BLACK SCREEN: SCENE 1: INT.

JOHNS APARTMENT, OFFICE MIDDAY

Echoed voices are heard in the background. Voices gradually merge into one voice VOICE 1 You look tired, mate. VOICE 2 Im warning you Clarke... VOICE 3 Youre crazy if you actually believe in this stuff. VOICE 2 Youre fired! VOICE 3 Its all your own doing John VOICE 4 (Whispering) Illumina There is an extreme close-up on John Clarkes eyes as they open. John Clarke is in his 40s, is wearing a long trench coat, and has messy hair and a dirty face. The camera pans around John, who is gradually waking up and adjusting himself in his swivel chair. MID SHOT until the camera is behind John. In the scene, a wall covered in paper notes, pictures, posters, things alike, a messy desk, with a small desk lamp providing the only lighting for the scene. JOHN (Lights a cigarette and sighs) Cut to the opening credits. Montage of note books, a person writing, taking pictures, and smoke, amongst shots of money and signs and symbols associated with the Illuminati. The audio in the background is uneasy sounding, slow and with a gradual build up. The credits appear on a black on white shot, they are distorted. All the various shots; the BOW

credits, shots on the signs and symbols and the pictures are all sequenced randomly together to create the opening credits. CUTS TO: SCENE 2: FLASHBACK 1997 INT. CRIME SCENE MORNING

In this scene, John is examining a dead body with his partner Jack. Jack Young is considerably younger than John, as John a senior detective and Jack is a newbie. The two men are detectives; therefore they are wearing typical detective hats, long beige trench coats, black shoes, or clothing alike. The camera angle is in the point-of-view of the dead body, as a result of this we see the two detectives over the body, as they say their dialogue. The film at this point has a sepia tone, whilst the lighting is bright and clinical, similar to that of a hospital. JACK Well, it wasnt suicide JOHN No sh*t, Sherlock JACK It is a possibility JOHN Sorry, Young, I didnt get much sleep. John and Jack stand up. As they stand up, the camera shot changes to a mid-shot of the characters and vertically track (in front of the characters) the characters as they walk out of the room JOHN I need fingerprints, hair samples; blood stains anything and everything you can find (walking forwards) (to himself) I cant lose another case JACK Were you up late again?

JOHN I dont think thats appropriate, what you need to be saying, is what were gonna do next JACK (Ignoring John) Sir, you need to stop all this nonsense, its gonna drive you mad (At this point, the two detectives has walked out of the building, and are standing at the door of the crime scene) JOHN (Under his breath) I already am (to Jack) Make sure you call any relatives of the victim and get character references JACK (Ignoring John) Im serious, its starting to show JOHN I dont need your advice JACK You need something. (Whilst walking off) Character references yeah? John is left standing at the door of the crime scene FADE OUT:

SCENE 3): INT. JOHNS APARTMENT, OFFICE MIDDAY John getting up from his swivel chair, we only from the neck down. DIM Lighting. John walks out of his office. John walks down the corridor, towards his kitchen. When John gets to his kitchen, opens fridge. A shadow is seen cutting across the floor of the kitchen. John reacts to the shadow and walks out of the kitchen looking angry. The fridge isopen. Agitatedly walks to his corded house phone, and
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dials. We see the phone on the table when Max speaks. MAX Hello? JOHN Max, theyre here again MAX What? Who? JOHN Dont be stupid, I cant say their name; theyre here. MAX (Annoyed)(Sighs) Ive told you about calling me about this bullcrap. I dont wanna know JOHN (Interrupting) Please I nee MAX (Interrupting)I said dont call me Max hangs up on John. As the calling tone is heard, John leaves the phone hanging from the table, and walks back to his office, the screen shot is cuts to inside Johns office, showing John walking towards the room. As John reaches the entrance of the room FULL BODY SHOT Johns facial expression drops, as if all the blood is lost from his face, his body slumps downwards. The camera pans anticlockwise to show the whole of the office; all the notes, pictures and diagrams on the wall have been removed and a pyramid with and eye in the center, has been drawn in red on the wall. Screen cuts to black.

THE END