I feel as if I'm the wrong person to review this as a Pokemon adventure, but as a story in general, it's serviceable. The formatting looks to be in order, save for some blocky action lines that can be broken up and condensed so as to not come off as too heavy. There's an OK structure and there's also a decent way to end things with something of a cliffhanger, but it was just hard for me personally to get super wrapped up in it since I'm not a fan of Pokemon.
The formatting also needs a lot of work. Whenever you're introducing a character for the first time, put their whole name in all caps and give a brief description of them in the action lines. Also, only put down things in the screenplay that can only be easily seen or heard. There's one part that mentions Bond feeling a sharp pain after being shot, but there's no way that the audience can see or hear his sharp pain. Just write down something like "Bond is shot and clutches his side while falling over." Overall, this didn't feel like a proper James Bond adventure. Like I already alluded to, it feels more like a Matrix story and I don't think that the endless array of prior Bond characters from prior films is helping the rushed structure. Focus on letting things breathe and go slow before jumping right into action.
Overall, I would say that this concept shows promise. Some side characters and their stories could probably use to be more fleshed out and I would urge to add more meat leading up to Jay flying out to his new job. I like the tone, the plot, and Jay as a character. You also ended the screenplay in a manner that serves as a good hook to the audience. Definitely work on the dialogue being more natural. I already mentioned the expositional dialogue coming off as sounding very contrived, but even some of the usual banter between Jay and Orvis sounds a bit too false. Some of Orvis' dialogue about Jay being agnostic sounds more like dialogue from a professional counselor and not a teenager struggling to get by on the streets. I also can't help but question Tim. Why are all of his lines "Yes" in conversations to where it doesn't make any sense? Is he suppose to be mentally off in some way? If so, that needs to be established to the audience in some way. You show signs of competent writing the characters struggles and having a good story to back them up, just work on the dialogue heavily. There's too much exposition here. Think of ways to visually show the audience some of these things or come up with more clever ways to reveal it through dialogue. Jay's mother doesn't need to explain her whole backstory of being kicked out after getting pregnant to her own husband. He already knows, so there's no need for her to blatantly say it like that. Just focus on making the dialogue sound more natural. That's the biggest thing that I recommend.
A sheltered and socially awkward high school student decides to find his place in life after the death of his extremely overbearing mother.