# FOG OVER THE CAM — 30-scene artwork production plan Visual continuity status: Vexi portrait approved by rights-holder; other cast portraits provisional. Scene art is not yet reference-locked. For each image: 16:9 cinematic composition, original fictional cast, no actor likeness, Cambridge noir lighting; compare recurring faces to approved masters. Avoid text in images. ## Scene 01 — INT. WREN LIBRARY, TRINITY COLLEGE – DAWN Story cue: A professor is found murdered over an antique map. A USB drive points towards a dangerous conspiracy. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 02 — INT. PARKSIDE POLICE STATION – INCIDENT ROOM – MORNING Story cue: Busy. Fluorescent. Bitter coffee. Rank anxiety. A screen flickers with CCTV stills. Quayle. Timelines. Access logs. Vale stands at a desk littered with files. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 03 — EXT. THE EAGLE PUB – EVENING Story cue: Wet cobblestones. Low mist. Tourists with no idea where they are. Pike and Vale stand outside the pub. VALE Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 04 — INT. SOUTHWOLD COTTAGE – NIGHT Story cue: A cottage by the sea. Charming in the way a loaded revolver can be charming if it’s in a velvet box. VEXI TRANCE stands at a kitchen counter in a silk robe over old bruises and old decisions. Laptop o Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 05 — INT. PIKE’S FLAT – NIGHT Story cue: Small. Sparse. Functional. The home of a man who never unpacked emotionally. Rain taps the window. Pike kneels beside a loose floorboard and lifts it. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 06 — INT. MAGDALENE COLLEGE – COMMON ROOM – DAY Story cue: Old money in wood paneling form. BERNARD WHITTAKER, a senior academic with the face of a disappointed ferret, sits opposite Pike. Tea service between them. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 07 — INT. DIGITAL FORENSICS LAB – NIGHT Story cue: Cold light. Screens. Humming machines. Vale watches over a technician’s shoulder. Pike stands behind them, silent. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 08 — INT. WINDSOR TRUST PENTHOUSE – NIGHT Story cue: Glass. city lights. impossible taste. HECTOR MILAN stands at the window with a whisky in hand. Mid-fifties. Smooth. Groomed. A man who could order a killing and improve your posture while doing it. Be Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 09 — INT. DR. AMELIA KEARNS’ CONSERVATORY – NIGHT Story cue: Glass shattered. Blood on tile. DR. AMELIA KEARNS lies broken among overturned papers and broken panes. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 10 — INT. SAFE FLAT – NIGHT Story cue: A draughty rented flat above a closed shop. Vexi sits at a table, cigarette in hand. Across from her sits TIM FLETCHER, anxious accountant, all nerves and decency. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 11 — INT. PARKSIDE POLICE STATION – BRIEFING ROOM – NIGHT Story cue: Blinds drawn. Cheap carpet. Dry air. Fluorescent misery. A handful of officers sit around the table, tired enough to be honest, tense enough not to be. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 12 — INT. PIKE’S OFFICE – LATER Story cue: Clock on the wall. 19:00. 20:15. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 13 — INT. INTERVIEW ROOM – NIGHT Story cue: Small table. Recorder. Bad light. GRAHAM HOLLIS, forties, smart enough to know he’s in trouble and not smart enough to hide it, sits across from Pike and Vale. He looks at the recorder. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 14 — EXT. RIVER CAM – BOATHOUSE – NIGHT Story cue: Rain hammers the black river. The boathouse sits low and dark, half-rotten, half-hidden, like something embarrassed to still be standing. Pike enters alone. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 15 — INT. VALE’S FLAT – NIGHT Story cue: Small, tidy, impersonal in the way of someone who never expects to stay happy long. Vale stands in the dark holding her phone. A voice message plays through speaker. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 16 — INT. RENTED FLAT ABOVE SHOP – IPSWICH – NIGHT Story cue: The place is half-furnished and fully temporary. Vexi sits at the table in a threadbare jumper, cigarette lit, staring at the city through dirty glass. A knock at the door. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 17 — EXT. ALLEY BEHIND FLAT – NIGHT Story cue: Tim runs. Not elegantly. Not bravely. Just desperately. Rain slicks the pavement. His satchel thumps against his side. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 18 — INT. SAFE HOUSE – CHESTERTON – NIGHT Story cue: A draughty flat over a shuttered shop. Kettle steaming. Curtains closed. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 19 — INT. BARRISTER’S CHAMBERS – DAY Story cue: AMELIA PIERCE, forties, criminal barrister, immaculate and severe, reads through a stack of documents at terrifying speed. Pike sits opposite. Vexi stands by the window smoking despite not being allow Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 20 — EXT. VARSITY HOTEL ROOFTOP BAR – NIGHT Story cue: Cambridge spread below like a jewellery box with blood under the velvet. Vexi stands at the bar in a black dress that says ruin with confidence. A YOUNG WINDSOR TRUST STAFFer sidles up beside her, alr Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 21 — INT. WINDSOR TRUST PENTHOUSE – NIGHT Story cue: Glass walls. City lights. Silence expensive enough to invoice. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 22 — EXT. BIOMEDICAL CAMPUS – NIGHT Story cue: SIRENS. Flames punch into the sky above a research facility. Students in coats and pyjamas spill into the street. Fire crews battle smoke and heat. Glass bursts outward in bright, violent pops. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 23 — INT. SAFE HOUSE – CHESTERTON – PRE-DAWN Story cue: Curtains drawn. Laptop lids open. Phones lined up on a table like loaded weapons. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 24 — INT. PARKSIDE POLICE STATION – SERVER ROOM – MORNING Story cue: Cold blue light. Machines hum. Vale plugs in an encrypted drive. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 25 — MONTAGE – THE FLOOD Story cue: — EMAIL PAYLOADS land in newsroom inboxes from London to New York. — ENCRYPTED DRIVES arrive at university boards and regulatory offices. — A PRODUCER at the BBC leans forward, eyes widening. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 26 — INT. SAFE HOUSE – CONTINUOUS Story cue: BBC NEWS rolls live. Another channel cuts to Parliament. Another to a business desk. The room is lit by scandal. Vale is on the phone. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 27 — INT. WINDSOR TRUST PENTHOUSE – SAME TIME Story cue: Muted television coverage flickers across the glass. Fixers talk over each other. Phones ring. Milan sits alone at the far end of the room, calm as polished stone. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 28 — EXT. ROAD OUTSIDE BISHOP’S STORTFORD – DUSK Story cue: A black Mercedes convoy moves along a wet country road. Ahead— Two BLACK GOVERNMENT SUVS slide out and block the lane. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 29 — INT. AMELIA’S CHAMBERS – TWO DAYS LATER Story cue: Papers everywhere. Phones unanswered. The air feels wrong. Deliverable: one establishing still and one character/action still, each with continuity review. ## Scene 30 — EXT. BRIGHTON SEAFRONT – MORNING Story cue: Grey sky. Clean wind. A new city pretending to be a fresh start. Vexi, under a new name and in a plain coat, walks back to a modest flat with groceries and the posture of a woman who trusts nothing th Deliverable: one establishing still and one character/action still, each with continuity review.