San Junipero house, during daylight hours.
She opens the door, and there, looking a little confused, is
Hey. Over here. Hurry!
Yorkie looks round.
Not been here during daylight hours
BLACK MIRROR "SAN JUNIPERO" 46.
Kelly walks outside to join her. They hold hands and walk
along the sand.
So I spoke to Greg.
You're passing over tomorrow.
Couple hours after the wedding.
So I guess technically I'm
honeymooning here. Forever.
I'm sorry I didn't tell y--
Kelly puts a finger to Yorkie's lips.
I'm gonna say something crazy.
Kelly goes down on one knee. Right there.
Wanna marry me instead?
Yorkie looks stunned.
Just -- Greg seems great, but --
why not someone you've... Connected
Yorkie drops down, and kisses her.
That a yes?
50 INT. PRIVATE ROOM - FOLLOWING DAY 50
A pastor is reading the words of the marriage ceremony, as
Kelly sits beside Yorkie, holding her hand. Greg and Laura
BLACK MIRROR "SAN JUNIPERO" 47.
...to be your lawfully wedded wife,
to have and to hold, in sickness
and in health, in good times and
woe, for richer or poorer...
51 INT. PRIVATE ROOM - LATER 51
An official-looking member of staff holds out a translucent
tablet, with a consent form on it. Using her forefinger,
Kelly taps a consent box [for 'spouse']; her consent is
The official looks round at a doctor. Gives the nod.
In the bed, Yorkie is hooked up with the 'connector' device.
There's also a new tube attached to her arm. The doctor holds
a syringe. He looks at Kelly.
Kelly, sitting beside Yorkie, is stroking Yorkie's hair. She
The doctor presses the syringe. An opaque white fluid travels
through the snaking pipe, into Yorkie's arm.
The winking LED on the connector starts to go into overdrive.
Close up on Kelly stroking Yorkie's hand.
A screen indicates her vital signs have finished.
Greg draws a sheet over Yorkie's face.
52 EXT. BEACH - LATER 52
It's a deserted beach. Daylight hours. A small cove. White
sand. Yorkie, alone, walks along the shore, closing her eyes
and feeling the warmth of the sun.
She picks up a stone and skims it into the water. Feels the
breeze and smiles. Sits down on the beach. Clenches and
unclenches her toes in the sand.
She removes her glasses. Looks at them for a moment and drops
them on the sand.
Looks up and watches the sea and the skies.
53 EXT. SIENNA TRUST ASSISTED LIVING - DAY 53
The vehicle has drawn to a halt. Elder Kelly is being helped
out of the vehicle by Laura.
BLACK MIRROR "SAN JUNIPERO" 48.
54 INT. SIENNA TRUST ASSISTED LIVING - KELLY'S ROOM - LATER 54
Elder Kelly, sitting in an armchair, is coughing -- painfully
With Laura's assistance she slips on the connector device and
sits back in her arm chair.
One more cough.
You sure you're alright?
Kelly nods, and indicates for Laura to hit the button. She
closes her eyes.
Yorkie stands by the side of the road, waiting.
Kelly pulls up in her 1987 jeep, I Need Love by LL Cool J on
the stereo. Her car has a bow on the front. She's wearing a
white wedding dress.
Yorkie laughs and claps her hands.
You didn't dress up to see me? Come
Suddenly Yorkie is also in a white wedding dress.
Smiling, Kelly opens the car door. Yorkie climbs in and they
drive off. There are tin cans affixed to the back, bouncing
and sparking off the road.
The jeep sits parked in an isolated spot looking down over
San Junipero below. The two women sit side by side on the
hood, looking out at the lights down below. Crickets
Yorkie looks up at the moon, and back out at the lights.
Looks so real.
She raps on the hood.
Feels so real.
BLACK MIRROR "SAN JUNIPERO" 49.
She turns round and kisses Kelly. Then jumps off the hood and
starts dancing in the dirt.
What are you doing?
I love it! I just --
She does a cartwheel and ends up looking out into the night.
The wind blowing through her hair.
I love it.
You've been here before.
Yeah but now I live here.
She turns to look at Kelly, smiling.
Be with me.
I'm with you now.
That's not what I mean.
Kelly tenses up.
Pass over. When you're ready, when
it's your time. Pass over.
Stay here, with me--
Can we just enjoy tonight --
It's ten to midnight, you're out of
here in ten and we gotta wait a
week to meet again.
You know, I'm just a visitor--
BLACK MIRROR "SAN JUNIPERO" 50.
For how long? Couple months? Then
We're not discussing this--
Then you'll be gone, just gone. You
could have forever.
Forever, who can even make sense of
However long you want then, you can
remove yourself like that--
It's not a trap, it's -- look at
She gestures around. Then she raps the hood of the car again,
Kelly gets off the car, starts heading for the driver's door.
Yorkie grabs her arms, turns her around. She takes Kelly's
hands and puts them on her own (Yorkie's) face.
It's real. This is real.
She holds gestures to the wedding ring on her finger,
C’mon, you know that’s a gesture --
You married me--
To help you pass over, as a...
BLACK MIRROR "SAN JUNIPERO" 51.
Not so kind to leave.
Kelly breaks off.
Look, I’m sorry but -- I’ve got
this chance, we got this chance --
I want to share it with you.
Kelly is heading back to the car
I said I made my choice.
What is it? What, you feel bad
'cause your husband isn't here?
Well that was his choice. He chose
to turn this down-
It's like he left you. I mean he
could've passed over here but, no --
he left you.
That makes Kelly instantly angry. Hard to control it.
You don't know what you're saying.
You should be mad at him, not
whipping yourself with guilt--
Yorkie goes to take her hand again.
Get off me.
Yorkie tries to pull her back
You can’t see it - what he did, it
was selfish, actually--
Kelly slaps her. Yorkie holds her cheek, shocked.
There's a silence. Then:
BLACK MIRROR "SAN JUNIPERO" 52.
Forty nine years. I was with him
for forty nine years. You can't
begin to imagine -- you can't know -
She's letting it all out.
The bond. The commitment. The
boredom. The yearning. The
laughter. The love of it. The
fucking love. You just cannot know.
Everything we sacrificed. The years
I gave him, the years he gave me.
Did you think to ask? Did it occur
to you to ask?
Yorkie is silenced. Kelly is increasingly emotional, and
We had a daughter. Alison. Always
difficult, always beautiful. Died
at 39 years old, bless her heart,
and Richard and I, we felt that
heartbreak as one. You think you're
the only person ever suffered, go
I didn't know--
Didn't think to. Y'know when he was
dying Rich said to me -- when they
offered him this, to pass over,
pass through, serve eternity in
this fucking graveyard you're so in
love with -- he said how can I?
When she missed out, how can I? And
so he went.
And I wish I could believe he's
with her now, they're together, but
I don't. I believe they're nowhere.
Like you said, gone. Just gone.
Yorkie goes to embrace her, but Kelly physically pushes her
No. I pitied you and that's the
truth. I pitied you. And now you
give me some sales pitch about how
fuckin' peachy 'forever' could be..
BLACK MIRROR "SAN JUNIPERO" 53.
Yorkie moves closer.
You want to spend forever
somewhere nothing matters? End up
like Wes; all those... lost fucks
at the Quagmire, trying anything
just to feel something? Go ahead.
But I’m out. I’m gone.
She pushes Yorkie aside -- jumps in the car, guns the engine.
Kelly, I'm sorry --
But it's too late. Kelly roars away.
57 I/E. KELLY'S CAR - CONTINUOUS 57
Crying, Kelly roars along the highway at full throttle. The
clock on the dash reads 11:58. She's flying at full speed.
'Just Married' cans sparking furiously against the tarmac.
She swerves around a corner, narrowly avoiding a set of
headlights. Slams her foot harder on the accelerator.
Up ahead, a section of road gives way to a drop. Before it
are a set of concrete bollards.
Kelly looks at this. Aims the car right for it.
The car thumps into the bollards. Dead stop. Glass fragments
spray around Kelly as she flies through the windshield like a
rag doll fired from a cannon.
She skids across the tarmac and comes to a halt in the centre
of the road, a broken heap.
She lies still for a moment. All is silent.
Then slowly, she sits up. She's dusty -- but physically
unharmed. She looks up at the night sky. At the moon.
Then a hand reaches down to help her up.
She looks round. It's Yorkie.
Kelly looks at the outstretched hand. Looks up at Yorkie.
The clock on the dash clicks to midnight.
Yorkie stands alone in the middle of the road.
BLACK MIRROR "SAN JUNIPERO" 54.
Elder Kelly, sitting in a chair, suddenly lurches forward
slightly, as though rousing from a dream. She reaches for the
'connector' nodules on her temples and takes them off.
In the corner of the room sits Laura, asleep with an e-book
on her lap.
Elder Kelly rubs her eyes a little. Leans back against her
chair and sighs.
59 EXT. SAN JUNIPERO - NIGHT 59
Yorkie, alone, is walking along the middle of the road. She
looks up at the sky.
We fade out. Then fade up on:
60 EXT. SIENNA TRUST ASSISTED LIVING - MORNING 60
Time has passed. Bright, burning sunlight glints off the
walls of the Sienna Trust nursing home.
61 INT. SIENNA TRUST ASSISTED LIVING - DAY 61
Elder Kelly sits in a main lounge area. An oxygen tank
attached to her nostrils.
At other tables there are seniors playing dominos. Staring at
62 INT. SIENNA TRUST ASSISTED LIVING - DAY 62
In her room, Elder Kelly is having another coughing fit.
Painful, sharp. It comes to an end. Laura rubs her back.
63 EXT. SIENNA TRUST ASSISTED LIVING - EVENING 63
Elder Kelly sits outside, watching the sun set. She seems at
Well okay then.
Elder Kelly just looks at her for a moment.
BLACK MIRROR "SAN JUNIPERO" 55.
I said "well okay then".
Laura just looks puzzled.
ELDER KELLY (CONT’D)
All things considered I guess I'm
Laura's more confused.
For the rest of it.
And she smiles.
Cut to black. Then:
64 EXT. TUCKER'S CAR LOT - 1987 - DAY 64
Yorkie climbs into a black Toyota MR2 and drives out of the
car lot. She slides a cassette into the deck and hits play.
It's Belinda Carlisle, Heaven is a Place On Earth.
Ooh baby do you know what that's
Ooh heaven is a place on Earth.
65 INT. SIENNA TRUST ASSISTED LIVING - KELLY'S ROOM - DAY 65
Kelly is lying in bed, a tube delivering clear liquid into
her forearm. Connector nodules in position on her temples.
They say in heaven, loves comes
We'll make heaven a place on Earth.
She closes her eyes.
The LEDs on the nodules go crazy.
66 EXT. SAN JUNIPERO HIGHWAY - DAY 66
Yorkie races along the highway in her car, stereo continuing
Ooh heaven is a place on Earth.
BLACK MIRROR "SAN JUNIPERO" 56.
67 EXT. GRAVEYARD, PRESENT DAY - DAY 67
Laura and a gaggle of seniors stand at the side of a grave as
a coffin is lowered down.
When I feel alone
I reach for you
And you bring me home.
The headstone reads:
ALISON CECILIA BOOTH aged 39 years
RICHARD ALLEN BOOTH aged 74 years
And the final name, recently etched:
KELLY JANE BOOTH aged 73 years
68 EXT. KELLY'S HOUSE - SAN JUNIPERO - DAY 68
Yorkie pulls up outside. Kelly runs down the steps and leaps
into the car. Maybe they kiss.
When I'm lost at sea
I hear your voice
And it carries me.
69 EXT. SAN JUNIPERO HIGHWAY 69
The two women roar along the freeway at speed.
In this world we're just beginning
To understand the miracle of living
70 EXT. TECHNOLOGY CAMPUS - DAY 70
We're suddenly looking at the entrance-way for a tech company
campus in Silicon Valley in the present day. The name is TCKR
Baby I was afraid before
But I'm not afraid anymore.
BLACK MIRROR "SAN JUNIPERO" 57.
71 INT. TCKR SYSTEMS - SERVER FARM - DAY 71
We're panning past server after server, each labelled SAN
JUNIPERO and an assigned number... SAN JUNIPERO SERVER 1, SAN
JUNIPERO SERVER 2... And so on.
Ooh baby do you know what that's
Ooh heaven is a place on Earth.
We move close on a bank of LEDs, winking like crazy.
Kelly and Yorkie on the dance floor - in 1987 gear, but
Yorkie minus glasses, laughing, embracing.
They say in heaven, love comes
We'll make heaven is a place on
73 INT. TCKR SYSTEMS - SERVER ROOM - DAY 73
Extreme close up on a pair of flickering blue LEDs.
Ooh heaven is a place on Earth.
|Yorkie||Throughout the movie, Yorkie goes on a journey of self-discovery and growth. She starts out as a timid and awkward person, held back by her restrictive upbringing and uncertainty about her engagement to Greg. However, as she spends more time with Kelly and explores the world of San Junipero, she begins to open up and reveal her inner turmoil. She becomes more confident and assertive, and ultimately finds love and happiness in San Junipero despite her tragic past and illness. Yorkie's arc is one of transformation from a fearful and uncertain person to a brave and emotionally honest partner, willing to take risks and face the unknown in pursuit of her ideal life partner.||The character arc for Yorkie is well-written and engaging, but could benefit from further exploration of her past trauma and how it affects her relationship with Kelly. While her progression from an introverted and hesitant person to a more confident and assertive partner is well-portrayed, there could be more emphasis on the emotional journey that Yorkie undergoes as she comes to terms with her impending death and the idea of living on in San Junipero.||To further improve Yorkie's character arc, it would be beneficial to delve deeper into her past experiences and how they shape her perspective on life and love. Additionally, exploring her conflicted feelings about engaging with San Junipero's eternal life system could add more depth to her emotional journey and make her character even more relatable and complex. Overall, the character of Yorkie is well-written and portrayed, but could benefit from additional nuance and exploration of her past trauma.|
|Kelly||Kelly starts off as a confident and outgoing woman who is interested in Yorkie. She is open and willing to help her, but is also respectful of her boundaries. Kelly deals with her own personal issues of not wanting attachments due to her past experiences. She is initially wary of forming deeper relationships and hides from Yorkie. However, as the story progresses, Kelly reveals her true feelings towards Yorkie and develops a deep connection with her. She grapples with the morality of euthanasia and the afterlife, but ultimately uploads herself to be with Yorkie. In the end, Kelly comes to embrace the afterlife and find peace.||The character arc for Kelly is well-constructed and allows for gradual development throughout the story. However, it may be helpful to have more hints about her past earlier on, as it can be difficult to fully understand her motivations. Additionally, while Kelly's relationship with Yorkie is well-developed, her relationship with her deceased husband could have been more fully explored.||To improve the character arc, it may be helpful to introduce more hints about Kelly's past earlier on in the story. Additionally, the relationship between Kelly and her deceased husband could have been integrated more fully into the story, perhaps through flashbacks or memories. This would allow for a fuller exploration of Kelly's emotional journey and her motivations throughout the story.|
|Two women bond in the afterlife simulation of San Junipero, but one struggles with her feelings for her fiancé and desires to meet in the real world.|
|A system allowing people to upload their consciousness to San Junipero after death brings two women together in an intimate relationship.|
|After meeting in San Junipero, a young woman begins to question her engagement and turns to the woman she met for help making a major decision.|
|As one woman faces the end of her life, the other grapples with the idea of living forever in the simulation of San Junipero.|
|The poignant story of love and life's end unfolds as two women meet in an afterlife simulation and must make impossible choices about their fate.|
Save the Cat:
1. Opening Image: Introduces us to the California coastal setting in 1987 and the character of Yorkie.
2. Theme Stated: Yorkie discusses hiding behind things with Kelly, foreshadowing her internal conflict.
3. Catalyst: Yorkie meets Kelly in the bar.
4. Debate: Yorkie struggles with her engagement to Greg and her growing feelings for Kelly.
5. Break into Two: Yorkie and Kelly share an intimate moment.
6. B Story: Yorkie and Kelly bond over their personal struggles and insecurities.
7. Fun and Games: Yorkie searches for Kelly in different bars, encountering various challenges.
8. Midpoint: Yorkie confronts Kelly about why she hid from her.
9. Bad Guys Close In: Yorkie learns about the high percentage of dead people in San Junipero.
10. All Is Lost: Kelly attempts suicide, causing tension between her and Yorkie.
11. Dark Night of the Soul: Elder Kelly passes away and Kelly reflects on her decision to stay in San Junipero.
12. Break into Three: Kelly decides to go back to San Junipero with Yorkie.
13. Finale: Kelly and Yorkie’s wedding ceremony in San Junipero followed by Kelly’s passing away and entering the afterlife.
1. Ordinary World: Yorkie is new to San Junipero and portrayed as slightly awkward.
2. Call to Adventure: Yorkie is drawn to Tucker’s and begins playing arcade games.
3. Refusal of the Call: Yorkie is hesitant to leave her shell until she meets Kelly.
4. Meeting the Mentor: Kelly teaches Yorkie to dance and connect on a deep emotional level.
5. Crossing the Threshold: Yorkie enters a transgressive club in search of Kelly.
6. Tests, Allies, and Enemies: Yorkie faces various challenges to find Kelly, including confronting her about hiding from her.
7. Approach to the Inmost Cave: Yorkie and Kelly admit their deepest fears and emotions to each other.
8. Ordeal: Kelly reveals her terminal illness and the two characters say goodbye before Yorkie’s euthanasia.
9. Reward: Kelly marries Yorkie in the San Junipero system and ultimately decides to upload herself to be with her.
10. The Road Back: Kelly and Yorkie argue about staying forever in San Junipero and Kelly attempts suicide.
11. Resurrection: Kelly decides to go back to San Junipero with Yorkie.
12. Return with Elixir: Kelly and Yorkie’s wedding ceremony in San Junipero followed by Kelly’s passing away and entering the afterlife.
The 8-Sequence Structure:
1. Prologue: The setting of California coastal town in 1987 is introduced, and Yorkie is characterized as slightly awkward.
2. Sequence 1: Yorkie meets Davis and briefly bonds over their shared interest in arcade games.
3. Sequence 2: Kelly saves Yorkie from an unwanted conversation with Wes and invites her for another drink.
4. Sequence 3: Yorkie and Kelly bond over dancing and have a revealing conversation about their personal lives and insecurities.
5. Sequence 4: Yorkie tries different looks and reflects on finding her true self, while Kelly has a conversation with Wes about their past relationship.
6. Sequence 5: Yorkie and Kelly share an intimate moment, and Yorkie admits her indecision about her engagement.
7. Sequence 6: Yorkie searches for Kelly, encountering various challenges, and learns about the high percentage of dead people in San Junipero.
8. Sequence 7: Kelly attempts suicide, causing tension between her and Yorkie, before they ultimately reconcile.
9. Sequence 8: Elder Kelly passes away, and Kelly decides to go back to San Junipero with Yorkie.
|Tone - Emotional Impact||There is a strong positive correlation between the tone of the screenplay and its emotional impact. As the tone gets more intense and emotional, the emotional impact of the screenplay increases as well. This is evident in several instances where the tone is described as intense and emotional and the emotional impact score is high.|
|Character Changes - Emotional Impact||There is a strong positive correlation between character changes and emotional impact. As the characters go through significant changes throughout the screenplay, the emotional impact on the reader/viewer is heightened. This is evidenced by several instances where the emotional impact score is high and the character changes score is also high.|
|Dialogue - Emotional Impact||There is a moderate positive correlation between dialogue and emotional impact. As the quality of dialogue improves, the emotional impact of the screenplay also improves. Several instances where the emotional impact score is high are accompanied by a moderate or high dialogue score.|
|Tone - Character Changes||There is a positive correlation between the tone of the screenplay and the character changes. As the tone becomes more intense and emotional, the characters tend to go through significant changes. This is evident in several instances where the tone is described as intense and emotional and the character changes score is also high.|
|Concept - Emotional Impact||There is a moderate positive correlation between the concept of the screenplay and its emotional impact. A compelling and original concept can contribute to the emotional impact of the screenplay. Several instances where the emotional impact score is high also have a moderate or high concept score.|
|Plot - Emotional Impact||There is a moderate positive correlation between the plot and emotional impact. As the plot becomes more compelling, intricate and unpredictable, the emotional impact on the reader/viewer increases as well. Several instances where the emotional impact score is high also have a moderate or high plot score.|
|High Stakes - Emotional Impact||There is a moderate positive correlation between high stakes and emotional impact. As the stakes get higher and the tension is heightened, the emotional impact of the screenplay also tends to increase. Several instances where the emotional impact score is high also have a moderate or high high stakes score.|
|Trope||Trope Details||Trope Explanation|
|Nostalgia||The screenplay heavily relies on nostalgia, especially for the 80s with the frequent references to arcade games and music from that era.||Nostalgia plays a major role in the story, with the plot revolving around a simulated reality from the 80s called 'San Junipero.' The frequent references to 80s music, fashion, and arcade games contribute to the overall tone of the screenplay.|
|Fish Out of Water||Yorkie is portrayed as a slightly awkward young woman who is new to San Junipero and is hesitant to venture out of her shell. This sets up the classic trope of a 'fish out of water.'||Yorkie's character is intentionally designed to be an outsider in San Junipero, as she is new to the place and still trying to figure out her place in it. This makes her a classic example of the 'fish out of water' trope, which is a common device in storytelling.|
|Romantic Conflicts||The screenplay explores the conflicts between the characters' romantic desires and obligations. Yorkie is engaged to Greg, but she is attracted to Kelly, who has a complicated past. This leads to moments of tension and emotional drama throughout the story.||The trope of romantic conflict is a staple in storytelling, and it is used effectively in the screenplay to create tension and add depth to the characters' relationships. The conflicts between Yorkie and Kelly's desires provide a driving force for the plot and keep the audience engaged until the end.|
|Terminally Ill Character||The character of Kelly is revealed to have a terminal illness, making her storyline more complex and emotional.||The trope of a terminally ill character is used effectively in the screenplay to add layers to Kelly's character and heighten the emotional stakes of the story. This trope is a common device in storytelling, as it provides an easy way to increase the drama and tension of a plot.|
|Euthanasia||The screenplay deals with the difficult moral and emotional issues surrounding euthanasia, as Kelly chooses to upload herself to be with Yorkie in San Junipero after her death.||The trope of euthanasia is a controversial and emotional topic, and it is used effectively in the screenplay to add depth and complexity to the characters' decisions. The scene where Kelly decides to upload herself to be with Yorkie in San Junipero after her death is particularly poignant and explores the difficult moral and emotional issues surrounding euthanasia.|
|Flashbacks||The screenplay frequently uses flashbacks to provide context and backstory for the characters, as well as to revisit important moments in their relationships.||The trope of flashbacks is a common device in storytelling, and it is used effectively in the screenplay to provide context and depth for the characters' relationships. The flashbacks help to build a rich and complex narrative that explores the emotional complexities of the characters' experiences.|
|Life After Death||The entire premise of the screenplay revolves around the idea of a simulated reality where people can live on after death, making the trope of life after death a central theme.||The trope of life after death is a central theme in the screenplay and is explored in depth through the idea of San Junipero, a simulated reality where people can live on after death. This theme adds a layer of philosophical depth to the story and raises profound questions about the nature of life and death.|
|Theme||Theme Details||Themee Explanation|
Screenwriting Resources on Themes
|Studio Binder||Movie Themes: Examples of Common Themes for Screenwriters|
|Coverfly||Improving your Screenplay's theme|
|John August||Writing from Theme|
|Story, Plot, Genre, Theme - Screenwriting Basics||Screenwriting basics - beginner video|
|What is theme||Discussion on ways to layer theme into a screenplay.|
|Thematic Mistakes You're Making in Your Script||Common Theme mistakes and Philosophical Conflicts|