The final sets of boards fit in a single thread. As always, click a thumbnail to view the full frame or the sequence as a whole.

In scene 013, cut 01, we return to Lincoln right where we left off with the boot through the door.

A looming shot of the smashed doorway (013-02) shows the Cleaner in full form (design to be determined) as he steps into the room and delivers a pair of double-taps from his suppressed pistols with ruthless efficiency.

This means little to the holographic forms of Nine and Lincoln, as the bullets pass through their images and strike the surrounding environment.

The cleaner leans in close to the smiling form of Lincoln as his image sputters.

The cleaner then looks down camera right

Angled up to camera left is a claymore anti-personnel device fitted with a remote detonator and a jaunty note.

Scene 014 cuts to an exterior of the building as an explosion blows out a corner office. We may be able to re-use the exterior shot from 001-01, allowing for a nice bookend of cuts.

015 starts with a low angle of Lincoln and Nine, who glance at each other with a satisfied expression and then walk out to the sunset as the dialogue plays out.

Scene 012 is the most extensive of the new additions, and requires its own thread. Ironically it only calls for two new unique cuts, but the additional action is significant. As before, click any thumbnail to view a single frame or the full sequence.

Cutting away from the action at Lincoln’s place, we return to the lab with a match of 006-01. Kali appears in the middle of the room (teleport effect to be determined) before a deeply doped Benny, and the attendants have barely a handful of frames to react before they’re splattered against nearby surfaces with explosive force, reducing them to chunky paste.

02 is a gesture towards camera, but without looking it makes the gesture dismissive. Kali’s full-body design needs to be addressed and modeled, but for the purpose of the boards we’re using a placeholder based on the description of “winding tattoos”.

03 displays the interior of the observation chamber (match 006-04) with the head scientist leaning forward to shout just before he and everyone in the room receives a similar explosive liquidation.

In 012-04 the belts that restrain poor Benny gently unbuckle themselves and his catatonic form is lifted into the air.

05 is a small movement that emphasizes the tenderness of the character.

In 06 the pair vanish, leaving with a singularity effect that draws in everything nearby in the moment before the scene is consumed by fiery blasts.

New script additions required new boards, so we’re scratching scene 007 forward from the old shot list and adding approximately 8 new scenes. With match cuts and judicious planning the amount of new animation is significant but not overwhelming. Click any thumbnail image to view that frame or the entire sequence in order.

We start the new scene 007 with a lot more action in place, the hand motions and facial movement of Lincoln will be more varied to match the dialogue. New cuts to 007 include a closeup of his hands working various holofeedback boards and a rapid-fire view of the various windows and dialogue screens that flash across his console.

Scene 008 is all-new, a long view of a hallway somewhere in the building. The hallway is dusty and dilapidated. Details to be determined on layout. The lights in the ceiling flicker and die as the elevator rises into place and the doors open to reveal the Cleaner in silhouette.

Scene 009 cuts back to Lincoln as he works more furiously at his controls. This scene will probably involve some simple lip sync. It’s a match cut for 005-01 and 007-01, allowing us to reuse the background and some foreground elements and simplifying the drawing process a bit.

010 is a low and long shot of the hallway at a reverse angle, a single door the only destination, and the boots of the Cleaner move from the extreme foreground into the scene with a Terminator-like stride.

011 match cuts to 002-01, allowing us to build on the dog’s base frame. He lifts his head to look off-camera, then back towards Lincoln. A bead of sweat runs down his forehead as reflections of holographic screens flash across his lenses. We get a view of a reinforced door with several locks that are of no effect when the Cleaner’s boot smashes through the wood like kindling.

-EDIT NOTE-

Upon review, we need to flip the direction of the action in scene 010 and the final cut of 011, so that the Cleaner’s motion is right-left (emphasizing that he’s coming up behind Lincoln. This also works better with Nine’s look to camera right in 011-01, as the Cleaner will be moving left in 10.