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Monsters inc

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Monsters inc

  1. 1. . W . .E N& >- ‘O ‘C .9 D 16)
  2. 2. LATE AT NIGHT; WHEN THE LIGHTS GO OUT. ..
  3. 3. SIMULATION TERM/ NATED. ’ S/ MUZAT/ ON TERM/ NATED. ’ L. . I A 11. 1| ‘ <0 MISTER EILE. you LEFT THE ooorz WIDE ' OPEN. AND THAT IS THE WORST MISTAKE ANY r I‘ } EMPLOYEE CAN MAKE EEcAusE. .. I , . . 5;. ' I I 4 I V 97 , __ THERE IS NOTHING MORE TOXIC THAN A HUMAN CH| LD. ' A SINGLE TOUCH COULD KILL YOU. ’ IT'S DANGEROUS WORK; BUT OUR CITY IS COUNTING ON YOU TO COLLECT THOSE CHILDREN'S SCREAMS. on! MISTER " ' WATERNOOSE. ’ WITHOUT SCREAMS: WE HAVE NO POWER! I NEED SCARERS WHO ARE . CONFIDENT. .. TOUGH. .. INTIMIDATINGI
  4. 4. THE NEXT MORNING. AT THE BOYS’ APARTMENT: MIKE COACHES SULLEY'S EXERCISE ROUTINE. WORK '7' ‘”°“" ‘T’ YOU'RE NUMBER ONE 'CAUSE you GET THE JOB DONE. ’ READY? BUNK BEDS. ’ I DUNNO BUT IT'S BEEN SAID, I LOVE SCARING KIDS IN SCARY FEET. ’ SCARY FEET. ’ SCARY FEET. ’ FIGHT THAT PLAQUE. ’ ONE EIGHTEEN. .. SCARY MONSTERS DON'T one NINE-TEEN. .. oNE TWENTY. I DON'T BELIEVE IT. ’ EVEN BREAKING
  5. 5. THE NEW COMMERCIAL'S THE FUTURE IS BRIGHT AT MoNsTERs INCORPORATED! WE POWER YOUR CAR. .. WE WARM YOUR HOME. .. WE LIGHT YOUR CAREFULLY MATCHING EVERY CHILD TO THEIR IDEAL MONSTER. .. M. I. IS PREPARED FOR THE FUTURE, WITH THE TOP SCARERS; THE BEST REFINERIES AND FINEST RESEARCHERS OF NEW ENERGY TECHNOLOGIES. TO PRODUCE SUPERIOR SCREAM REFINED INTO CLEAN: DEPENDABLE ENERGY. .. THE CHALLENGE. THE WINDOW OF INNOCENCE IS SHRINKING. HUMAN KIDS ARE HARDER HO scARE. BELIEVE IT. .. MONSTERS, INCORPORATED. WE SCARE. .. BECAUSE WE CARE. I WAS ON TV! !! I'M A NATURAL. THE CAMERA LOVES
  6. 6. I'M TELLING YOU; YOU'RE GOING TO K BE SEEING THIS FACE ON TV A LOT. ’ . ' " ' HEY GENIUS; KNOW WHY HEY, WHERE ARE YOU Mmgy, 11432515 V ’: - I . , I BOUGHT THE CAR? GOING? ! WHAT A125 A SCREAM SHOIZTAGE. ~ ' TO DRIVE IT’ You DOING? ! WE'RE wALKING. . / ‘ GIVE IT A REET. - BUTTERBALL. YOU cOULD ~ ’ __ USE THE E><ERcIsE. k HEY. SULLEY. .. I HEAR YOU'RE Tguazggflgg MORNING. “O95 7° B“E“"'”G “*5 THERE's ENOUGH MIKE! MORNING . A“-’T'ME QCARE SCREAM TO GO SULLEY. ’ ' . . . . RECORD‘ I AROUND. ' V SEE THAT: MIKEY? 1'ED'S WALKING TO GUY TAKEs FIVE E AND HE'S THERE
  7. 7. MISTER SULLIVAN. ’ OH SCHMOOPSIE. .. HAPPY BIRTHDAY! TONIGHT WE'RE GOING TO A LITTLE PLACE CALLED: UM. .. HARRY HAUSEN'S. MONSTERS: INC. ; PLEASE HOLD. MONSTERS INC. ’ I'LL CONNECT YOU. A RESERVATION ¥ THERE! ‘ ': IMPOSSIBLE TO GET I A LITTLE KIDS. .. AND LITTLE MONSTERS! YOU KNOW. PAL. SHE'S THE ONE. ’ SHE IS $9 THE ONE. ’ I . Ila! i , ‘I I M HAPPY FOR YA. I . — '7 / / . It 3' I'M IN THE ZONE TODAY SULLIVAN. GOING TO BE DOING SOME SERIOUS SCARING: PUTTING UP SOME BIG NUMBERS. {GI HEY. . . GET LOST. YOU'RE MAKING HIM LOSE HIS I'LL SEE YOU AT 5:01. THINK ROMANTIC THOUGHTS! UH. .. I WASN SCARED. I ALLERGIES. IT RANDALL. SAvE IT FOR THE SCARE FLOOR, wILL WHAT A CREEP. ’ ONE OF THESE DAYS
  8. 8. GOOD MORNING: ROZ, MY LITTLE GARDEN SNAIL, AND WHO WOULD WE BE SCARING TODAY? YES. ’ WELL! I'LL TRY TO BE LESS CARELESS. I I'M WATCHING YOU WAZOWSKI, ALWAYS WATCHING. All SCARE FLOORS ARE NOW ACT/ I/E. ASS/ STAA/ TS, PLEASE REPORT TO YOUR STATIONS. . . _-'9' 1*’ ' A AND CALL UP THE DOORS THAT ALL ACROSS THE SCARE FLOOR, . . ' . -_- , ' wu_L LE-r gcA;2EI2r_: , ENTER THE ASSISTANTS PREPARE CANS T0 / / QLEEPING K155! g5pI2ooMg CAPTURE SCREAM ENERGY. .. H , I’ _ / AI2ouNo THE wo|2|, p,
  9. 9. EASTER N SEABOARD COMING ON LINE. WE GOT SCARERS, COMING . J" ' ~ MONSTER WIN. ‘PG Q. 0
  10. 10. FIVE. .. FOUR. .. THREE. .. TWO. .. WE ARE ON IN SEVEN. .. YOU'RE THE BOSS: YOU'RE THE BIG HAIRY 1'1. ‘ YEAH! I'M FEELING . I . I 9‘2‘2'2'2‘2'2‘2R-' GOOD TODAY, ' STILL BEHIND, I “U57 GET ME ""“°T“E'z RANDALL. ANOTHER DOOR CO- MIN’ RIGHT
  11. 11. WE MAY MAKE OUR QUOTA TODAY: FIRST TIME MISTER WATERNOOSE; SIR. IN A MONTH. UH. .. UH. .. UH. .. THE KID SHE WASN'T I COULD'VE BEEN DEAD. ’ ALMOST TOUCHED ME. ’ SCARED OF YOU? I COULD'VE DIED! SHE WAS ONLY WE'VE LOST 58 KIDS THESE DAYS. DOORS THIS THEY UUST DON'T GET . SCARED LIKE THEY USED TO.
  12. 12. ATTENTION. ’ WE HAVE A NEW SCARE LEADER: RANDALL I 30995] NICE IJOB. A YOU TOOK THE LOOK AT THOSE NUMBERS. ’ SLUMBER I. ' I. I I. - I THAT WAS AwESOME! Rag? ’ ‘ ‘ r. .. YOU'RE GOING To THE HALL OF ' - ‘ h, ._, ». FAME FOR SURE. OF COURSE; I LEARNED WELL JAMES THAT’WAs AN’ FROM THE BEST. IMPRESSIVE IF I DON'T SEE A NEW DOOR IN F/ I/E SECONDS I WILL PERSONALLY PUT YOU THROUGH THE SI/ REDDEP. ’
  13. 13. KEEP THE DOORS COMIN'. 1’, I'M ON A ROLL /4 TODAY. ‘ SUDDENLY, DISASTER STRIKES! { I THE/ VT)’-Tl/ REE / V/NETEE/ V.’ WE HAVE A TWENTY-THREE NINETEEN! GEORGE SANDERSONI PLEASE REMAIN MOT IONLESS. ’ PREPARE FOR DECONTAMINATION! ALERTED TO THE DISASTER; THE DREADED C. D.A. (CHILD DETECTIVE AGENCY) RUSHES TO THE SCENE. ’
  14. 14. THROUGH. ’ CLEAR THE CONTAMINATED AREA. ’ TWENTY-THREE I NINETEEN IN PROGRESS. ’ AN ENTIRE SCARE FLOOR TAKE A BREAK, OUT OF COMMISSION. WHAT EVERYONE. .. WE GOTTA ELSE CAN GO WRONG? SHUT DOWN AND RESET THE SYSTEM.
  15. 15. _ LET'S GO. ALL DOORS ANOTHER WORK DAY MUST BE RETURNED. NO COMES TO AN END. .. * gxcgp-I-[oNg. I HELLO; WAZOWSKI. FUN-FILLED EVENING PLANNED? AND I'M SURE YOU FILED YOUR PAPERWORK CORRECTLYY FOR ONCE. ANOTHER DAY LIKE THIS AND THAT SCARE , RECORD'S IN THE BAG. ;'E, ':‘, H’. ,,BA, '$'A NIGHT OF ROMANCE I'VE GOT AHEAD OF ME. ’ w/ /oo/75! MY SCARE REPORTS. ’ I LEFT THEM ON MY DESK! IF I'M NOT AT THE RESTAURANT IN FIVE MINUTES THEY‘LL GIVE MY TABLE AWAY. .. IT'S IJUST THAT I FORGOT ABOUT SOME PAPERWORK. MIKE WAS REMINDING ME. THANKS, BUDDY. HEY; GOOGLY BEAR. ’ WANT TO GET GOING? HUH? HELLO? ANYONE? THERE'S AN ACTIVE DOOR HERE . OH. .. DO I EVER . . IT'S IJUST THAT. .. OH! YEAH! WELL. .. wE'RE OFF! ANYBODY SCARING IN -V HERE? HMM. ..
  16. 16. /g 1! A-' Q. A ~ ‘ BUTSHE SNEAKS OUTA IN! 31, lTliI I IIIIIIIII ‘E L: TI’fi"’”“' I. f; :,I! /7? I" I '04: I ~ . . w I > . , IT'S RANDALL; ON A —' MYSTERIOUS ERRAND. ’
  17. 17. ITHOUT THE DOOR KEY, SULLIVA S NO wAY TO PUT THE CHILD BACK wHERE SHE BELONGS. ’ HE NEEDS HELP. .. AND FAST! I Sm UI , , if-w.4_ . . A . r. I
  18. 18. ~/ ' 9 92: E 00 LOOK IN THE BAG. ’ fl ; ' / ‘ . . ‘ ‘ ya . o.9,». 4,-. - OH; MICHAEL, THIS IS THE BEST BIRTHDAY EVER. " someoue ASKED ME wno WAS THE MOST BEAUTIFUL N R IN MONSTROPOLIS. Y KNOW WHAT I SAID?
  19. 19. CELIA, PLEASE TRY TO UNDERSTAND. I HAVE TO DO SOMETHING. ’ THERE’? A KID ' HERE. ’ A HUMAN ; ---, I‘, 835 IN PROGRESS. STAND CLEAR; WELL, I DON'T THINK THAT DATE COULD HAVE GONE ANY WORSE. ’
  20. 20. CHAOS REIGNS THROUGHOUT MONSTROPOLIS. . . AND IN MIKE AND SULLE‘/ ‘S APARTMENT. ’ IT'S ALL RIGHT! AS LONG AS IT DOESN'T COME NEAR US, WE'RE GONNA BE OKAY. OH: HERE. ’ YOU LIKE , ‘ , ‘, - THE CHIL '5 SCREAM5 LIG up THE APARTMENT! - fl I ; ‘I. , - I) ‘I ’ (L A . ?»: ..'. I- '1 . D HEY. ’ NO ONE TOUCHES LITTLE W MAKE /7’ 37'0/’/ MAKE /7’ STOP. ’
  21. 21. . <1? ‘ , GOOD. ’ _ ~ ‘ ' ' KEEP *- ‘ ~ IT up. , ‘ SULLEY. 5 . -‘V V m ‘. 2'2?" W/ /OOOOOA/ /.’ 5 ‘ . ” "yr . ..» ~ ' . ' :4» ‘ _ ‘ I . ‘ ‘ - A . .E sum»/ . THE BEAR! THE BEAR! THIS TIME HER LAUGHTER MAKES “I: THE ENTIRE BUILDING LIGHT UP. ’ ‘ ‘V :1 V E .4 .2 D. I AV . V 4’-I ,4? I HAVE NO ID I BUT IT WOUL E REALLY GREAT IF IT IT DIDN'T DO AGAIN.
  22. 22. I'M OUT OF IDEAS. HOT AIR BALLOONS. .. TOO EXPENSIVE. GIANT SLINGSHOT. .. TOO CONSPICUOUS. ENORMOUS WOODEN HORSE. .. TOO GREEK. WELL THEN: FIND SOME PLACE FOR IT TO SLEEP WHILE I THINK OF A PLAN. UH; MIKE; I THINK SHE'S GETTING TIRED. OKAY; I'M MAKING A NICE LITTLE. .. HEV. THAT'S MYBEDI HEY, THAT'S RANDALL. HE'S YOUR MONSTER? YOU THINK HE'S GONNA COME THROUGH THE CLOSET? IT'S EMPTY, SEE? NO MONSTERS IN HERE. AS HE WATCHES THE SLEEPING CHILD, SOMETHING IN SULLIVAN’S HEART IS TOUCHED. I UBAGAG OKAY, HOW ‘BOUT I SIT HERE UNTIL YOU FALL ASLEEP?
  23. 23. MIKE, I DON'T THINK THAT KID'S °“ ‘N’ 9° DANGEROUS. wHAT IF wE uuST PUT oW”’?7:oMA‘2§"I'C HER BACK IN HER DOOR LIKE IT “T N IW 1- . , NEVER HAPPENED? AN” I‘ 9“ ~ THIS IS CRAZY. UP TO THE; -JUST THINK ABOUT A FEW FACTORY. ; NAMES WILL YA? LOCH NESS, - . -' — BIG FOOT, THE ABOMINABLE SNowMAN. .. THEY ALL GOT oNE THING IN coMMoN, PAL. .. BANISHMENT. ’ DON'T TELL ME NOT TO PANIC. ’ THIS IS NOT OKAY. ’ ' ' ~* - SUDDENLY, THE CHILD GETS AWAY FROM SULLEY ' _ AND WALKS UP TO MISTER WATERNOOSE. ’ NO: NOT JAMES. ’ IS ACTUALLY THAT'S YEAH NOWI NOT N0W--~ ‘ . THIS ONE MY couSIN'S ' . I-IT'S “BRING YOU“? sgfigfigpf“ AN oEScuRE RELATIVE TO WORK DAY”. I _ . BUT SHE CAN'T STAY WA” HERE , , * HERE. THIS IS THE WWLE , GE} _ " V A MEN'S ROOM. IT'S DOOR KEY
  24. 24. ROZ; RANDALL WAS YOU DIDN'T TURN WORKING LATE LAST IN YOUR PAPERWORK NIGHT ON THE SCARE LAST NIGHT. THIS FLOOR. I REALLY NEED OFFICE IS CLOSED. THE KEY FOR THE DOOR HE WAS USING. dUST AFTER MIKE RETURNS. THE CHILD SEES RANDALL APPEAR! THE CHILD! YOU JUST GET THE ONE YOU THE MACHINE RUNNING; WERE AFTER! WHAT I'LL TAKE CARE OF THE KID, ARE WE GOING AND WHEN I FIND WHOEVER LET IT OUT. .. THEY'RE DEAD! GO! MOVE!
  25. 25. I DON'T PANIC. WE'LL LIUST CALL :23; HER DOOR DOWN AND SEND HER HOME. YOU GOT HER KEY, RIGHT? THA-rig YoU'RE NOT SUPPOSED To NOT 300.5 NAME IT! ONCE YOU NAME IT, YOU START GETTING ATTACHED To IT! Now PUT THAT THING BACK wHERE IT CAME FROM OR So HELP ME. .. O/ /.’ HEYI WE'RE REHEARSING A SCENE FOR THE UPCOMING COMPANY PLAY, CALLED: “PUT THAT THING BACK WHERE IT CAME FROM OR SO HELP ME. .." IT'S A MUSICAL! . . ' SULLEY; DON'T BLOW THIS. ’ I pow-r ggugvg ‘ - '1 ; NOT WHEN WE'RE SO CLOSE I-rm QHE Go-r * 4 3 I , , TO BREAKING THE RECORD. AwAy 1=; zoM you ‘ ‘ SOMEBODY ELSE WILL FIND AGAIN] WAIT A ". THE KID, IT’LL BE THEIR MINUTE. THE SUN ' . PROBLEM»- IS COMING UP. .. . THIS IS PERFECT. HE. HA. HA! SHE'S GONE!
  26. 26. wHAT DO Y THINK OF THAT KID Y HAVEN'T SEEN D GETTING OU . PRETTY CRAZY HUH? AN INGI HAVE YOU- N WAY! BU IT WAS AN I DE IJOBI I'D PUT MONEY ON WAXFORD. THE ONE WITH THE HEY, WAXFORD! WHAT TIME DID YOU LEAVE LAST NIGHT? LAST N/ G/-/7' WAS ONE OF TI/ E ‘ WORST N/ Gf/ TS OF / Irl)’ EA/7'/ RE
  27. 27. WHEN THE BIG HAND POINTS UP AND THE LITTLE HAND POINTS DOWN: THE KID'S DOOR WILL BE IN MY STATION. BUT WHEN THE BIG HAND POINT5 DOWN: THE DOOR WILL BE GONE. YOU HAVE UNTIL THEN TO PUT THE KID BACK. GET THE PICTURE? YOU'RE THE ONE. .. FROM CAN WE GET AN THE COMMERCIAL. AUTOGRAPH? NO. .. ER. .. IT NEVER WOULD HAVE I‘ GOTTEN OUT IF YOU HADN’T BEEN CHEATING LAST
  28. 28. HEL LO. ’ WHAT'S IN rrssiwwas -. 7 I v STILL HEAR srz LITTLE I oucz. 3 , ", V A I you STOP MAKING aoo LAUGH? !
  29. 29. .1’ THERE , T ,5! ONE-TWo—THl2EE-FOUR, dug-f “Kg QANQALL ‘ ' GET THE KID BACK THROUGH . « MIKE we CAN'T rrzusr YOU WANT? ” “ER 90°‘? I "; -. . . “E WAN” RANEALL, H99 AFTEE AND maze IT :51 NOW , __ . me soon, I GET LET's MOVE, THE DOOR. HE BOO. ’ I DON'T LIKE THIS. DoEsN, T WANT THE DOOR. PARANOID, DELUSIONAL FUR-BALL.
  30. 30. ‘/ A? YOU IN THERE? I GOT THE KID. LET'S GET STARTED. YOU STILL K| pNApp| N(; Mg THINK THIS IS WELL. I DID. NOW I'M |3N'1' GONNA HE| _p ABOUT THAT A . THINKING I SHOULD JIUST you CHEAT youp STUPID SCARE I . GET OUT OF HERE. WAY TO THE TOP. ’ RECORD- | 'M ABOUT TO REVOLUTIONIZE THE SCARING INDUSTRY. AND WHEN I DO; EVEN THE GREAT LIAME9 P. SULLIVAN IS GONNA BE WORKING FOR ME. NOW; TELL ME WHERE THE KID IS. I DON'T KNOW ANY-
  31. 31. WE GOTTA GET OUTTA HERE NOW a. N 0. N G N 0 N G N
  32. 32. COME ON; COME ON. ’ WHAT ARE YOU WAITING FOR? GENTLEMEN; I HOPE YOU LEARNED A VALUABLE LESSON IN JAMES. ’ PERFECT TIMING. SHOW THESE MONSTERS HOW IT'S DONE. . SCARING! -— '
  33. 33. .. . RANDALL WAS TRYING To I<IoNAr> HEI2. HE'S GoT A CRAZY MAcHINE 755' '7 OUT I 50"“ 50°" THAT SUCKS THE SCREAM OUT O I Gooo. THIS COMPANY D NO TH CAN'T AFFORD ANY MORE BAD I . _ 0 7 . . AN w THAT we HAVE HER, HE'S TRYING To KILL U DOES IS wHoLE THING IS RANDALUS FAULT. ’ ANYONE ELSE KNow ABOUT ‘ I fiI THIS? y §' ‘ I ‘ S . I ' ~. TAKE CARE OF THE CHILD. V PUBLICITY. NOW BEFORE WE C ‘ DO ANYTHING ELSE: LET'S I , ’ . —r '7: .4 ‘.1 ‘ I'M SORRY YOU I‘. _ . 2 BOYS GOT MIXED UP I’ . .. IN THIS. ESPECIALLY U“ '5”? ! You, IJAMES. TI'IAT'5 NOT HER ooorz. . . . , | I __ , ,I / F7-‘
  34. 34. No, No, No, I IT'S Too LATE! wE'I2E EANIEHED, GENIus, . IN THE HUMAN WORLD. ’ oH, wHAT A GREAT IDEA GoING To YOUR OLD PAL WATERNOOSE. ’ ALL YOU HAD To Do wAs LISTEN - ‘ = To ME! I , I _ ‘ YOU'RE ' . 37/£1 NOT LIsTENING! wELcoME To THE HIMALAYAS. ’
  35. 35. I “ABOMlNABLE. "' CAN YOU BELIEVE THAT? ! WHY CAN'T THEY CALL ME THE “ADORABLE" SNOWMAN? WASTELAND? I THINK YOU MEAN “WONDERLAND. ” WAIT 'TIL YOU SEE THE LOCAL VILLAGE. .. LooK AT THAT BIG UERK! BECAUSE or HIM. I'M STUCK IN THIS ERozEN WASTELAND. SNOWCONE? OH: DON'T WORRY. IT'S LEMON. A . I V. = , 3 THREE DAYS? A VILLAGE? ' . " ~ """”"’5"" wHERE IS IT? _ ‘ _ I" . " I I I I ') . WE NEED TO RESCUE BOO. NOTHING ELSE MATTERS. ELSE MATTERS” WHAT ABOUT ME. ” I'M YOUR BEST FRIEND. ’
  36. 36. ' . aEsI>ERATELY, SULLIVAN 300,5 "4 TROUBLE. THERE . IF YOU spEEos THROUGH THE DARKNESS. .. MIGHT BE A WAY To SAVE WANT 1'0 90: DODGING soULoERs. .. HER, IF wE CAN JUST GET ’ "0'-‘"25 °N ~- ‘= - DOWN To THE VILLAGE. .. ‘/ °I-‘R °WN- . '-
  37. 37. ~ BE USE ' ' OF YO , HAD To EHI BANIQH My Top SULLIVAN GOT X 5cA;2EI2. WHAT HE DESERVED. SHOULD'VE BROUGHT YOU IN ON THIS; RANDALL. so ? ! No! Noo oooa. ’
  38. 38. STOP / /// W.’ ooN'T LET THEM GET AWAY. ’ IT'S NOT THAT I DON'T CARE ABOUT THE KID. I WAS MAD. .. I NEEDED SOME TIME TO THINK BUT YOU SHOULDN'T HAVE LEFT ME OUT I'M NOT ATTACKING YOU. ’ I'M BARING MY SOUL HERE. THE LEAST YOU COULD DO IS PAY ATTENTION. ’ GET UP. ’ THERE DON'T WORRY. CAN'T BE ANY THERE WON'T BE. WITNESSES. ’ LOOK; IT'S RANDALL. ..
  39. 39. HEY! SoMEBoDY HAS To TAKE CARE oE You, YOU BIG HAIRBALL! 5C"""°°"‘5'E ”°°-' MICHAEL, IE YOU DoN'T TELL ME ' '2E'‘'''‘‘’ CAN'T WHAT'S GoING oN R/ G// T / vow °"A"' "'E'2E'9 “*5 “2”“‘'-' You ExDECT ' You KNow THE KID THAT ME To BEHEVE THAT THEY'RE LooKING FOR? SULLEY LET HER IN. wE TRIED To SEND '°ACv'jA°zFo'g. ',: ?<’, L""‘E HER BACK, BUT wATERNooSE ' HAS A SECRET PLoT AND Now RANDALL'S RIGHT BEHIND US, AND HE'S TRYING To KILL US! WE ARE 7'! /ROUGH. ’ ATTENTION, EMPLOYEES. ’ RANDALL BOGGS HAS JUST BROKEN THE ALL-TIME SCARE RECORD. ’ ALRIGHT ALRIGHT! - ——~ I GOG , GEToUToE MY , , , .1 -. E . . I" GOOEGLE/ M
  40. 40. BUT NOT CLOSE ENOUGH. BOO'S DOOR IS JUST OUT OF REACH AND RANDALL IS GAINING GROUND. ’ ARE YOU OUT OF YOUR. .. I Q I/ //. .. I . . . ,- Rx I; 4 ‘ THE TRIO'S DOOR COMES TO A DEAD END. ’ RANDALL STARTS CLOSING IN! THEY NEED POWER. AND FAST. ’ ’ ~'I . '= :'J». . 1:. -A. I- "'i. - - . . . _- , -‘T I ’ ‘ » ' ‘I “ " I . ‘ H MIKE, MAKE ‘ ‘ . .. . r I 5 B00 LAUGH. . ' I, ‘:, .7 I . » — —; .—— ‘I135; ‘I ‘ I ‘ ‘ . N, I ' To C D ‘ ¥ . "“-—. : IIIII'; ¢' '- 3‘-w
  41. 41. SULLEY, IJU ! I'M RIGHT BE D COME ON: WE GOTTA FIND ANOTHER DOOR. ’ WHY COULDN'T WE BE BANISHED HERE? NICE woRKIN' wITH YA!
  42. 42. ,/ _“ -was "1 ‘¥“+? ‘:? ' I '"1’l. !;’ r " 2 ~ " A « = 3 : * J I 2: n -'7?‘ ‘. «.a. -ask 4’~x9 H‘ J ‘ . ..--an ‘ « T/ «"M~. . , . . SULLEY AND MIKE GAIN ON RANDALL. .. GETTING CLOSER AND CLOSER UNTIL. .. 3 ¥~. ,‘ s . . ‘ ‘ ‘s. ‘ ‘ - ‘- — 7 1 IT LOOKS BAD FOR SULLEY. .. I . 5,, . ’ ’ - you've BEEN NUMBER ONE TOO LONG, SULLI N! SC 9 OF YOU MORE; RANDALL. ’ OU'RE OUT OF A JOB!
  43. 43. RANDALL GETS WHAT'S ‘ COMING TO HIM AT LAST. ’ ——-’--~ _» = MAMA, - 2 I ‘NOTHER GATOR eor IN THE L AND HE IS OUTTA HERE. ’ —u-. "z‘. *1"l 3' EL‘. EXCITEDLY; BOO POINTS OUT HER DOOR. THE BOYS GRAB HOLD, BUT SUDDENLY SOMETHING GOES WRONG. HAPPENING? ! V ' ’ WHAT'S COME OUT BE(F3<’3<: §g"Y</9<iJUTg; ~1(<3ET}$»5JATT~/ , I WITH THE CHM, IN PLAIN , .- A { HAVE ONE THING TO SAY. sue: -11'! ) W mm! 3" '~~m N"““- WHAT THE. “ HE 1 HAS THE CHILD. ’ I I
  44. 44. ‘NIGHT MOM. ’ b ~ ’ ’NIGHT MOM! SHE'S HOME ' ‘ ‘NIGHT MOM’ Now. qus-r II — I'LL KIONAP LEAVE HER _ : .r_. , I A THousAND I - CHILDREN BEFORE I LET THIS COMPANY DIE! AND I'LL I SILENCE ANYONE wHo GETS IN _E__ I “l’LL KIDNAP A THOUSAND ‘ CHILDREN BEFORE I LET THIS COM- SIMULATION TERMINATED. SIMULATION TERMINATED. WELL, I DON'T KNOW ABOUT THE REST OF YOU: BUT I SPOTTED SEVERAL BIG MISTAKES. I HOPE YOU'RE HAPPY NUMBER ONE suLLIvAN. I YOU'VE DEs1'I2o~/ ED WANTS TO TALK THIS COMPANY! WHERE WILL EVERYONE GET THEIR TWO AND A HALF YEARS OF UNDERCOVER WORK WERE ALMOST WASTED WHEN YOU INTERCEPTED THAT CHILD, MISTER SULLIVAN. OF COURSE: WITHOUT YOUR HELP; I NEVER WOULD HAVE KNOWN THAT THIS WENT ALL THE WAY UP TO WATERNOOSE. NOW, ABOUT THE GIRL. ..
  45. 45. I JUST WANT VERY GOOD. SOMEONE BRING I " E , V. :3‘ ’~ NOTLHNGIQ To SEND HER ME A DOOR SHREDDER. ; . ; COMING our or THE ‘ 7 . : ~ CLOSET To SCARE ‘ YOU ANYMORE. you MEAN I THAT'S THE CAN! -r SEE PIER v'vAy IT HAS To EE. AGAIN? ILL GIVE YOU FIVE NONE OF THIS EVER HAPPENED, GENTLEMEN. AND I DON'T WANT TO SEE ANY PAPERWORK THEY'RE WINE METER * I ’ A‘iE?5‘? .I"3’v. ‘§’E“e‘ a“§rfi?8L¥'Zi '1"32-F31 WATERNOOSE AwAy. . ' ' BUT you KNOW, wE HAD SOME THE FACTORY WILL ' . . . SHUT DOWN! . . LAUGHS ALONG THE WAY. THERE'LL BE EVEN LESS SCREAM To Go AROUND! EEEEEE!
  46. 46. THIS THING ON? LO? TESTING. .. HEY; HOW E YA? U'RE IN KINDE A N, R! T. .. I LOVED KINDE ARTEN: B THREE YE S OF MY LIFE. ‘: . z‘: . . __, .. 1, . ,,. ,.. ,V, .,. ‘ , ,,. E. .. fl up and-Q‘-lllflii >. .~_-. ..fl GREAT IJOB, MIK . ’ YO ILLED YOUR OTA TH RS D OF DAY. ’ UGH IS TEN TIMES MO POWERFUL THAN SCREAM. ’ YOU BRING THE MAGAZINE?
  47. 47. HEY SULL, I SORRY IT TOOK SO LONG PAL: WANT TO SHOW You THERE WAS A LOT OF WOOD TO SOMETHING. GO THROUGH. IT ONLY WORKS IF EVERY PIECE IS IN PLACE.

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