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[SamuelKevlar]

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Here it is: the first part of End Of Eternity. Discuss my work in the 'End Of Eternity' Discussion thread in Fan Fiction Discussion. I hope you enjoy EOE!

Part One: Alpine Rendezvous.


GUNBARREL

Gunbarrel. Bond walks in. Turns. Shoots. Blood.

It's a Bond movie.

OPEN ON:

EXT. FRENCH ALPS - DAY

A spectacular vista. Sunlight touches the snow, making the mountains glitter like diamonds.

And placed very conveniently on the side of one of these mountains is Le Roi Du Monde, an exclusive restaurant with great views and high prices. From one of the several floors of the restaurant, cable cars connect the establishment to a car park far below.

EXT. LE ROI DU MONDE - CONTINUING

There's a large deck outside the building, filled with tables, chairs and fidgeting waiters.

At the edge of the deck, looking out over the Alps, is a plump, short man. His name is RENE MATHIS, and he is very, very nervous. He holds a black briefcase to his chest.

Mathis' patience pays off. A statuesque, blonde young woman with mink coat and sunglasses comes to stand next to him. Let's call her RAVEN, for reasons explained later. She carries an identical briefcase, but immediately puts it down.

Then she waits.

MATHIS
(hesitant)
"To see a world in a grain of sand, and a heaven in a wild flower."

At once Raven responds in a light American accent with her half of the password.

RAVEN
"Hold infinity in the palm of your hand, and eternity in an hour."

Mathis' anxiety all but disappears.

MATHIS
Bonjour Madame.

She ignores his greeting, nods faintly to the briefcase she brought.

RAVEN
Four million euro. Plus a little extra as a parting gift.
(turns to him)
We have never met and will never meet again.

Mathis is a little taken aback by her matter-of-fact approach.

MATHIS
I have the-

RAVEN
That briefcase contains a passkey that will get me into the Banque
Nationale Francaise.
(beat)
If it does not you will die.

MATHIS
(flustered)
I.. I assure you, Madame. I would never-

RAVEN
Au revoir.

Taking this as his cue to leave, Mathis grabs his new briefcase and moves swiftly away.

RAVEN
(continuing; whispering)
And bonne chance.

She picks up the briefcase Mathis left and heads in the opposite direction.

A few tables away, we see a hand press the top of a lighter. It clicks, as if it were a camera.

It is.

Because also on the table is a Vodka Martini, shaken not stirred. The hand belongs to JAMES BOND, AGENT 007 OF HER MAJESTY'S SECRET SERVICE.

He takes one last sip of the Martini, picks up his lighter, and stands up to follow Mathis.

INT. ELEVATOR - CONTINUING

Mathis enters, presses a button. The doors are stopped from closing by Bond, who comes to stand next to Mathis.

MATHIS
Going up?

Bond presses his gun into Mathis' side. To a casual observer, it would appear that they are just standing next to each other.

BOND
No. You're going down.

The elevator doors close.

INT. POWDER ROOM - CONTINUING

Warm red walls. Huge mirrors with gold decorations. Luxurious to the point of being kitsch. Empty.

Raven walks in briskly, discards her mink get-up. She wears overalls underneath. The briefcase is opened, a small card taken out. Raven honours the mirror with a glance, blows a kiss to her reflection. Then she's gone.

A toilet flushes. A woman leaves one of the stalls. She sees the mink coat, raises an eyebrow.

INT. TECHNICIAN CONTROL ROOM - CONTINUING

There's a TECHNICIAN, also in overalls, at the controls. Security monitors and buttons everywhere.

Raven enters.

RAVEN
(in French)
I'm here to relieve you.

TECHNICIAN
(in French)
But-

With a quick jab she knocks him unconscious.

RAVEN
Relieved yet?

She turns to the monitors, sees Mathis and Bond in the elevator. She sighs.

RAVEN
I hate innocent bystanders.

INT. ELEVATOR - CONTINUING

Bond is interrogating Mathis, who is completely overwhelmed.

BOND
Who is she? Who is she working for?

MATHIS
I.. I don't know. This is the only time I saw her in the flesh. The.. I..

His speech devolves into incoherent babbling. Bond pushes his gun harder into the man's flesh.

BOND
Tell me.

MATHIS
Ok. Ok. She calls herself Raven. That's all I know.

They reach the lowest floor of the restaurant. Bond nudges Mathis towards the opening doors.

BOND
You can explain things in London. Come on.

But as they are about to leave the doors close again. Bond is now also surprised.

INT. TECHNICIAN CONTROL ROOM - CONTINUING

Raven has taken over control of the elevator. She taps a few buttons, smiles.

INT. ELEVATOR - CONTINUING

With his gun still trained on Mathis, Bond presses a few buttons with his other hand. Nothing.

Then the elevator starts moving again. Up.

MATHIS
(terrified)
What's happening?

The doors open again, now on the top floor. An empty observation deck.

BOND
Don't move.

But there's no need. Mathis is rooted to the spot, terrified.

Bond leaves the elevator.

INT. TECHNICIAN CONTROL ROOM - CONTINUING

RAVEN
Finally.

She taps a button on her cellphone.

EXT. OBSERVATION DECK - CONTINUING

Bond looks around, gun drawn. There is nobody there.

INT. ELEVATOR - CONTINUING

The briefcase begins to make a strange hissing sound. Mathis looks at it. A small hole in the briefcase emits a greenish vapour. Immediately Mathis begins to choke.

EXT. OBSERVATION DECK - CONTINUING

Bond notices what is happening, rushes to the elevator (the doors are still open), but it is already too late. Mathis' skin begins to dissolve. He literally falls apart before Bond's eyes.

INT. TECHNICIAN CONTROL ROOM - CONTINUING

Her work done, Raven runs out of the room.


To be continued...

Coming soon: Part Two: "Curiosity Killed The Cat."

[SamuelKevlar]

Part Two: "Curiosity Killed The Cat."


EXT. OBSERVATION DECK - CONTINUING

Finally, the elevator doors close, sparing Bond the rest of Mathis' gruesome devolution.

Below him, a cable car starts up. Bond looks over the edge. Raven is forcing herself into it. Restaurant patrons look on and mumble things about rudeness.

The cable car leaves the station. Bond realises what he must do. The next cable-car comes along. Bond jumps, almost doesn't make it, grabs hold and pulls himself onto the roof. Let's call it

EXT. CABLE CAR 2 - CONTINUING

Bond steadies himself, aims at Raven in the cable-car in front, fires.

INT. CABLE CAR 1 - CONTINUING

He just misses. The glass shatters. Instinctively, Raven lets herself drop to the ground, looks up cautiously.

She sees Bond on top of cable-car 2, smiles wickedly.

RAVEN
Curiosity killed the cat.

In one fluid motion Raven pulls out a huge silver pistol and fires it.

EXT. CABLE CAR 2 - CONTINUING

Bond is able to dodge the bullet.

A few more shots are exchanged, all fruitless. Eventually Bond runs out of ammo.

He considers his options. Cable-cars cannot catch up with each other. The only way he'll catch Raven is if he-

Bond activates his watch laser, burns through several safety cables on top of the cable-car. It begins to spark, and to gain speed.

INT. CABLE CAR 1 - CONTINUING

Raven has sought cover on the floor, with her back to the second cable-car. She doesn't notice it approach.

EXT. CABLE CAR 2 - CONTINUING

Bond grabs hold of what few cables are still properly attached, prepares himself for the inevitable.

CRASH!!

The second cable-car smashes into the first one, twisted metal attaching the two like bizarre iron Siamese twins.

They are now completely stationary, a wreck dangling above a pure-white abyss.

Bond swings through the shattered window into

INT. CABLE CAR 1 - CONTINUING

Raven has lost her gun but not her composure. She kicks Bond square in the chest, then makes for the gun. Bond grabs her, pulls her backwards. She twists out of his grasp, knees him, gets the gun.

Raven now has Bond at gunpoint. Both slowly get up. Bond holds his hands in the air.

RAVEN
Who are you?

BOND
The name's Bond.
(beat)
James Bond.
(beat)
And I could ask you the same question.

Raven smiles at that.

RAVEN
But I'm not the one with a gun to my head, Mr Bond.

Bond strikes, takes the gun before Raven realises what has happened. He now points it at her.

BOND
Oh really?

RAVEN
Bastard!

BOND
Sticks and stones, Miss 'Raven'.

The cable-cars shudder. Metal groans. Bond looks up uncertainly. Then-

CABLE-CAR 2 BREAKS APART!

Pieces fall away to the snow below, and cable-car 1 is wrenched side-ways as its twin pulls at it.

Bond and Raven fall backwards. She pulls herself through the shattered window (which is now almost horizontal) and climbs to the top of the smoldering mess.

Bond has time for one shot, which misses. He then follows her.

EXT. CABLE CAR 1 - CONTINUING

Bond confronts Raven, who sits, seemingly quite content.

BOND
Give yourself up. There's nowhere left to go.

RAVEN
Or what? You'll shoot me?

BOND
I will if I have to.

Raven just smiles. Then she lets herself fall backwards. Bond fires. Click. Her gun is empty, and she knew it.

Bond sees Raven fall for a moment. Then a parachute opens like a flower. She floats gently away.

Bond sighs, defeated.

The remains of cable-car 1 spark heavily. The metal groans and twists in shape. Small fires begin everywhere.

Bond realises the horrible truth: it's going to fall apart.

He grabs hold of the suspension cables, climbs forward, one hand after the other. Trying to make as much distance between him and the wreckage.

And not a moment too soon. Parts explode. Others just fall off. Remains fall to the ground in a smoking, flaming ruin. The cable-car is no more.

Bond is left hanging from the cable-car suspension cables, a huge distance from each side. Mountains surround him.

The white peaks fade into black. The cable turns into the hand of a clock, pointing at three. And so begins the

TITLE SEQUENCE


To be continued...

Coming soon: Part Three: Interference.

[SamuelKevlar]

Part 3: Interference.


FADE IN:

EXT. NEW EDEN - NIGHT

The Australian Outback. Rocks. Sand. Desolate. Cold. Stars litter the sky.

There's a touch of civilisation in the nothingness. A gigantic bio-dome, a bubble so large it could encase the Petronas Twin Towers easily. This is New Eden.

Surrounding it are countless caravans, as well as the odd banner or sign. Protesters, as we will see.

A Ferrari parks near the large, Art Deco entrance of New Eden. Out steps Raven, now in a warm coat. She's carrying the briefcase.

As she approaches the entrance, the metal sliding doors open for her.

INT. NEW EDEN RECEPTION - CONTINUING

The Art Deco theme is continued here. Everything looks white, pristine, like some large company's boardroom. Completely the opposite of what you would expect to find in the wilderness.

Raven pulls out a ID card, uses it on a small door. It opens, and she walks into

INT. NEW EDEN PLANTATION - CONTINUING

That's really the only way to describe it, but still doesn't do it justice.

Raven has just walked into an indoor jungle, a place filled with plants of every shape and size. Walkways and stairs grant access to all the different levels. The stars glitter above apple trees and palms. It's a bubble of greenery in the nothingness, oxygen in a vacuum.

In the middle of the flora stands a large compound, once again in Art Deco style. It is here that Raven goes to with resolute steps. As she walks, she is observed by cloaked figures standing amongst the foliage. She ignores them.

At the entrance to the compound Raven stops, waits. She's waiting for the doors to open. But instead a dignified British voice speaks from a speaker above the door.

VOICE (V.O.)
Can you explain yourself?

RAVEN
Yes.

VOICE (V.O.)
Then do so.

RAVEN
Everything went according to plan. I left no traces, and I have the
passkey.

VOICE (V.O.)
But there was interference.

RAVEN
He didn't discover anything. Mathis is dead.

VOICE (V.O.)
He saw you, however.

RAVEN
He won't find me. Nobody ever has.

VOICE (V.O.)
It's a risk, Raven.

RAVEN
I assure you. He will not cause trouble.

VOICE (V.O.)
Make sure he doesn't.

And the doors open. Raven enters the compound. The doors close behind her.


To be continued...

Coming soon: Part 4: Dress Rehearsal.