It's been a while since I have had a go at doing this, so I thought the time is ripe for another attempt. Since I'm writing this on a mobile device, I'm going to write it as a script (though it won't be properly formatted, since the mobile version of the site doesn't offer format options).
The title of this work is "Jamais Vu", a French term related to deja vu. If deja vu is the feeling of the unfamiliar being familiar, then jamais vu is the familiar being unfamiliar.
And so, without further ado ...
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1 EXT. DAY - CENTRAL NORWAY
We open with the pre-dawn light revealing a string of snowy mountain tops somewhere in central Norway. It's beautiful, at least as first. As more light emerges, the lower regions become uglier. If God spent months perfecting the fjords, then he cobbled this together in ten minutes.
We meet HENNING, just short of 40, a blue-collar worker who has just become a manager. He's out on a camping trip with his wife, ILKA. Both are thoroughly rugged up against the winter cold, and slowly scrambling over the rough terrain, guided by a single torch beam. They climb up into a clearing and stop to catch their breath.
HENNING
This is it. It has to be. It's the only place for miles.
They start searching the clearing.
ILKA
What do you think it was?
HENNING
I don't know. I'm not sure I want to know.
ILKA
You don't believe me?
HENNING
If I didn't, then I wouldn't be here. Come on.
Their search yields on odd, grey-brown mass. It's a collapsed tent. Ilka gets down on all fours to investigate, while Henning keeps an eye on the perimeter.
ILKA
Well, something happened. And whatever it was, it happened quickly.
HENNING
How can you tell?
ILKA
The tent has been cut open. From the inside out. And there's more--
Henning snaps to attention. Someone, or something, is coming.
ILKA
A passport?
HENNING
Ilka, we need to go.
ILKA
No, two. And they're different.
HENNING
*Now*, Ilka!
He grabs her before she has a chance to explore any further, and they race to the edge of the clearing. There's a narrow track leading uphill. They stumble around a corner and find A WOMAN, half-sheltered behind a large rock. She's extremely attractive, or at least she would be if her face wasn't scratched and her make up hadn't run. Her dress is also odd - more suited to evening wear than hiking. Her expression is a mix of fear and grim determination. At the sight of Henning and Ilka, she gives a start, and then heads down the hill. The whole encounter lasts only seconds. Henning and Ilka do not stop moving until they reach a second, snowy clearing.
HENNING
Wait here.
ILKA
What? Why? Where are you going?
HENNING
There was a woman on the path. She might be going into danger.
ILKA
I didn't see her.
HENNING
She was hiding.
ILKA
Henning, no.
HENNING
We can't just leave here there.
ILKA
But you *can* leave me here?
HENNING
You're right. Okay, we're near a road. These are all old forestry trails. We should--
But we never find out what they should do - Henning is cut off by the unmistakable sound of a gunshot from the clearing below. They stare in horror as a murder of crows takes flight, cueing the segue into the titles.
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2 - TITLE SEQUENCE
The murder of crows give way to a title sequence where smoke coalesces into the form of dancing women that dissipate as the crows fly by.
EON Productions presents
Daniel Craig
as Ian Fleming's James Bond 007
in
JAMAIS VU
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3 - EXT. NIGHT - LONDON
As the titles segue back to the film, we are led to believe that we are still in Norway. We see JAMES BOND running through a forest and clearly pushing himself. We can hear dogs barking in the background, and everything is constructed to make the audience believe that he is in the middle of a chase.
But then he stops without warning, and everything comes into focus. He's not in a chase - he's not even in Norway. He's in Regent's Park, and has just finished his evening run. He grabs a towel from where he left it on a park bench, pats his face down, and makes for the road. EVE MONEYPENNY is waiting for him, standing by a car.
MONEYPENNY
I'm not surprised to find you here.
BOND
Should you be?
MONEYPENNY
Yes. I remember one of the first lessons of basic training: always vary your routine.
BOND
Maybe I would if I was in Kabul. But if you can't feel safe in London, where can you?
MONEYPENNY
Certainly not in your office. You've been prowling around for weeks with nothing to do.
BOND
That's not why you're here, though.
MONEYPENNY
Of course not. M wants to see you.
With that, Bond opens the car door for her, then circles around to the other side and climbs in. He barely has time to close the door before the car accelerates away.
BOND
Did he say why he wanted to see me?
MONEYPENNY
No. Just that it was urgent.
The car weaves through the London traffic, the driver effortlessly sliding through the streets. After a short drive, they pull up at a townhouse and Bond climbs out. Moneypenny winds the window partway down.
BOND
You're not coming?
MONEYPENNY
It's not for my ears. And besides, I have paperwork that needs my attention. Some of it is yours.
The car pulls away, leaving Bond on the sidewalk. He climbs the stairs and rings the bell. The door opens to reveal JENNINGS, an MI6 bodyguard. Everything about him screams security - except for the floral-print apron, and the way his shirt sleeves are rolled up to his elbows. He does not look impressed, and Bond thinks better of commenting.
JENNINGS
Double-Oh Seven. He's expecting you. Just be careful; he's ... in an odd mood.
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4 - INT. NIGHT - M'S TOWNHOUSE
JENNINGS leads BOND through the townhouse to the kitchen. They pass the open dining room, which is set for two - it's obvious M is expecting company. The kitchen itself is a sea of madness, with pots and pans all over the place and a joint of beef in the oven. M himself is in a three-piece suit, and completely unperturbed by the mess.
M
Good evening, Double-Oh Seven.
BOND
Good evening, sir.
He gives no outward sign that the setting is unusual, but M picks up on it.
M
I refuse to let this job get the better of me. I'll admit it can be inconvenient, but I won't be a slave to it. If the new PM had his way, I'd be called away to attend to every crisis at Downing Street.
BOND
Is there a crisis, sir?
M
Not today. Just a matter of inconvenience. There's a small situation in Norway, and I need to send an agent. It's probably nothing, but the protocol has to be observed.
BOND
Protocol, sir?
M
In the aftermath of September Eleven, Parliament put together a list of individuals they considered to be key to our security. It's called "Capricorn", and if someone on that list dies, then their death is automatically investigated.
BOND
And somebody on that list died in Norway.
M
Yes. This morning. Her name is Samantha Glazier.
BOND
Why was she on the list?
M
I have no idea. It falls within MI5's jurisdiction; the only reason why we're getting involved is because Glazier died overseas. I only found out an hour ago.
BOND
What are the Norwegians saying?
M
Not much. There hasn't been an autopsy yet, but the local police say there is evidence of suicide. It would be easy to write this off as nothing.
BOND
But something doesn't feel right?
M
I didn't say that. I've learned that in this job, complacency is the mother of all parliamentary enquiries into the conduct of the Secret Service. So I'm sending you to Norway. I want you to confirm the circumstances behind Glazier's death, and escort her body home. It shouldn't take long; a day or two at most.
BOND
Understood.
His attention is drawn to a nearby - and very under-stocked - wine rack.
BOND
(cont'd)
May I?
M nods. Bond quickly examines the bottles on offer, then selects a slightly dusty one.
BOND
I've only ever known you to drink bourbon, sir, though I doubt your lady friend enjoys it, since the bottles are covered in fingerprints. You've got a nice little Margaret River here that should go well with the beef.
M
Is this your idea of professionalism, Double-Oh Seven?
BOND
It's my idea of refusing to let the job get the better of me, sir
M allows himself a smile.
M
Good evening, Double-Oh Seven.
BOND
Good evening, M.
The front bell rings - M's lady friend is here. Bond takes that as his cue to leave out the back door.
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Part II is coming when I get around to it.
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