OP--I would seriously question the 24/1.4-L lens. That type of expensive exotic lens puts a lot of money into one lens, and hurts you in terms of having a well-rounded,capable kit.
A full-frame camera makes lens selection easier, and it also allows you to go higher on ISO levels with less loss of quality loss. It also allows quite a bit of cropping potential. I'd focus more on trying to create a more well-rounded kit. It "depends" what you need the equipment kit to actually be optimized "for"; if it's for architecture, a 24mm Tilt/Shift lens would be a very valuable item; for small-product an 85mm or 90mm Tilt/Shift lens would be nice; the 45mm Tilt/Shift could also be a possible item to add.
For "people" work, you do not need the absolute sharpest lenses, so the older 70-200 version 1 from Canon would actually be a great choice,and I would MUCH rather have the older 70-200 PLUS an 85mm f/1.8 prime lens than just the 70-200 Mark II.
Lighting: a small kit. 400 to 800 watt-second power supply and five low-cost light heads, three QUALITY, enclosed Lastolite Umbrella Box umbrellas, two softboxes, a 48x72 inch white reflector and a stand system, a boom stand, three heavy-duty light stands, three medium-weight light stands. ALL bought USED. Buy lighting gear used!
For camera gear: more an emphasis on wardrobe basics, rather than haute couture stuff: FF body, 24mm prime, 35mm prime, 90 or 100mm "standard" macro lens, set of Kenko extension tubes, 70-200 f/2.8, 24-70 f/2.8. Polarizing filters. Speedlight, one 1st party, two 3rd party models. I would rather have 3 or 4 "average" lenses from Canon or Nikon than one, single uber-speed L-glass prime like the 24/1.4-L. On a FF camera, most decent manufacturer prime lenses are amply good enough. If there was money left over, a SHARP, quality 300mm f/4 prime lens would be the last piece I would buy.