THE ILLOCUTIONARY ACTS IN FAST & FURIOUS 7 MOVIE

THE ILLOCUTIONARY ACTS IN FAST & FURIOUS 7

MOVIE

A Thesis Submitted to Letters and Humanities Faculty

In Partial Fulfillment of The Requirements for

The Strata One Degree (S1)

ADI IMAM TAUFIK

109026000109

ENGLISH LETTERS DEPARTMENT

FACULTY OF ADAB AND HUMANITIES

STATE ISLAMIC UNIVERSITY

SYARIF HIDAYATULLAH

JAKARTA

2016

i

ABSTRACT

Adi Imam Taufik, NIM: 109026000109. The Illocutionary Acts in Fast & Furious 7

Movie. A Thesis: English Letters Department, Letters and Humanities Faculty of

State Islamic University Syarif Hidayatullah Jakarta, 2016.

The purpose of this research is to describe the types of illocutionary acts in the

dialogues are found in Fast & Furious 7 movie. It also aims to analyze the context

and meaning of illocutionary acts used in the dialogues of the movie. The other goal

of this research is to divide the direct and indirect speech acts that found in this

movie. The writer used descriptive qualitative method by watching movie deeply,

collecting all data which relate to the research, making some observations and

analyze the types and meaning of illocutionary acts in Fast & Furious 7 movie with

reference to the linguistics theories derived from related literature sources. The

message of story is that all the differences in skin color, race, and language will be

eliminated. the only thing we see is a brotherhood and family. The writer used theory

by Searle and let the other theories to support the thesis. The writer found and

analyzed 19 data of illocutionary acts. In this research the writer had nineteen data of

illocutionary acts which is used by characters in Fast & Furious 7 movie, those are:

five data of representatives, four data of directives, four data of expressives, five data

of commisives, and one datum of declarative.

ii

APPROVEMENT

THE ILLOCUTIONARY ACTS IN FAST & FURIOUS 7

MOVIE

A Thesis

Submitted to Letters and Humanities Faculty

in Partial Fulfillment of The Requirements for

The Degree of Strata One

ADI IMAM TAUFIK

NIM. 109026000109

Approved by:

Drs. Saefudin, M.Pd

19640710 199303 1 006

ENGLISH LETTERS DEPARTMENT

LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH

JAKARTA

2016

iii

LEGALIZATION

Name : Adi Imam Taufik

NIM : 109026000109

Title : The Illocutionary Acts in Fast & Furious 7 Movie

The thesis entitled above has been defended before the Letters and

Humanities Faculty’s Examination Committee on June 24th

, 2016. It has already been

accepted as a partial fulfillment of the requirements for the degree of strata one.

iv

DECLARATION

I hereby declare that this submission is my own and that, to the best my knowledge

and belief. It contains neither material previously published and written by another

person nor material which to a substantial extent has been accepted for the award or

any other degree or diploma of the university or other institute of higher learning,

except where due acknowledgement has been in the text.

Jakarta, June 2016

The Writer

v

ACKNOWLEDGMENT

بسم الله الر حمن االر حيم

In the name of Allah, the most Gracious, the most Merciful, and the most Beneficent

Praise is only for Allah SWT, lord of the world. First, the writer is deeply

grateful to Him for His blessing to accomplish this thesis. Blessing is upon to our

prophet Muhammad SAW, his descendants and his followers.

This research could not be completed without a great deal of help from many

people. Therefore, the writer would like to give his sincerest gratitude to his beloved

parents, H.M. Sobari and Hj. Babay Suharsih.

The writer also wants to give his gratitude to Mr. Drs. Saefudin, M.Pd. as

his advisors for his time, help, patience and motivation from the first to the final level

of this research. The writer also would like to express deepest gratitude to the

following persons:

1. Prof. Dr. Sukron Kamil M.Ag. as the Dean of Adab and Humanities Faculty State

Islamic University of Syarif Hidayatullah Jakarta.

2. Drs. Saefudin, M.Pd. as the Head of English Letters Department.

3. Elve Oktafiyani, M. Hum. as the Secretary of English Letters Department.

4. All the lecturers of English Letters Department for teaching many things during

the study.

vi

5. The writer’s mates at English Department especially from D Class and B Class of

Linguistics which cannot be mentioned one by one.

6. The writer’s beloved brothers and sisters: Ahmad Bahtiar, Eyi, Yayu, Juju

Juanda, Nunung Nurlaela, Asep Rahmatullah, and Wulan Siti Maryam.

7. The writer’s sweethart, Anida Qurrotul Aini.

8. The writer best friends in The Association of Banten’s Student (HMB): Usep

Ardabily Muzani, MK. Ulumudin, Afifudin Fakel, Jhojon Suhendar, Sadam,

Mufti Azmi, Adhiya, Fizma, Fikra, Candra, Neneng, Ecta and Deni Iskandar.

9. The writer best friends in Gema Mathla’ul Anwar Tangsel.

May Allah bless you in everything. The writer realizes that his paper actually

has not been perfect yet, there are many mistakes in its contents. Therefore, the writer

would like to receive any comments, suggestion, or criticism.

Finally, the writer hopes this thesis will be guidance for the reader and those

who are interested in it.

Jakarta, June 2016

The Writer

vii

TABLE OF CONTENT

ABSTRACT……………………………………………….………………………….i

APPROVEMENT………………………………………………………………..….ii

LEGALIZATION…………….………………………………………………..……iii

DECLARATION…………..…………………………………………………….….iv

ACKNOWLEDGEMENT………………………………………………………..…v

TABLE OF CONTENT…………………………………………………………...viii

CHAPTER I. INTRODUCTION………………………………………….…….….1

A. Background of Research..............................................................................1

B. Focus of the Research..………………………………………………..…..5

C. The Research Question……………………………………………………6

D. The Objective of Research…………………………………………….…..6

E. Significance of the Research.......……………………………………..…..6

F. Research Methodology....……………………………………….………...7

1. The method of Research………………………………………………7

1.1. Unit Analysis……………………………………………………..7

1.2. Technique of Collecting & Analysis Data………………….…….7

1.3. The Instrument of Research………………………………………8

1.4. Time and Place of Research...........................................................8

viii

CHAPTER II. THE THEORITICAL FRAMEWORK…..........…………….…..10

A. Previous Research.……………………………………………..…….…..10

B. The Concepts of Pragmatics………..........................................................12

C. Context.......................................................................................................14

D. Speech Act.................................................................................................17

1. Locutionary Act..…..........................................……………….....19

2. Illocutionary Act............................................................................20

3. Perlocutionary Act.........................................................................22

E. Classification of Illocutionary Acts.......................................................... 23

1. Representatives..............................................................................24

2. Directives.......................................................................................24

3. Commisives...................................................................................25

4. Expressives....................................................................................25

Declaratives...................................................................................24

F. Direct and Indirect Speech........................................................................25

CHAPTER III. RESEARCH FINDING AND DATA ANALYSIS......................29

A. Data Description……………………………………………………..…..29

B. Data Analysis …………………………………………………................31

CHAPTER IV. CONCLUSIONS AND SUGGESTIONS…..………………....…60

A. Conclusions …………..………………………………………………….60

ix

B. Suggestions …..…………………………………………………….…....62

BIBLIOGRAPHY…………………………………………………………………..63

APPENDIXES………………………………………………………….…………..65

1

CHAPTER I

INTRODUCTION

A. Background of Research

Basically in our daily life, we always use language as means of

communication with others. Such as making a dialogue, asking, joking,

commanding, apologizing, and so on. In the study of language, there is

meaning which is bounded with the context, on the other hand, there is

meaning which does not need context. The study of linguistics which doesn‟t

observe certain context is called semantics, whereas the study of linguistics

which observes certain context is called pragmatics.

According to George Yule, pragmatics concerns with the study of

meaning as communicated by speaker (or writer) and interpreted by a listener

or reader. It has, consequently, more to do with the analysis of what people

mean by their utterances than what the words or phrases in those utterances

might mean by themselves. Pragmatics is the study of speaker meaning.1

In this case, the writer is interested in discussing pragmatics as the

study of language meaning with the context. In daily life, we will find that

when language is uttered, but doesn‟t fit the context, it will be ambiguous to

understand. If we understand the meaning of language in any context, it will

be easier for us to interact and communicate with others because the key of a

good communication is to understand something in all situations.

1George Yule, Pragmatics, (Oxford: Oxford University Press, 1996), p.3.

2

In the study of pragmatic, there is an entity that is central and

fundamental to be understood by the students. It is speech act. According to

Austin, speech act is an act that a speaker performs when making an

utterance.2 Speech acts as a form of communication has a function, contains a

purpose, and specific purposes or effect to the hearer. Basically when

someone says something, he/she also does something. By the time someone

uses the word 'apologize', it is not only saying but also taking action

„apologize‟.

Speech has a purpose and a specific intention to produce

communication. The purpose of speech is one aspect that should be present in

a speech, because the purpose of speech is an effort to get the result that is

intended by the speaker to the hearer. The goal is to convey information and

news, persuade, advise, rule and so on. In this case the speaker should be able

to convince partners of his speech purpose.

When we talk to our partner, we produce three types of speech acts,

which are locutionary acts, illocutionary acts and perlocutionary acts.

Locutionary act is the act to express something. It is only giving an

information to the hearer (the act of saying something). For example; humans

have ten fingers, the fire is hot and ice is cold. Here, the speaker does not

have the specific intention of his speech but only to provide information. We

are from the utterance with some kind of function in mind.3

2J.L. Austin, How To Do things With Words, (Oxford; Oxford University Press. 1962), p.

253. 3Geogre Yule, op. Cit, p. 48.

3

The illocutionary act is performing via the communicative force of an

utterance. 4 Illocutionary act is not only providing information to the partners,

but it has the intention and purpose of what we told. It is not only expressing,

but doing something (the act of doing something). For example; your hair is

long. The illocutionary analysis of the sentence is a command to cut his hair

because it was long.

According to Hurford and Heasley, perlocutionary act carried out by a

speaker making an utterance is the act of causing a certain effect to the hearer

and others.5 Perlocutionary act has force to influence or effect for the hearer.

For example; yesterday my father was ill. The perlocutionary analysis of the

sentence is something that was uttered by someone who could not attend the

invitation. Then locutionary acts just want to convey any information that my

father was sick and illocutionary act meaning is to apologize.

From three categories of speech acts, the writer is interested in

analyzing illocutionary act because it is the reality of utterance. Here we do

not only study about the information which the speaker said to the hearer, but

the intention of what he said. Sometimes an utterance has a specific purpose

to get even if it is only a joke. The intention of the speech can be seen in a

certain context. Therefore we need to understand the context in a

conversation so that we can understand the intention expressed by the

speakers to the hearer.

Illocutionary act is not only found in daily communication but also

4Hurford and Heasley, Semantics: A Course book, (Cambridge: University Press, 1983),

p. 244. 5Hurford and Heasley, op. cit, 243.

4

found in the film. The film is the copyrighted work of art and culture which

is one of the audiovisual media of mass communication are made based on

the principles of cinematography recorded on celluloid, video tapes, video

discs, and/or projection system is shown with mechanical, electronic and

other systems. Based on the reason above, the writer chooses the Fast &

Furious 7 movie as the object of research.

The writer chooses this movie because this is the latest film in 2015. I

want to analyze an object that has not been investigated previously by others

in order to get the authenticity of a study. Studying more about the

illocutionary acts from the movie is very interesting because it could be

useful for further research in the future.

The writer focuses on Searle‟s theory in the study of illocutionary acts

to analyse the dialogue of the movie and let other theories support Searle‟s

theory. The writer analyzes the types of illocutionary acts, explains the

context and meaning in the dialogue, finds the function and divides the

category into the direct and indirect speech act in this thesis.

The writer wants enrich the previous research because it only analyzed

the types of illocutionary without classifying the direct-indirect speech act

and giving more explanations about the function of illocutionary acts. To

make us understand about the analyses, here one example of the movie‟s

dialogues:

A conversation between Brian O‟Conner and the teacher in minutes 00:07:46

– 00:07:48, as follows:

Brian O‟Conner : I appreciate it, thank you. (Praising and Thanking)

5

In this context, Brian drove to the school of child in order that he

could entrust the child to the teacher for studying with his friend. Then Brian

thanked to the teacher due to the fact that she helped Brian to keep the child

until the end of class. The Illocutionary act based on the context above is

obvious that is expressive. Expressive is an action or an utterance that asserts

our feeling.

In this case, it is clear that the utterance is praising and thanking,

included in the paradigmatic of expressive. The example: “I appreciate it,

thank you” as ilustrated in the example that the utterance is an illocutinary act

which is said directly. As we know that direct speech act is used to say

something, inform something, ask someone, beg someone, or give a

command.

B. Focus of Research

In this research, the writer focuses on types and meaning of the

illocutionary act which are found in Fast & Furious 7 movie. The writer uses

Searle‟s theory in the study of illocutionary acts to analyse the the types of

illocutionary acts found in the film. The writer also analyzes the context and

meaning in the dialogue, and divides the category into the direct and indirect

speech act in this thesis.

The writer wants to enrich the previous research because it only

analyzed the types of illocutionary without classifying the direct-indirect

speech act and giving more explanations about the function of illocutionary

acts.

6

C. The Research Questions

Here the writer found the research questions that will be analized in

this thesis, there are:

1. What types of illocutionary acts which are found in Fast & Furious 7

movie?

2. What are the functions and the meaning of illocutionary acts used in the

dialogues of the movie?

D. The Objective of Research

The writer wants to give the explanation about the aims of this

research, those are:

a. To describe the types of illocutionary acts in the dialogues by the

characters which are found in Fast & Furious 7 movie.

b. To analyze the meaning of illocutionary acts used in the dialogues of the

movie.

E. Significances of the Research

Theoretically, it is expected to enrich the previous research and

improve body of knowledge especially in linguistics field.

Practically, the results of this study are expected to make better

understanding for the readers in the relation with illocutionary act that is often

use in the daily life, especially in the Fast & Furious 7 movie. Thus, it can

give the inspiration to other students who want to develop the same theory.

7

F. Research Methodology

1. The Method of Research

This research is in Pragmatics field. This research uses qualitative

method, by analyzing and describing the corpus tha uses in the film. It is

related to study of speech acts. Subroto says that qualitative method

commonly used in humanities sciences to make a description of situation

and interpret phenomenon.6 This method is suitable to analyze the content

of research. The research describes the types and meaning of illocutionary

acts in the dialogues by the characters which are found in Fast & Furious

7 movie.

The writer collected all data related to the research, made some

observations and identified the types and meaning of illocutionary acts in

Fast & Furious 7 movie with reference to the linguistics theories derived

from related literature sources. After identifying the data, the writer

classified and analyzed the types of illocutionary acts according to the

characters of Fast & Furious 7 movie.

Then the writer reduced some data according to the types of

illocutionary acts in the movie dialogue. In this research the writer found

nineteen data of illocutionary acts, those are: five data of representatives,

four data of directives, four data of expressives, five data of commisives,

and one datum of declarative.

6 Edi Subroto, Pengantar Metode Penelitian Linguistik Struktural (Surakarta, Sebelas Maret

University Press, 1992) p.9

8

1.1. Unit Analysis

The analysis unit of this research is Fast & Furious 7 movie

cassette, released in April, 2015 by Universal Pictures Company in

assosiation with MRC & China Film Co., Ltd. An original film/One Race

Film Production.

1.2. Technique of Collecting & Analysis Data

The writer divided technique of collecting and analysis data into

three stages as follows:

a. The writer found some data and watched movie thoroughly.

b. The writer Chose and classified the types of illocutionary acts which

are found in the film.

c. The writer Analysed the types and meaning of illocutionary acts

contained in the movie and drawing the conclusions of them.

1.3. The Instrument of the Research

The instrument of this research is the writer himself by watching

the movie thoroughly, identifying data, and analyzing the types and

meaning of illocutionary acts which are found in Fast & Furious 7 movie.

1.4. Time and Place of the Research

The research started from April up to March 2016 in English

Letters Department, Letters and Humanities Faculty of State Islamic

University Syarif Hidayatullah Jakarta, the library of State Islamic

University Syarif Hidayatullah Jakarta, some libraries around Jakarta as

well as in boarding house where I contemplated with many books.

9

CHAPTER II

THEORETICAL FRAMEWORK

A. Previous Research

There are many previous researches which have analyzed the study of

pragmatics. The first research was written by Ana Laili Rahmah (2005). The

research focused on illocutionary acts found in sign language used by Zhao

shen-shen: the main character in the Silence movie in scope of pragmatics.

Searle‟s theory is used to analyze the data. The result of analysis would be

dependent on such situation. This research used qualitative descriptive

method. The main difference of this study from previous ones was the object

and its focus of study: sign language.7

The second research was conducted by Jihan Rizky Widyasari (2008).

This research focused on the directive types of illocutionary acts. The aim of

the research was to know the directive types of illocutionary acts and its

meaning. The research used the theory of directive speech acts by Yule and

Searle. The method of the research is descriptive qualitative.8

The third research was written by Emy Hidayatullah Amanah (2007).

The writer intended to perform the illocutionary force that was complicated

because it was something different from what the speaker said orally and it

relied on the context of situation. Regarding the complexity of illocutionary

forces, this research was focused on the illocutionary act types and

7Ana Laili Rahmah, Illocutionary Acts Expressed through Sign Language In “Silence

Movie, (Faculty Of Humanities and Culture, The State Islamic University Maulana Malik Ibrahim,

Malang, 2005) 8Jihan Rizky Widyasari, Directive Illocutionary Acts Used in I Am Sam Movie, (Faculty

of Letter and Humanities, UIN Syarif Hidayatullah, Jakarta, 2008)

10

illocutionary forces in the movie. The research used qualitative descriptive

method and the research. The research used the theory of directive speech

acts by Austin (1962) and Searle (1969 and 1979).9

Finally, the fourth research was conducted by Muhammad Tadarus

(2007). The writer focused the research in the analyzing illocutionary act and

its felicity condition in this movie. The aim of the research was to know the

types of illocutionary act and its felicity condition. The research used the

theory of speech acts by Austin, Leech and Searle. The method of this

research is qualitative descriptive method.10

From the previous research above, we saw many differences from this

research. It employed Searle‟s theory in the study of illocutionary acts to

analyse the dialogue of the movie and used other supporty theories. The

writer analysed the types of illocutionary acts, and explained the context &

meaning in the dialogue.

And the last, this research is divided into the direct and indirect

speech acts category. Hopefully it will give complete and authentic analysis.

Moreover, it can give new information and contribution as the references of

study and improve reader‟s knowledge of understanding illocutionary acts.

9Emy Hidayatullah Amanah, Illocutionary Acts in Movie Script of Chronicles of Narnia:

The Lion, The Witch, And the Wardrobe by Stuart C., (Faculty of Letters, Udayana University,

Bali, 2007) 10

Muhammad Tadarus, An analysis of Illocutionary Act and Its Felicity Conditions in The

Karate Kid Movie, (Faculty of Letter and Humanities, UIN Syarif Hidayatullah, Jakarta,2007)

11

B. The Concepts of Pragmatics

Pragmatics studies the use of language in human communication as

determined by the condition of society.11

According to Gazdar, pragmatics is

the study of deixis (at least in part), implicature, presupposition, speech acts

and aspects of discourse structure.12

Pragmatics is a branch of linguistics that

studies words in utterances in order to give influence something is being

talked about and sometimes in fact it has no meaning dearly.13

We need to understand the entire social context in which a sentence

was uttered, a different level of interpretation that is studied within

pragmatics, which explore the role that context plays in the interpretation of

what people say.14

Victoria Fromkin describes pragmatics as the study of

interpreting linguistics meaning in context.15

Pragmatics is a branch of linguistics that is increasingly recognized in

the present. Around two decades ago, this science is rarely or almost never

referred to by linguists. This is supported by the growing of linguists‟

awareness, that the attempt to uncover the nature of language will not bring

the expected result without basic understanding of pragmatics, that is, how

language is used in communication.16

In addition to the definitions above, a number of other definitions are

11

Jacob L. Mey, Pragmatics: An Introduction, 2nd

Ed, (England: Oxford, 2001), p. 6. 12

F.X. Nadar, Pragmatik dan Penelitian Pragmatik, (Yogyakarta; Graha Ilmu, 2013), p.

5. 13

Stephen C. Levinson, Pragmatics: An Introduction, (Cambridge: Cambridge University

Press, 1983), p.5. 14

Charles F. Meyer, Introducing English Linguistics, (Cambridge: Cambridge University

Press, 2010), p. 48. 15

Victoria Fromkin, Robert Rodman, Nina Hyams, An Introduction to Language 7th

Ed

(Boston: Thomson Place, 2003), p. 207. 16

I Dewa Putu Wijana, Dasar-dasar Pragmatik, (Yogyakarta: Penerbit ANDI, 1996), p.23

12

also noted by Levinson that pragmatics is one of those words that give the

impression that something quite specific and technical is being talked about

when often infact it has no clear meaning.17

Searle, Kiefer and Bierwisch

asserted that pragmatics has as its topic those aspects of the meaning of

utterances which cannot be accounted for by straightforward reference to the

truth conditions of the sentences uttered.18

Katz and Fodor suggested that a theory of pragmatics would

essentially be concerned with the disambiguation of sentences by the context

in which they were uttered, causing the using context of language created

interpretations in contexts.19

Pragmatics deals with a particular aspect of human communication,

namely the relationship between language and the context in which is used,

and as result it is concerned with analyzing and explaining particular types of

data. It is often described as being a branch or field of linguistics. Linguistics

is the academic subject that is concerned with the analysis, description and

explanation of human language and pragmatics contributes to this project by

focusing on the interaction between language and context.20

What we have returned to here is the gap which exists between

language and the world, or human experience. We have many more meanings

than we have exact syntactic forms to express them. In an ideal world perhaps

every possible speech act, whether direct or indirect, would have its own

17

F.X, Nadar, op. cit, p. 5. 18

Ibid. 19

Stephen C. Levinson, op. cit, p. 8. 20

Siobhan Chapman, Pragmatics, (New York: Palgrave Macmillan, 2011), p.10.

13

corresponding syntactic form. Ambiguity, confusion, and misinterpretation

would then be eliminated from our language use.

In brief, pragmatics is the study of language use which is bounded

with contexts. In other words, within the meaning of pragmatics determined

by the context, ie, who is speaking to whom, where, when, how, and what the

function of the utterance. Pragmatic studies the purpose of speech, that what

is „X‟ utterance done for. And basically pragmatics asks "What do you mean

by X?” Not “What X means?”

Therefore, by studying pragmatics, we can understand what people

intended, their assumptions, and their goals or purposes when they speak in

certain context. So that pragmatics comprehension is really important for us

in order to make good communication between one and each other.

C. Context

The context is very important in understanding the illocutionary force

of utterance. For example: if a debt collector who lends you money says “I

promise to visit you tomorrow.” This utterance can be understood as a

threat.21

The term „context‟ defined by Mey as the surrounding, in the widest

of sense, that enables the participants to interact in the process of

communication, and that make the linguistic expressions of their interaction

understandable. The importance of context in pragmatic is also emphasized

by Wijana who states the pragmatics examines the contextual meaning.22

Moreover, Leech defines the context as background knowledge

21

Ralph Fasold, An Introduction to Language, ed. Jeff Connor-Linton (Cambridge:

Cambridge University Press, 2006), p. 163. 22

F.X, Nadar, op. cit, p. 3-4.

14

assumed to be shared by speaker and hearer and which contributes to hearer

interpretation of what speaker means by given utterance. Thus, the context is

things that relate to the physical and social environment of a speech or

background knowledge that is owned both by speaker and hearer, and with

the context, the hearer can easily understand and interpret the meaning of an

utterance.23

Furthermore, Leech explains reference to one or more of the following

aspects of the speech situation with the following criteria.

(i) Addressers or addressees

Following the practice of Searle and others, Leech shall refer to

addressers and addressees, as a matter of convenience, as S (Speaker) and

H (Hearer).

(ii) The context of an utterance

Context has been understood in various ways, for example to

include relevant aspects of the physical or social setting of an utterance.

Leech consider context to be any background knowledge assumed to be

shared by speaker and hearer, which contributes to the hearer‟s

interpretation of what speaker means by a given utterance.

(iii) The goal(s) of an utterance

Leech finds useful to talk of a goal or function of an utterance, in

preference to talking about its intended meaning, or the speaker‟s intention

in uttering it.

(iv) The utterance as a form of act or activity: a speech act

Pragmatics deals with verbal acts or performances which take

place in particular situation, in time.

(v) The utterance as the product of verbal act

There is another sense in which the word utterance can be used in

pragmatics. It can refer to the product of a verbal act, rather than to verbal

act itself.24

Context and pragmatics are like birds with wings. Birds can not fly

23

Ibid. p. 4 24

Geoffrey Leech, Principle of Pragmatics, (New York: Longman Linguistic Library,

1983), p. 13-14.

15

without wings; otherwise the wings are not too perfect function if there are no

birds to fly. That means if we are talking about pragmatics automatically we

have to talk about the context or otherwise. For context, it is good for us to

refresh our memories with explores a pragmatics constraint. This is

considered necessary because pragmatics can not be separated with the

context.

In brief, we can say that context is a condition where a situation

occurs. To fully understand the meaning of a sentence, we must also

understand the context in which it is uttered. Communication will not be

perfect if it does not involve the context (with the characteristics mentioned

above) as a lingual extra element that should not be ignored in a speech.

Context is very important to do with pragmatics, because communications

involving context could make it more communicative, effective, and efficient.

D. Speech Act

Speech acts are verbal actions happening in the world. Uttering speech

act means I do something with my words: I perform an activity that (at least

intentionally) brings about a change in the existing state of affairs.25

When

people communicate each other, they don‟t only produce utterance containing

words that are grammatically structured; they also perform actions through

their utterances.26

For example; when we were in the forest with our brother, and we

said to him “there is bear behind you” may be intended as a warning in

25

Jacob L. Mey, op. cit, p. 95. 26

George Yule,op. cit, p. 47.

16

certain contexts, or may in other context be a statement of fact.27

Speech act theory emerged in the 1960s by John Austin and John

Searle. According to their theories, when the speaker utters a sentence, he is

doing something according to what he is saying. The Austin‟s opinion is „by

saying something we do something’. Austin began his note by pointing out

that not every speech seems to lead the statement. The speech that is a

sentence or half of a sentence to do common act for saying something; is

performative speech, and he distinguished it from constantive speech, a

declarative statement in which truth or falsehood can be accounted.28

Most of the implementation of speech acts are not so “official”, but

they all depend on the speaker using an utterance so that the hearer can infer

the speaker‟s utterance and carries out some actions that are intended by the

speaker through his/her utterances.29

Austin developed his theory of speech acts. He made important

observation. Austin observed that there are ordinary language declarative

sentence that resist a truth-conditional analysis in similar fashion. The point

of uttering such sentences is not just to say things, but also actively to do

things. In other words, such utterances have both a descriptive and an

affective aspect. Accordingly, Austin called the performatives and he

distinguished them from assertions, or statement making utterances, which he

called constantives.30

According to Searle, speech acts as the units of linguistics

27

Victoria Fromkin, op. cit, p. 595. 28

Deborah Schiffrin, Ancangan Kajian Wacana, (Terjemahan) (Yogyakarta: Pustaka

Pelajar, 2007), p. 64. 29

Ralph Fasold, op. cit, p. 162. 30

Yan Huang, Pragmatic, (New York: Oxford University Press Inc. 2005), p. 94-95.

17

communication is not the symbol, word or sentence. But rather the production

of the symbol or word or sentence in the performance of the speech act.31

In addition to Austin‟s opinion (1962) about performative, Searle

(1975) expended the hypothesis saying that basically, all utterances contained

„act‟, and not only that have performative verbs. In addition with developing

hypothesis that every utterance contains action, Searle also divides speech

acts into three different kinds of actions; locutionary act, illocutionary act,

and perlocutionary act.32

Based on the description above, it can be concluded that speech act is

theory that examines the meaning of language based on the relationship

between speech and action taken by the speaker to hearer in communication.

It means the speech will be meaningful if it is realized in real communication

actions.

Thus the essence, Speech act is an entity that is central to the

pragmatic so that is a staple in the pragmatics. The nature of the speech act is

an act that is expressed with meaning or function (purpose and objectives) are

attached to the speech.

In other words, we can simply say that the speech act is an utterance

that contains an action. Here more explanation from Searle about locutionary

act, illocutionary act, and perlocutionary act;

31

Jacob L. Mey, op. cit, p. 95. 32

F.X, Nadar, op. cit, p. 12-14.

18

1. Locutionary Act

“Locutionary act is the act of saying something that is understable

and reasonable in language and follows the rules of pronunciation and

grammar”. 33

For example:

“I have just made a cup of tea”

Mostly we don‟t just produce well-formed utterances with no

purpose.

Another example is when someone says “there is an elephant in

the zoo”, in this case, he is just making a statement that there is an

elephant in the zoo without any intention. He does not warn or ask the

hearer to move or shut the gate. From pragmatics perspective, the role of

illocutionary act is actually less important in understanding speech act.34

Based on the opinion above, it can be concluded that basically

locutionary acts doesn‟t matter about the speech function because of the

meaning contained in the sentence which is uttered.

We can say that locutionary act is a speech act that expresses

things as they are. Moreover, locutionary act is a speech act that relatively

easy to identify because its identification could be done without the

context of utterances which are discussed in speech event.

33

John I. Saeed, Semantics, (UK: Blackwell Publishing Inc.1997), p. 228. 34

I Dewa Putu Wijana, op. cit, p. 18.

19

2. Illocutionary Act

According to Yule, illocutionary act is performed via the

communicative force of utterance.35

For example:

“It‟s hot in here!”

From example about, it means we want some fresh air.36

The

illocutionary act is an utterance which is intended by by the speaker under

his/or her full control. An illocutionary act refers to the type of function

the speaker intends to fulfill, or the type of action the speaker intends to

accomplish in the corse of producing an utterance. It is an act

accomplished in speaking. Example of illocutionary acts include accusing,

apologizing, blaming, congratulating, giving permission, joking, nagging,

naming, promising, ordering, refusing, swearing and thanking.37

According to Bloomer, illocutionary act is the act which is carried

out when the speaker makes an utterance. The illocutionary act in its

implementation has a certain communicative purpose. When we say “I’ve

just made some coffee” to make a stetement, an offer, an explanation, or

some other communicative purposes, the intention or purpose of an

utterance is generally known as the illocutionary force of the utterance.

An utterance can have more than one illocution; it is useful to

introduce the distinction between direct and indirect illocutions. Direct

illocution of an utterance is the illocution most directly indicated by a

35

Geogre Yule, loc. cit. 36

Jenny Thomas, Meaning and Interaction: An Introduction to Prfagmatics, (London:

Longman Group Limited, 1995), p. 49. 37

Ibid.

20

literal reading of the grammatical form and vocabulay of the sentence

uttered. While the indirect illocution of an utterance is any further

illocution the utterance may have.38

The direct illocution of “can you pass the river?” is an enquiry

about the hearer‟s ability to pass the river. The indirect illocution is a

request that the hearer pass the river.

Based on the explanation above, when a person delivers

something, it does not only convey information but the majority of

utterances are expected to get a response in actions. So, the writer can say

that illocutionary acts besides giving information about something, also

the implication of the speech which is uttered.

3. Perlocutionary Act

A perlocutionary act is the act by which the illocution produces a

certain effect in or exerts a certain influence of addressee. Still another

way to put it is that a perlocutionary act represents a consequence or by-

product of speaking, whether intentional or not. It is therefore an act

performed by speaking.39

Some perlocutionary acts are always the

producing sequel of alerting or even alarming.40

According to Austin “perlocutionary act is the actual effect

achieved by saying”. According to Wijana, this act is known as an act of

38

James R. Harford,Semantics: A Course book, ( Cambridge: Cambridge University

Press, 1983), p. 259. 39

Yan Huang, op. cit, p. 103. 40

J.L. Austin, How to do things with words. In Adam Jaworsky and Nikolas Coupland

(ed), The Discourse Reader, (London and New York: Routledge, 2006), p. 62.

21

affecting someone.41

For example:

“Shoot her!”

One may say of this utterance that, in appropriate circumtances, it

had the illocutionary force of variously, ordering, arguing, advising, the

address to shoot her. But the perlocutionary effect of persuading, forcing,

or frightening the addressee into shooting her.

In other words, perlocutionary act is the act that has an influence or

effect on the partner or who heard the speech. In perlocutionary act, the

speaker hopes to get the attention of the hearer about what he conveys.

This is often experienced by every person with different goals and

interests, such as the aim to apologize, pay for attention, understand person

situation and so on.

E. Classification of Illocutionary Acts

Many theories of speech acts have been described and classified by

the linguists especially by Austin and Searle who concern on analyzing the

speech act. Austin suggested that the illocutionary act always contains

explisit meaning throughthe use of performative sentences. Austin

categorized the illocutionary acts into five basic categories of verdictive,

expositive, exersitive, commisive and behabitive.42

Austin‟s five classes, a

brief explanation of each, and a few examples of each are as follows:

41

F.X. Nadar, op. cit, p. 15. 42

John R. Searle, Expression and Meaning: Studies in The Theory of Speech Acts, (New

York: Cambridge University Press, 1979), p. 1.

22

1. Verdictives: acts that consist of delivering a finding, e.g., acquit, hold (as

a matter of law), read something as, etc.43

2. Exercitives: acts of giving a decision for or against a course of action,

e.g., appoint, dismiss, order, sentence, etc.44

3. Commissives: acts whose point is to commit the speaker to a course of

action, e.g., contract, give one’s word, declare one’s intention, etc.45

4. Behabitives: expressions of attitudes toward the conduct, fortunes, or

attitudes of others, e.g., apologize, thank, congratulate, welcome, etc.46

5. Expositives: acts of expounding of views, conducting of arguments, and

clarifying, e.g., deny, inform, concede, refer, etc.47

Searle criticized Austin for operating with overlapping criteria. As we

saw in the preceeding section, Searle finds fault with Austin taxonomy of

speech act for various reason (inconsistency, incompleteness, and so on). The

five category that Searle ends up establishing are representatives (or

assertives), directives, commisives, expressives, declarations (or

declaratives).48

I will discuss the categories in this order:

1. Representatives

These speech acts are assertions about a state of affairs in the world

(hence they are also called assertives; Leech 1983:128), and thus carry the

values „true‟ or „false‟. This is their „point‟; as to fit, they should of course,

43

Jerrold Saddock, The Handbook of Pragmatics, (Blackwell: Blackwell Publishing Ltd,

2004), p. 64. 44

Ibid. 45

Ibid. 46

Ibid. 47

Ibid. 48

Jacob L. Mey, op. cit, p. 119-120.

23

match the world in order to be true.49

It is including asserting, stating,

claiming, concluding, and reporting.

In performing this type of speech act, the speaker represents the

world as he or she believes it is, they make an utterance according to what

they believe and in accordance with the fact. E.g. The Berlin Wall came

down in 1989.50

The example above is entered to stating.

2. Directives

These are kinds of speech acts in which the speaker wants the

hearer to do something. They express the speaker‟s desire to the hearer to

do something. Examples of directives are action such as advising,

commanding, ordering, questioning, and requesting. In using a directive,

the speaker intends to to obtain some future action of the hearer. E.g.

Close the door!51

3. Commisives

These are kinds of speech acts that require the speaker to perform

some future actions. That expresseed the speaker‟s desire to do something.

Examples of commisives are actions such as offering, pledging, promising,

refusing, and thretening. E.g. I‟ll give you money tomorrow.52

4. Expressives

These are kinds of speech acts that express a psychological attitude

or state of speaker such as exitement, sadness, and likes/dislikes.

49

Ibid. 50

Yan Huang, op. cit, p. 1004. 51

Ibid. 52

Ibid.

24

Examples of expressives are actions such as apologizing, blaming,

congratulating, praising, and thanking. E.g. Well done, Elizabeth!53

5. Declaratives

These are kinds of speech acts that cause immediatechanges in

some situations, in performing this type of speech act, the speaker brings

about changes in the world; the propositional content of the speaker‟s

utterance changes the state of hearer in reality. Examples of declaratives

are actions such opening a bridge, declaring war, excommunicating, firing

from employment, and nominating a candidate. E.g. I object, Your

Honor.54

So, we can take the conclusion based on the explanation above.

First, representative is a speech that binding the speakers of the truly

utterance. Second, directive is binding speaker to take the actions

mentioned in the speech. Third, commissive is the act that binding the

speaker to do somethingin the future. Fourth, expressive is the act that

expresses feelings of the speaker. And the last, declarative is the act which

may cause new situations or status.

F. Direct and Indirect Speech

The speech acts can also be said directly and indirectly. Direct speech

act can be directly recognized from its syntactical form.55

When an

interrogative structure such as “Did You....? Are They....? or Can We....?” is

used with the function of a question it is described as a direct speech act. But

53

Ibid. 54

Ibid. 55

George Yule, op. cit, p. 54.

25

when it is used as a request or command, it is described as an indirect speech

act. 56

Direct speech act is used to say something, inform something, ask

someone, beg someone, or give a command, if the utterance is conveyed

directly. The example: “Bring me my coat!” As ilustrated in the example that

the utterance is an illocutinary act which is said to vary directly. It means that

the speaker wants the hearer brings his coat.

The direct speech act above is different from the indirect speech act.

As a sentence with the phrase “Can you bring my coat?” is an indirect

illocutionary act. Indirect speech used to communicate what someone else

said, but without using the exact word. The tenses of the verbs are often

changed. Indirect speech acts are generally associated with the greater

politeness in English than direct speech act.57

The study of indirect speech act

(or indirect illocutions) brought a challenge both to the classical speech

speech act theory of Searle, and to grammatical version of speech acts

attempted by means of the performative hypotesis.58

As discussed above, Searle (1969) distinguished between effects that

areachieved by getting the hearer to recognize that the rules governing the use

of an illocutionary force indicating device are in effect, which he called

illocutionaryeffects, and those effects that are achieved indirectly as by-

products of thetotal speech act, for which he reserved the term perlocutionary

effects. But the effect might be very similar and we might use the same words

to describe it, whether it is an illocutionary or perlocutionary effect.

56

Ibid. 57

F.X. Nadar, op. cit, p. 18. 58

N.E. College, An Encyclopaedia of Language (London: Routledge, 1990), p. 105.

26

Sadock (1970, 1972) argued that, in certain cases, there were some

conventional indications in the form of the utterance of what might be taken

as an indirect, perlocutionary effect. The central sort of example is the

utterance at a dinner table of an apparent question like “Could you pass the

salt?” The utterance appears to be a question, but when produced at a dinner

table, a commonly achieved effect is to arouse in the addressee a feeling of

obligation to pass the salt.59

Sadock noticed that the question “Could you pass the salt?” can also

include the word please sentence internally, which indicates clearly the

intention of the speaker to produce the kind of effect that illocutionary acts of

requesting typically do. It is important to notice that not all questions that can

provoke such a feeling in the addressee can felicitously include this word.

Thus Isn’t it cold in here can give the right circumstances, because an

addressee to feel obligated to close a window, light a fire in the fireplace,

fetch a blanket, or the like. But even when intended to produce such results,

one cannot say in idiomatic English *Isn’t it please cold in here. Sadock

argued that examples of the former kind are conventionalized in a sense

sufficient to justify analyzing the intended effect as directly illocutionary

rather than as an indirect perlocutionary effect.60

Thus, from the explanation above, we can conclude that direct speech

act is the speech that reflects the appropriate communication between the

speech with expected action, such declarative utterances to inform something

59

Jerrold Saddock, op. cit, p. 69. 60

Ibid.

27

and interrogative utterances to ask. Indirect speech act is the utterance that

reflects inappropriate communication between the speech with the expected

action interrogative utterances in order to get utterance that considered more

polite, for example interrogative utterances to command or order something.

28

CHAPTER III

RESEARCH FINDINGS

A. Data Description

In this data descripion, the writer compiles and classifies the data from

the dialogue scripts of Fast and Furious 7 movie. And then tabulates the

collected data classification into the following table accrording to Searle

categories of illocutionary acts. The data are grouped based on types, direct &

indirect, and functions of the illocutionary acts found in the movie scripts as

described below.

TABLE 1: THE ILLOCUTIONARY ACTS OF REPRESENTATIVES

No

Data

Illocutionary

classification

Timeline

1. Letty: It's not fair. You know

I don't. Representative

(Asserting) 00:03:19 - 00:03:35

2.

Elena: You're a terrible liar!

See you tomorrow, boss. Representative

(Asserting) 00:10:07 - 00:10:28

3.

Roman: They don't suppose

to look... like that. I'm just

saying, like how they normally

wear them li'l weird glasses...

that's all crooked, with pimples

all over they face from drinking

soda.

Representative

(Stating) 01:00:57 - 01:01:12

4. Zafar: Impossible. Representative

(Claiming) 01:06:41 - 01:06:43

5. Dom. Torreto: I don't have

friends. I got family. Representative

(Asserting) 01:26:17 - 01:26:24

29

TABLE 2: THE ILLOCUTIONARY ACTS OF DIRECTIVES

No Data Illocutionary

Classification Timeline

6.

Dom. Torreto : Keep it under

9000 RPMs. Kid's gonna fire

his pistons after the first 200.

Directive

(Ordering) 00:04:37 - 00:04:50

7. Ramsey: There's a cliff. Cliff!

Cliff!

Directive

(Commanding) 00:52:08 - 00:53:00

8. Dom. Torreto: Let’s get to

work. Directive

(Ordering) 01:12:59 - 01:03:12

9. Roman: Letty, the football‟s

on fire! We need help!

Directive

(Ordering) 01:47:18 - 01:47:24

TABLE 3: THE ILLOCUTIONARY ACTS OF EXPRESSIVES


classification Timeline

10. Elena: Thanks, Hobbs.

Thanks for everything. Expressive

(Thanking) 00:11:04 - 00:11:13

11.

Ramsey: And then break in

when they access it. So you're

talking about hacking my

hacking device. That's

brilliant.

Expressive

(Praising) 01:31:08 - 01:31:19

12. Ramsey: I'm sorry. Expressive

(Apologizing) 01:20:54 - 01:21:03

13.

Mr. Nobody: You just

changed the face of manhunts

forever. Congratulations.

Expressive

(Congratulating) 01:23:31 - 01:23:42

TABLE 4: THE ILLOCUTIONARY ACTS OF COMMISIVES


classification Timeline

14.

Hobbs : You sure as hell ain't the

IT guy so you better start

talking, before I break that

finger six different ways... and

stick it straight right wherethe

sun doesn't shine.

Commisive

(Threatening) 00:11:57 - 00:12:15

30

15. Mando: You’ll be safe. Commisive

(Promising) 00:21:46 - 00:22:00

16. Brian O’conner: I won't let you

down, Mia. Commisive

(Promising) 00:24:06 - 00:24:16

17.

Mr. Nobody: No, you're not. I

carry my own health

insurance. SOCOM Medics on

standby. They're already

inbound.

Commisive

(Refusing) 01:29:27 - 01:29:38

18. Dom. Torreto : I'll come back

for that.

Commisive

(Promising) 01:31:53 - 01:32:16

TABLE 5: THE ILLOCUTIONARY ACTS OF DECLARATIVES

No

Data

Illocutionary

Classification

Timeline

19.

Hobbs : You just earned yourself

adance with the devil, boy.

You're under arrest.

Declarative

(Declaring) 00:12:17-00:12:20

B. Data Analysis

The writer used the data from the dialogues of Fast and Furious 7

movie. Four stages for the writer to analyze the data. First, the writer

observed the context which supports the analysis. Second, he identified the

classification of illocutionary acts found in the dialogues. Third, he divided

into direct and indirect illocutionary acts. And the last, he analyzed the

functions used in the dialogues of the movie. In this analysis, the writer

selected 19 numbers of data to be analyzed. So the data description above can

be analyzed as follows.

DATUM 1

A conversation between Letty and Dominic Torreto in minutes

00:03:19 – 00:03:35, as follows:

Letty : Come on, Dom, so where are you taking me?

31

Dom.Torreto: They say an open road helps you think about where you've

been... where you're going. So you don't remember any of this yet.

Letty Ortiz : It's not fair. You know I don't.

a. Context

Context is something important that must be understood by the

writer before he begins with the research because it will give some

information outside language which must be understood in a conversation.

These are aspects which support analysis of the context:

1) Addresser & Addressee : Letty Ortiz & Dominic Torreto

2) Setting : In the sport car– Day

3) Context : In this context, Dom asked to letty whether

she still remembered the place that was used to be the race wars. In

fact, Letty still didn‟t remember anything at all, and she also

emphasized that it was unfair to her because Letty still forgot what

happened in the past.

b. Illocutionary act

From the dialogues above, Letty said “It’s not fair. You know I

don’t.” Letty asserted to Dom that she couldn‟t remember about

something happened in the past because she had amnesia. It was really not

fair for her because it was hard to make her memory back as before, but

Dom was still trying to remind her about their past due to the fact that he

knew that it was not easy as he thought.

Based on the context, it is obvious that illocutionary act is

representative. The illocutionary force of this utterance is to assert

32

something. In this case, representative is an action or an utterance that

describes the speaker‟s truthful proposition. Letty expressed what she felt

to Dom about inequity. In this case, it is clear that the utterance is

asserting, included in the paradigmatic case of representative.

c. Direct & Indirect Speech Act

Based on the context above, the illocutionary act is uttered directly.

Direct speech act is used to say something, inform something, ask

someone, beg someone, or give a command. The utterance is conveyed

directly. Letty asserted to Dom about her truthful proposition. She tried to

explain her condition to Dom by saying “It's not fair. You know I don't.”

The utterance: is an illocutinary act which is said directly.

DATUM 2

A conversation between Elena and Hobbs in minutes 00:10:07 –

00:10:28, as follows:

Elena : You're disappointed, aren't you?

Hobbs : What are you talking about?

Elena : The last arrest. It was too easy. Target didn't even run.

Hobbs : Ah, it's okay. Give me a chance to hit the iron. Also, lets me work

on my stamping skills.

Elena : You're a terrible liar! See you tomorrow, boss.

a. Context


1) Addresser & Addressee : Elena & Hobbs

2) Setting : In Diplomatic Security Service Los Angeles

Division - Night

3) Context : In this context, Hobbs looked confused

33

because he could not hit the enemy. He said that he just needed more

time to hit the iron. Elena knew that he was lying to her. So, she

asserted by the statement “You are terrible liar” because Hobbs was

not a good liar.


In the dialogues above, Elena‟s uttered “You are terrible liar!” In

this context, Elena wanted to assert that Hobbs was not good to lie because

he could not cover his disappointment with his lying. Actually Elena knew

that Hobbs was still disappointed about the last arrest, but in order to

convince her thinking of truthful proposition, she asked to Hobbs

immediately.

Based on the context, it is clear that the illocutionary act is

representative of asserting. The illocutionary force of this utterance is to

assert something. In this conversation, Elena wanted to represents the

world that she believed. She made an utterance according to what she

believed and in accordance with the fact. In this case, it is obvious that the

utterance is asserting, included in the paradigmatic case of representative.


Based on the context above, the illocutionary act is uttered directly.

The utterance “You are terrible liar!” is an illocutinary act of

representative which is said automatically. In the dialogue, the utterance of

Elena in truthful proposition is said to Dom immediately.

DATUM 3

A conversation between Roman and Tej in minutes 01:00:57 –


34

Roman : She don't look like a hacker to me.

Tej : Oh yeah? And what do hackers look like?

Roman : They don't suppose to look... like that. I'm just saying,

like, how theynormally wear them li'l weird glasses...that's all crooked,

with pimples all over they face from drinking soda.

a. Context


1. Addresser & Addressee : Roman & Tej

2. Setting : In a hut beside a ravine – Day

3. Context : In the context, Roman said to Tej that the girl

didn‟t look like a hacker for him. Then Tej asked what hackers look

like to him? Roman answered and emphasized that hackers normally

wore those li'l weird glasses...that's all crooked, with pimples all over

they face from drinking soda.


From the dialogue, Roman said to Tej “They don't suppose to

look... like that.” In this context, Roman wanted to give a statement that

the real hacker didn‟t look like that girl, Ramsey. He believed that the real

hacker normally wore the little weird glasses with pimples all over they

face from drinking soda.

Based on the context, it is obvious that Roman‟s illocutionary act is

representative of stating. The illocutionary force of this utterance is to state

something. It describes the speaker‟s truthful proposition. Hence, that

utterance is representative of stating included in the paradigmatic of

representatives.

35


In this context, the illocutionary act is uttered directly. The

utterance “They don't suppose to look... like that” in normal condition is an

illocutinary act of representative which is said automatically. In the

dialogue, Roman stated immediately about what he believed in truthful

proposition. In his mind, saying of that is a truth, not an illusion or

falsehood.

DATUM 4

A conversation between Dominic Torreto and Zafar in minutes

01:06:41 – 01:06:43, as follows:

Dom. Torreto : We're gonna need it back.

Zafar : Impossible.

a. Context


1) Addresser & Addressee : Dominic Torreto & Zafar

2) Setting : In Abu Dhabi‟s foreshore – Day

3) Context : In this context, Zafar has sold the speed

driver to the prince of Jordanian. Dominic Torreto got anger and

wanted to get it back because it was important for the team. Zafar

answered calmly “it’s impossible” due to the fact that the device was

very safe, and it was put in the super car in the top floor of the

apartment.

36


From the dialogue, Dominic Torreto said to Zafar that he needed it

back. And Zafar said calmly by saying “Impossible” to Dom. In this

context, Zafar wanted to claim that was impossible to get the speed drive

back. He believed that it was really difficult to take because device was

very safe, and it was put in the super car in the top floor of the apartment.

Based on the context, it is obvious that Zafar‟s illocutionary act is

representative of claiming. The illocutionary force of this utterance is to

claim something about his belief in the truthful proposition. Zafar

Expressed what she believes to Dom about impossibility. In this case, it is

clear that the utterance is claiming, included in the paradigmatic case of

representative.


In the dialogue, Zafar uttered something immediately to Dominic

Torreto. The utterance “impossible” in the normal condition is

representative illocutionary act of claiming which is said directly. In the

dialogue, Zafar claimed about what he believed in truthful proposition.

DATUM 5

A conversational between Deckard Shawand Dominic Torreto in

minutes 01:26:17 – 01:26:24, as follows:

Deckard Shaw : Have you ever heard the saying:"The enemy of my

enemy...is my friend"?

Dominic Torreto : I don't have friends. I got family.

37

a. Context


1) Addresser & Addressee : Deckard Shaw & Dominic Torreto

2) Setting : In the factory – Night

3) Context : In this context, Deckard Shaw wanted to

inform Dominic Torreto that he was not alone anymore because he got

a lot of friends. But Dominic Torreto emphasized him by saying “I

don't have friends. I got family.” He wanted to assert that he only has

a big family in his life.


From the dialogue, Deckard Shaw said to Dominic Torreto by

saying “Have you ever heard the saying: The enemy of my enemy... is my

friend?” It meant that he was not alone in the actions, because a lot of

friends backed him up. But Dominic Torreto emphasized him by saying “I

don't have friends. I got family.”

Based on the context, we can see that Dominic Torreto‟s

illocutionary act is representative of asserting. The illocutionary force of

this utterance is to assert that he has no friend at all, but family. In his

principle, family would always stay closer to use in the pleasure and

sorrow, but friends sometimes just came only when in need. In this case, it

is obvious that the utterance is asserting.


In the dialogue, Dominic Torreto said “I don't have friends. I got

family.” In this utterance, it is clear that the utterance is spoken directly.

38

The type of illocutionary act is representative of asserting which is said to

really directly. In the dialogue, Dominic Torreto asserted his principle

about family because he has only big family in his life. In this context, he

believed his saying in truthful proposition.

DATUM 6

A conversation between Dominic Torreto and Letty in minutes

00:04:37 – 00:04:50, as follows:

Dominic Torreto : Keep it under 9000 RPMs. Kid's gonna fire his

pistons after the first 200.

Letty : You know that's not my style, I got to ride or die,

right?

Dom. Torreto : How about you just ride on this one.

a. Context


1) Addresser & Addressee : Dominic Torreto & Letty

2) Setting : In the race wars– Day

3) Context : In this context, Dominic Torreto reminded

Letty to keep the speed under 9000 RPMs because kid was going to

fire his pistons after the first 200.


In the dialogue, Dominic Torreto ordered Letty to take care about

the speed because he wanted Letty to get safe in the race. Dominic Torreto

said “Keep it under 9000 RPMs. Kid's gonna fire his pistons after the first

200.” In this context, Dominic Torreto only needed her darling to ride for

this time not to die, because he didn‟t want to get left by Letty twice.

39

Based on conversations above, it is obvious that the illocutionary

act is directive of ordering. That is the act which involves someone else to

do something. In this case, Dominic Torreto ordered Letty to keep the

speed under 9000 RPMs. It is clear that the utterance is ordering, includes

in the paradigmatic case of directive.


In this conversation, Dominic Torreto said his order immediately to

Letty. The utterance “Keep it under 9000 RPMs” is obviously directive

illocutionary act of ordering which is said to very directly because the

utterance causes the hearer to take a particular action.

DATUM 7

A conversation between Ramsey and Dominic Torreto in minutes

00:52:08 – 00:53:00, as follows:

Ramsey : What are you doing? This is crazy!

Dom. Torreto : Keeping you alive!

Ramsey : There's a cliff. Cliff! Cliff!

a. Context


1. Addresser & Addressee : Ramsey & Dominic Torreto

2. Setting : In the edge of cliff– Afternoon

3. Context : In this context, Ramsey got shock and asked

Dom to drive slowly by shouting “There's a cliff. Cliff! Cliff!”


In the dialogue above, Ramsey got shock and asked Dom to ride the

40

car carefully because there was a cliff at the front. She desired to explain

her feeling of getting shocked by saying “There's a cliff. Cliff! Cliff!”

From that utterance, Ramsey wanted Dominic Torreto to do something for

her by commanding him.

Based on the context, Ramsey‟s utterance is directive illocutionary

act of commanding. The illocutionary force of this utterance is to involve

someone else to do something. In this case, she commanded Dominic

Torreto to ride carefully in order to get safe. It is obvious that the utterance

is commanding, included in the paradigmatic case of directive.


From the dialogue, Ramsey uttered “There's a cliff. Cliff! Cliff!” It

is clear that the utterance is indirect illocutionary act. She didn‟t say

something immediately to Dominic Torreto but he said indirectly by

shouting “cliff!” in purpose of commanding him to turn left the car and

ride carefully for safety. In the conversation, Ramsey‟s utterance is

commanding because that causes the hearer to takea particular action.

DATUM 8

A conversation between Dominic Torretoand Brian O‟conner in

minutes 01:12:59 – 01:03:12, as follows:

Dominic Torreto : Let’s get to work.

Brian O’conner : You got this, right?

Dom. Torreto : Go.

Brian O’conner : All right.

a. Context


41

1) Addresser & Addressee : Dominic Torreto & Brian O‟conner

2) Setting : In the top of Jordanian prince apartment –

Afternoon

3) Context : In this context Dom and Brian initiated the

action to retrieve the device in a super car. Dom ordered Brian to start

working, because they did not have a lot of time.


In the conversation, Dominic Torreto asked Brian O‟conner to get

started in a work because they didn‟t have much time. Dom said “Let’s get

to work” to Brian in order that he could get faster to do his job. But Brian

replied with a silly question “You got this, right?” Then Dom got mad and

said “Go” because the time is over. From the dialogue, Dominic Torreto

wanted Brian O‟conner to do his order.

Based on the context, it is clear that the utterance is directive

illocutionary act of ordering. The illocutionary force of this utterance is to

order someone else to do something. In this case, Dominic Torreto ordered

Brian to get hurry up to take the speed driver in the super car. Dom‟s

utterance is obviously directive illocutionary act of ordering.


In that conversation, Dominic Torreto said his order immediately

to Brian O‟conner. The utterance “Let’s get to work” is clear that the

utterance is directive illocutionary act of ordering which is said directly. In

the dialogue, Dominic Torreto‟s utterance caused Brian O‟conner to take a

42

particular reaction. In this situation, the speaker intended to obtain some

future action of the hearer.

DATUM 9

A conversation between Roman and Letty in minutes 01:47:18 –


Roman : Letty, the football‟s on fire! We need help!

Letty : Hang on! I‟m coming!

a. Context


1) Addresser & Addressee : Roman & Letty

2) Setting : on the street – Night

3) Context : In this context, Roman's car was being

chased by a predator or a rocket launched by international terrorists,

Deckard Shaw‟s team. Roman really got phanic, so he called Letty to

help him. Then Letty Immediately responded and asked romance to

wait a moment that she would come a soon as possible.


From the dialogue above, Roman ordered Letty to help him

because he was being chased by a predator or a rocket launched by

international terrorists. Roman got really phanic and called Letty to give

him a hand by shouting“Letty, the football’s on fire! We need help!” He

wished Letty can come as soon as possible.

Based on the dialogue above, it is obvious that the illocutionary act

is directive of ordering. That is the act which involves someone else to do

43

something. In this case, Roman ordered Letty to give him a hand faster.


From the dialogue, Roman said “Letty, the football’s on fire! We

need help!” It is clear that the utterance is direct illocutionary act because

he stated something immediately to Letty in phanic situation in order to

get help. In this situation, the speaker intended to obtain some future

action of the hearer.

DATUM 10

A conversation between Elena and Hobbs in minutes 00:11:04 –


Elena : Thanks, Hobbs. Thanks for everything.

Hobbs : Come on, way too sentimental right now.

a. Context


1) Addresser & Addressee : Elena & Hobbs

2) Setting : in front of Diplomatic Security Service Los

Angeles Division – Night

3) Context : Elena felt glad because Hobbs gave a letter

of recommendation to her. Then Ellena thanked to Hobbs for his

kindness because recommendation letter was very important to her.


From the dialogue, Elena said “Thanks, Hobbs. Thanks for

everything.” Here, she felt glad that Hobbs gave a letter of

recommendation that she asked for. Then Ellena thanked to Hobbs for his

44

kindness because recommendation letter was very important to her.

Actually Elena got really shocked when Hobbs came and gave something

special for her. She couldn‟t say anything except thanks.

Based on the context, it is obvious that the utterance is expressive

illocutionary act of thanking. It is a kind of speech act that expressess a

psychological attitude or state of speaker such as exitement, sadness, and

likes/dislikes. In this case, Elena thanked to Hobbs for giving her a

recommendation letter that she asked for.


In that conversation, Ellena thanked immediately to Hobbs. The

utterance “Thanks, Hobbs, Thanks for everything” is obviously said

directly by the speaker to the hearer. In the dialogue, Elena‟s utterance is a

kind of expressive because it conveys or expresses the speaker‟s thought

and feeling. This utterance is classified as thanking. The speaker intended

to give thanks to the hearer for the all the kindness.

DATUM 11

A conversation between Tej and Ramsey in minutes 01:31:08 –


Tej : If they use God's Eye... it will tap the cameras around to

find our location. This means we could plant a virus.

Ramsey : And then break in whenthey access it. So you're talking

about hacking my hacking device. That's brilliant.

a. Context


1) Addresser & Addressee : Tej & Ramsey

45

2) Setting : On the roadside – Noon

3) Context : In this context, Ramsey was impressed to Tej

because he talked about hacking her hacking devices that was

unthinkable before. She praised Tej and said “That's brilliant."


From the conversation, Ramsey was impressed to Tej because he

talked about hacking her hacking devices that was unthinkable before. She

automatically praised Tej and said “That's brilliant." Based on the context,

it is clear that the utterance is expressive illocutionary act of praising.

It is a kind of speech act that conveys a psychological attitude or

state of speaker to the hearer. In this case, Ramsey praised Tej for his

brilliant thinking to hack her hacking device. The utterance of Ramsey is

obviously praising included in the paradigmatic case of expressive.


In the dialogue above, Ramsey praised Tej straightly. The words

“That's brilliant" is clearly said automatically by the speaker to the hearer.

In this context, Ramsey‟s utterance is expressive illocutionary act of

praising because it expressed the speaker‟s thought and feeling. The

speaker intended to give a praise for the hearer because of his brillian

thinking beyond ordinary people.

DATUM 12

A conversation between Zafar and Ramsey in minutes 01:20:54 –


46

Zafar : There they are disaster.

Ramsey : I'm sorry.

Zafar : I get you an invite to the most exclusive party in Abu

Dhabi

Ramsey : Zafar

Zafar : No, no, you steal the host's car.

a. Context


1) Addresser & Addressee : Zafar & Ramsey

2) Setting : In Zafar‟s garage – Night

3) Context : in this context, Ramsey said sorry for the

bad accident and asked Zafar to forgive her because it run beyond a

plan.


In the dialogue, Ramseys felt guilty to Zafar because of the bad

accident in the top of the Jordanian prince's apartment. She apologized to

Zafar by saying “I'm sorry” because something happened beyond their

plan. Based on the context, it is obvious that the utterance is expressive

illocutionary act of apologizing.

It is a kind of speech act that conveys speaker‟s attitude and

emotions toward the preposition. In this case, Ramsey apologized to Zafar

for the last accident. She knew that Zafar got really mad to and Dom's

friends because he has already gotten them an invitation to the most

exclusive party in Abu Dhabi, but they stole the host's car and jumped it

between three buildings.

47


In this conversation, Ramsey apologized to Zafar immediately. The

utterance “I'm sorry” is obviously said directly by the addresser to the

addressee. In the context, Ramsey‟s utterance is expressive illocutionary

act of apologizing because it expresses speaker‟s attitude and emotions

toward the preposition. The speaker intended to make an apologize to the

hearer because of her guilty for the bad accident in the top of the Jordanian

princes apartment.

DATUM 13

A conversation between Ramsey and Brian O‟Conner in minutes

01:23:31 – 01:23:42, as follows:

Ramsey : Bingo. Looks like he's holed up here.

Brian : That's perfect. Automated factory, no people. Lots

of places to hide.

Mr. Nobody : You just changed the face of manhunts forever.

Congratulations.

a. Context


1) Addresser & Addressee : Ramsey & Mr. Nobody

2) Setting : In Zafar‟s garage – Night

3) Context : In this context, Mr Nobody got impressed

and congratulated Ramsey for her talent to change the face of

manhunts forever.


From the dialogue above, Mr Nobody said “Congratulations” to

48

Ramsey. In this case, Mr. Nobody got admired for Ramsey‟s intelligent

because she has made God eyes device for hunting the shadow. He felt

really impressed and congratulated Ramsey for her talent to change the

face of manhunts forever.

Based on the context, it is clear that the utterance is expressive

illocutionary act of congratulating. It is a kind of speech act that

expressess a psychological attitude or state of speaker such as exitement,

sadness, and likes/dislikes. In this case, Mr. Nobody congratulated

Ramsey‟s good brilliant talent to change the world. Elena‟s utterance is

automatically congratulating included in the paradigmatic case of

expressive.


In the context of the dialogue, Mr. Nobody congratulated straightly

to Ramsey. The utterance “Congratulations” is clearly said immediately

by the speaker to the hearer. In the dialogue, Mr. Nobody‟s utterance is a

kind of expressive because it expresses the speaker‟s thought and feeling.

This utterance is classified as congratulating.

DATUM 14

A conversation between Hobbs and Deckard Shaw in minutes

00:11:57 – 00:12:15, as follows:

Hobbs : You sure as hell ain't the IT guy so you better

start talking, before I break that finger six different ways... and stick

it straight right where the sun doesn't shine.

Deckard Shaw : Agent Hobbs, right?

Hobbs : That's right. I'm also the last man on Earth whose

computer you wanna be hacking into.

49

a. Context


1) Addresser & Addressee : Hobbs & Deckard Shaw


Division – Night

3) Context : In this context, Hobbs found his computer

was being hacked by Deckard Shaw. Hobbs got really mad and gave a

warning to Deckard Shaw that he came into the wrong place.


From the dialogue, while getting really angry Hobbs said to

Deckard Shaw "You better start talking, before I break that finger six

different ways ... and stick it straight right where the sun does not shine."

In this context, Hobbs wanted to give a warning to Deckard Shaw that he

came into the worst condition.

Then he threatened Deckard to start talking, before he broke that

finger six different ways. Based on the context, it is obvious that Hobbs‟

illocutionary act is commisive of threatening. The illocutionary force of

this utterance requires the speaker to perform some future actions. Hence,

that utterance is threatening includes in the paradigmatic case of

commisives.


In the dialogue above, Hobbs threatened Deckard Shaw

immediately. The utterance "You better start talking, before I break that

finger six different ways ... and stick it straight right where the sun does

50

not shine" is clearly said directly by Hobbs to Deck. In this context, it

indicates that the utterance is commisive illocutionary act of threatening

because that expresses the speaker‟s desire to do something.

DATUM 15

A conversation between Mia and Mando in minutes 00:21:46 –


Mia : Thank you so much for letting us stay, Mando.

Mando : You’ll be safe.

a. Context


1) Addresser & Addressee : Mia & Mando

2) Setting : In Mando‟s Home of Dominican Republic –

Day

3) Context : In this context, Mia thanked Mando for

letting her stay in his country. Then, Mando promised Mia that she

was going to be safe in his house, and no one could get her any

problems.


From the dialogue, Mando said “You’ll be safe.” In this case,

Mando made a promise to Mia that he would take care of her in all

situations. It meant that he would do something or that something would

happen. Mando treated Mia very well like a family in a precarious

situation after the great bombing that made Mia shocked. He hoped

everything was going to be alright.

Based on the context, it is clear that Mando‟s utterance is

51

commisive illocutionary act. The illocutionary force of this utterance is

expressing the speaker‟s desire to do.


In the conversation, Mando made a promise to Mia straightly. The

words“You’ll be safe” is obviously said directly by the speaker to the

hearer. In this context, Mando‟s utterance is a kind of commisive

illocutionary act because it requires the speaker to perform some future

actions. This utterance is classified as promising. The speaker intends to

promises the hearer that he will make all situations safe and going to be

alright in the future.

DATUM 16

A conversation between Mia and Brian O‟Connerin minutes 00:24:06

– 00:24:16, as follows:

Mia : Just promise me. After this, we're done. No more

jobs, no more enemies. Come back to us.

Brian O’Conner : I won't let you down, Mia.

Mia : I know.

a. Context


1) Addresser & Addressee : Mia & Brian O‟Conner

2) Setting : In Mando‟s Home– Afternoon

3) Context : Mia came to Brian and asked Brian to

promise that after that job he should go back to the family and and no

more enemies. Brian replied "I will not let you down, Mia."

52


From the conversation, in a very depressed situation Brian said "I

will not let you down, Mia." In this context, Brian promised Mia that he

would do everything to solve the problems that were annoying his family

and also never let her down in every condition because he loved his family

more than everything especially to his wife, Mia Torreto.

Based on the case above, it is clear that Brian‟s utterance is the

illocutionary act of commisive. The illocutionary force of this utterance

requires the speaker to perform some future actions. Therefore, this

utterance is promising includes in the paradigmatic case of commisives.


In the conversation, Brian promised to Mia immediately. The

utterance "I will not let you down, Mia" is automatically said directly by

the addresser to the addressee. In this context, the utterance of Brian is

commisive illocutionary act because it expresses the speaker‟s desire to do

something in the future. This utterance is classified as a promise. The

addresser intends to promises the addressee that he will do everything to

solve the problems that are annoying his family and never let Mia down.

DATUM 17

A conversation between Brian O‟Conner and Mr. Nobody in minutes

01:29:27 – 01:29:38, as follows:

Brian O’conner : We gotta get you to a hospital.

Mr Nobody : No, you're not. I carry my own health insurance.

SOCOM Medics on standby. They're already inbound.

53

a. Context


1) Addresser & Addressee : Brian O‟Conner & Mr. Nobody

2) Setting : In the car – Afternoon

3) Context : In this context, Brian O‟Conner offered Mr.

Nobody to go hospital soon. However Mr.Nobody refused his offering

because he has carried his own health insurance, SOCOM Medics.


From the dialogue, since getting injury Mr.Nobody said “No,

you're not. I carry my own healthinsurance.” In this case, Mr.Nobody

refused Brian‟s offering because he has carried his own health insurance,

SOCOM Medics. He also said that they were on standby and already

inbounds. Therefore, he didn‟t want to make Dominic Torreto and Brian

O‟Conner worried about his condition.

Based on the context above, we can see that Mr. Nobody‟s

illocutionary act is commisive. The illocutionary force of this utterance

expresses the speaker‟s desire to do something in the future. Hence, it is

obvious that his utterance is commisive illocutionary act of refusing

includes in the paradigmatic case of commisives.


In the dialogue, Mr. Nobody refused Brian‟s offering straightly.

The words “No, you're not. I carry my own health insurance” is obviously

said directly by the speaker to his hearer. In this context, Mr. Nobody‟s

utterance is commisive illocutionary act of refusing because it requires the

54

speaker to perform some future actions. The speaker here intends to make a

refuse to the hearer because he gets his own health insurance, and it‟s

already inbound.

DATUM 18

A conversation between Letty and Dominic Torreto in minutes

01:31:53 – 01:32:16, as follows:

Letty : Why does it feel like I'm not gonna see you again?

Dom. Torreto : I'll come back for that.

Letty : Promise?

Dom. Torreto : Promise.

a. Context


1) Addresser & Addressee : Letty & Dominic Torreto

2) Setting : On the roadside – Noon

3) Context : In this case, Dom made a promise to Letty

that he would be alright and came back for a special necklace as well

as.


From the conversation, Dominic Torreto said “I'll come back for

that.” In this case, Dom made a promise to Letty that he would be alright

and came back for a special necklace as well as. Based on the context

above, it is clear that the illocutionary act of Dominic Torreto is

commisive because it commits a speaker to some future action.

This utterance is classified as promising includes in the

paradigmatic case of commisives. It means that Dominic Torreto will do

55

something or that something will happen in the future. He intends to make

a promise to her wife in order to make a pleasure relationship between

them.


In the conversation, Dominic Torreto made a promise to Letty

automatically. The utterance “I'll come back for that” in normal condition

is clearly said directly by the speaker to the hearer. In this context, the

utterance of Dominic Torreto is commisive illocutionary act of promising

because it commits a speaker to some future action. Dom made a promise

to Letty because he didn‟t want to lose her anymore.

DATUM 19

A conversation between Hobbs and Deckard Shaw in minutes

00:12:17 – 00:12:20, as follows:

Hobbs : You just earned yourself adance with the devil, boy.


Deckard Shaw : Like I said, I'm here for thretean that crippled my

brother.

a. Context


1) Addresser & Addressee : Hobbs & Deckard Shaw


Division – Night

3) Context : In this case, Hobbs declared that Deckard

Shaw was being arrested at that time and no compromised anymore.

56


From the dialogue, Hobbs said “You're under arrest." In this case,

Hobbs declared to Deckard Shaw that he was under arrest and there was

no compromised anymore for him to negotiate. According to the context,

Hobbs‟ statement is the act of declaring because from the utterance can

change the status of Deckard Shaw to become arrested.

Therefore, the illocutionary act of this sentence is declarative. It is

a kind of speech acts that causes immediate changes in some situations, in

performing this type of speech act, the speaker brings about changes in the

world; the propositional content of the speaker‟s utterance changes the

state of hearer in reality.


In the dialogue, Hobbs declared to Deckard Shaw straightly. The

sentence “You're under arrest" here is obviously said directly by the

addresser to addressee. In this context, the utterance of Hobbs is

declarative illocutionary act because it causes immediate changes in some

situations, in performing this type of speech act; the speaker brings about

changes in the world. Hobbs made a declaration to Deckard Shaw in order

to change his status from not being arrested to become arrested by the

statement.

57

CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusion

In this chapter, we have the conclusion from the analysis of the

illocutionary acts happen in the Fast and Furious 7 movie. The purpose of

this research is to describe the types of illocutionary acts in the dialogues of

movie, find the kinds of direct and indirect speech acts, and understand the

meaning of illocutionary acts used in the dialogues movie.

The writer has explained in the theoritical framework that there are five

categories of illocutionary acts according to John Searle. In this analysis the

writer concluded that there are nineteen data of illocutionary acts which is

used by characters in fast farious 7 movie, those are: five data of

representatives, four data of directives, four data of expressives, five data of

commisives, and one datum of declarative.

We know that each type has different illocutionary forces found in the

movie. Representatives have illocutionary forces of asserting, claiming, and

stating. Directives have illocutionary forces of ordering and commanding.

Expressives have illocutionary forces of thanking, apologizing, and praising.

Commisives have illocutionary forces of threatening, refusing and promising.

The last is declarative which has illocutionary force of declaring.

Moreover, the writer also analyzed direct & indirect speech act and the

functions of illocutionary acts according to how they relate to the social goal

of establishing and maintaining comity. Here the writer only found one datum

58

of indirect speech acts, and the rest eighteen data include in direct speech acts

that are found in Fast and Furious 7 movie.

In this case, the illocutionary goal‟s majority of Fast & Furious 7

movie coincided with the social purposes. And the politeness here took a

more positive from seeking opportunities from comity in order to make a

pleasure relationship.

59

B. Suggestion

After analyzing data, the writer has some suggestions to anyone who

wants to make the same analysis as the writer. The First, for the students who

are interested in studying speech acts especially the illocutionary acts, may use

another theory beside John Searle‟s theory that used by the writer to enrich the

knowledge in many theories.

Then the last, for the next researchers who want to do the same

research, it is suggested to broaden the scope of study with a deeper analysis

to find the new identification of the theory. And it is also expected to do

analyses in the different objects, such as: newspaper, advertisement, twitter

status, comic, novel, magazine, song lyrics, TV, Radio, Etc.

Furthermore, through this thesis, the writer hopes that it would be

beneficial for the readers and the researchers to get better understanding

related to speech acts topic, especially illocutionary acts.

60

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http://www.springfieldspringfield.co.uk/movie_script.php?movie=furious-7

https://en.wikipedia.org/wiki/Descriptive_research https://en.wikipedia.org/wiki/Qualitative_research https://www.tci-thaijo.org/index.php/PRIJNR/article


https://en.wikipedia.org/wiki/Descriptive_research

https://en.wikipedia.org/wiki/Qualitative_research

https://www.tci-thaijo.org/index.php/PRIJNR/article

62

APPENDIXES


1

LONDON, ENGLAND RACE WARS

They say if you want a

glimpse of the future...

Just look behind you.

I used to think that was bollocks.

Now I realize...

you can't outrun the past.

When we were kids...

You'd start fights with the

toughest bastards in the yard.

But I was the one...

who were to step in and finish them.

Rest now, little brother.

While I settle your one last score.

Take care of my brother.

Anything happens to him...

I'll come back looking for you.

Here. Hold this.

FAST & FURIOUS 7.

Come on, Dom, so where are you

taking me?

They say an open road helps you

think...

about where you've been...

where you're going.

So you don't remember any of this

yet?

It's not fair.

You know I don't.

So what is it exactly that

you're trying to show me?

That.

Race Wars.

We used to come here?

"Come here"?

We invented it.

Keep it under 9000 RPMs.

Kid's gonna fire his pistons

after the first 200.

You know that's not my style,

I got to ride or die, right?

How about you just ride on this one.

Are you ready?

I know you're ready!

Go!

Nice job!

Hey!

That's the girl I heard so much about.

Where you been at, ghost girl?

That's the girl...

Ghost girl...

Letty, what the hell?

Damn, Dom! Your girl's still

got that swing, homie.

You never could take a punch.

Right, right.

Hey, man, I'm glad you're back, man.

It's good to see you.

Good to see you, Hector.

Alright. We made it, Jack.

- Yeah, we made it! - Yeah, we made

it.

I just gotta, find that door button.

Buddy where's the door button at?

Do you know?

- Hey. - Hey.

Yeah, of course.

I'm new to this.

Yeah, you don't seem like the

minivan type.

No, not exactly.

Hey buddy you didn't give me a

64


63

high-five?

Wait, wait, wait.

High-five! All right! Yeah, buddy.

Appreciate it, thank you.

Don't worry, you'll get

used to this in no time.

Yeah, that's what I'm afraid of.

First time I saw this...

I thought it was kind of funny.

I guess now, the joke's on me.

What are you doing?

What I should've done a long time

ago.

Stop!

Look at it.

It's the truth.

That's the date that I lost my

memory.

That's the date that Letty died.

And I was born.

No.

You never died.

Do you know how hard it is

for me when you look at me?

And you see me through

Every beautiful moment we've ever

had.

I see it in your eyes.

I can't give that to you.

I got nothing.

You got me.

And you've got only a piece of me.

I have to find myself.

For me.

Goodbye, Dom.

DIPLOMATIC SECURITY

SERVICE-

LOS ANGELES DIVISION

You're disappointed, aren't you?

What are you talking about?

The last arrest.

It was too easy. Target didn't even

run.

Ah, it's okay.

Gives me a chance to hit the iron.

Also, lets me work on my stamping

skills.

You're a terrible liar.

See you tomorrow, boss.

- I'll see you then. - Don't stay too

late.

I'll stay as long as I want, woman.

I knew you'd say that.

Elena?

What's this?

It's the letter of

recommendation you asked for.

Just know I meant every word in

there.

Thanks, Hobbs.

Thanks for everything.

Come on, way too sentimental right

now.

Get home. Good night.

Okay. Bye.

Just one sec.

You sure as hell ain't the IT guy

so you better start talking...

before I break that finger

six different ways...

and stick it straight right

where the sun doesn't shine.

Agent Hobbs, right?

That's right.

I'm also the last man on Earth whose

64

computer you wanna be hacking into.

You just earned yourself a

dance with the devil, boy.


Like I said, I'm here for the

team that crippled my brother.

There ain't no goddamn team.

It was just one man, and he's

standing right in front of you.

The lady was right.

You are a terrible liar.

Goddamn IT guys.

Hobbs!

On me!

Elena!

Hobbs?

Hobbs!

Alright buddy, we gotta

go or we'll be late.

Come on.

Okay, uhh.

What do you think?

Parking brake slide right up to the

school?

Where's mommy?

I don't know. She's up there. She's

coming.

Oh.

Watch your head.

Dom, you have a package out here.

From Tokyo.

Tokyo?

What's Han trying, to convert

me over to a turbo charger?

You ready?

There we go.

Hey buddy, cars don't fly.

Hey, cars don't fly.

This one did, huh?

Brian in a minivan.

Things have changed.

He's struggling, Dom.

He doesn't want me to see it...

but the white picket fence is like

an anchor for him. I can tell.

I tried to talk to him the other night.

Do you know what he said?

He doesn't miss the girls.

He doesn't miss the cars.

He misses the bullets.

Let him settle in. Give him time.

How does nine months sound?

I'm having another baby.

And you didn't tell him, did you?

You gotta tell him.

I don't want him to be

disappointed with this life.

With me.

He will never be disappointed with

you.

You're the best thing that's

ever happened to him.

Thank you.

Yeah?

Dominic Toretto.

You don't know me.

You're about to.

Private number Tokyo, Japan.

Get down!

Jack!

Jack!

Shattered his collarbone,

fractured his leg in two places.

He only regained

consciousness this morning.

First thing he said was, "Get me

Dom".

He's in there.

You okay?

I'm fine.

65

He's waiting. Let's go.

Got something for you.

Your files.

Thank you.

You risk life and limb to

save the free world...

and what do they give you?

Jell-O and a bad 70's TV show.

You know, it's got its perks.

Sponge baths ain't that bad.

Dad!

I'm sorry, baby.

"Dad"?

Honey, I want to introduce you to

somebody.

He's a, uhh...

He's an old friend.

Go on and say hello.

Dominic Toretto, right?

My dad said, he kicked your ass

once.

Who did this?

You remember Owen Shaw?

The one we tore half of

London down trying to get.

Well...

This is his big, bad brother.

Take a look at this.

"Deckard Shaw"

British Special Forces assassin.

The kind of unique asset...

that no government would

ever admit to employing.

Black Ops boys.

Worse. They created a monster.

They felt Shaw was a necessary

evil until eventually...

they decided he was unnecessary.

The powers that be, felt that he

knew just a little bit too much.

The asset became a liability.

So they sent in 20 elite

operatives to retire him.

And they missed.

That was 6 years ago and Shaw's

been a ghost ever since.

Until now.

How do I find him?

The official answer is: you don't.

He killed Han.

Almost killed my family.

He also tried to put me in a body bag,

too.

Which is why when I get out, I'm

gonna put a hurt on him so bad...

he's gonna wish his mother

had kept her legs closed.

But until then, my

official answer to you...

is stand down.

Now you know I can't do that.

I do know you, Dom.

Which is why now I give you a

brother to brother answer.

You do whatever it is you gotta do.

When you find that son of a bitch...

Just do me one favor.

What's that?

Don't miss.

MONTECRISTO, DOMINICAN

REPUBLIC

Thank you so much for

letting us stay, Mando.

I hope it's not a problem.

Listen, Dom needed a safe

delivered to Rio in two days.

That was a problem.

Hosting his family in

the Dominican Republic,

that is vacation.

66

Anyone messes with you here...

they're messing with the entire

country.

You'll be safe.

Yeah, they're here. I picked

them up myself at the airport.

Hold on. Your brother.

Dom.

Yeah, Mia, it's me.

How's it going there?

We're at Mando's. This

place is like a fortress.

You should see Brian.

He's in full FBI mode.

He built a surveillance hub in

Mando's garage and everything.

What about you? Did you

find out who's after us?

Looks like the sins of London

have followed us home.

How did Buster take the news?

I can't tell him.

If he knew about the baby,

he'd stay here with us.

And with all that's going on,

you're gonna need him by your side.

Just watch out for him. Keep him

safe.

And come home together.

Tell Brian I'll see him in LA in two

days.

Where are you going?

Tokyo.

I'm bringing Han home.

Authorities are still

trying to determine...

the motive behind this daring

attack here at the office...

of the US Diplomatic Security

Service in downtown Los Angeles...

less than 36 hours ago.

Facts are still coming in...

but what is known is the suspect

entered the building's 4th floor...

Hey.

- You okay? - Yeah.

This guy's just, relentless.

That's why Dom needs you.

You two need to find this guy

and you need to stop him...

before he does any more

damage to our family.

I just...

I've screwed up so many things.

I couldn't live with myself

if I screwed this up, too.

You won't.

I believe in you.

I believe in us. That's all that matters.

I love you, Brian.

Love you, baby.

Just promise me. After this, we're

done.

No more jobs, no more enemies.

Come back to us.

I won't let you down, Mia.

I know.

TOKYO, JAPAN

Hey yo, Sean!

Hey, check this out, man.

This dude over here wanna race the

new DK.

Not tonight, Twinkie.

He said he knew Han.

Han said you was fast,

but not that damn fast.

Who said American muscle can't

drift?

Han mentioned he left his

67

enemies in his rear view.

He never talked about it much.

Always playing it close to the vest.

We found a couple of things by the

crash.

Wasn't much left.

Gisele.

Yeah.

There's one more thing.

I found this.

Must've meant something to him.

When you find the guy that killed

Han...

What are you going to do?

Words ain't even been invented yet.

They say to live in the hearts

of those we leave behind...

is not to die.

But he put you in his grave.

So now I'll do the same to him.

I can't do no more funerals.

First, Han...

Now Hobbs is laid out, of all people.

We're being hunted.

You know he's out there

somewhere watching, right?

I hope so.

That means he's close.

Just promise me, Brian.

No more funerals.

Just one more.

His.

You never should've messed

with a man's family.

I told your brother the same thing.

Reinforced your chassis.

Just like going into the

ring with weighted gloves.

Your mistake. I'm not here to play

games.

See, you and me...

We're from different worlds.

Trust me, I've seen a lot meaner

streets than the ones you're used to.

Stick around.

It's gonna get a lot meaner.

You think this was gonna be a street

fight?

On the ground!

Now!

Drop him or I will drop you!

Woah, woah!

Easy, guys. We're on the same team

here.

Mr. Toretto...

I'm here on the recommendation...

of a, mutual friend of ours.

- Mr. Hobbs? - Who the hell are you?

Me? I'm just a guy.

I'm, Mr. Nobody.

That's a big entrance for a nobody.

And the guy who put our mutual

friend in the hospital...

you just let him get away.

I think I might've just

saved your ass there, Dom.

Listen, you think you can

let go of my guy there?

He's beginning to turn a little blue.

I appreciate that.

Here they come.

Listen, Dom.

There's a war going on between

shadows and ghosts like me.

You and your team unwittingly

walked

into the middle of it in London...

and it appears it's now followed you

home.

It's up to you.

68

I'm gonna have a beer.

You're welcome to join me.

By the way, I can get you Deckard

Shaw.

BASE OF OPERATIONS EL

SEGUNDO, CALIFORNIA

Belgian ale.

Man, those monks got it right.

I don't know about the whole

celibacy

thing, but when it comes to beer...

Would you like one?

I'm more of a Corona man myself.

Your files, not only detailed...

It's, extremely entertaining.

Look, Shaw's power is that he's a

shadow.

He's really good at getting

in and out of places...

without being seen and leaving

nothing

but a body count in his wake.

He's a legitimate English badass.

But to be honest with you Dom, I

don't

give two shits about Deckard Shaw.

It's you I want.

Because you and I can help each

other get what we both need.

I'm listening.

Just recently, a private

military company...

led by a wanted terrorist

named Mose Jakande...

kidnapped a hacker known

only by the name "Ramsey".

Lady Liberty's got her panties in a

bunch over this but rightfully so...

because this Ramsey has created

something interesting.

- Bring it up. - Yes, sir.

Say hello...

To God's Eye.

Now this little bastard hacks into

anything that's on a digital network.

That means every cellphone,

satellite, ATM machine, and

computer,

simultaneously.

If it's got a microphone or a lens,

God's Eye can use it to find you.

So you invited me here to

show me a tracking device.

On steroids. Lots of them.

Let me put it to you this way.

It took us nearly a decade

to find Osama bin Laden.

With this, we could locate

him anywhere on the planet

in a couple of hours.

Now that's a serious piece of

machinery...

that could be catastrophic

in the wrong hands.

But for some very nauseating,

political reasons...

any rescue plans involving any US

government forces or entity...

has been strictly ruled out.

And that's why I need you.

But why do I need you?

I mean I could go back outside,

enjoy the rest of the Coronas...

let Shaw come to me.

You could do that. How's that

working out for you so far?

You got one friend in the ground,

another one in the hospital...

and then of course there's that

69

little issue of the bomb...

that destroyed your home.

Shaw lives in a world that

doesn't play by your rules.

Like it or not...

you live in that world now, too.

You wanna know how to kill a

shadow?

You just shine a little light on it.

If you get the God's Eye for me...

I've already got authorization for

you to use it until you get Shaw.

You go from the hunted, to the

hunter.

And there's no place on Earth

Shaw can hide from you.

More importantly,

you and your family...

don't go to any more funerals.

You get Ramsey, you get the God's

Eye...

You get Shaw.

Well that's the windup and the pitch.

Now that I've given

you this incredibly

sensitive and highly

classified information...

What do you think, Toretto?

I think you already know what I'm

gonna do.

Good.

But, it'll be my way.

And my crew.

I assumed you might say that.

Which is why I've taken the

liberty of gathering your team.

This is crazy.

What the hell is going on in here?

Our intelligence suggests that

Ramsey will be transported...

by an armed motorcade through

the Caucasus mountain range.

If they clear this range and

reach their destination...

Ramsey's as good as gone.

So let me get this straight.

There's only one road

that leads in or out...?

Sheer drops on every side...

A motorcade from hell

protected by a small army...

from one mile on either direction?

Yeah, that's about it.

- You done? - No, I'm not done.

So you all wanted me to break

into a police station, fine.

Then you asked me to stop a tank.

I wasn't happy about it, but I did it.

Then you came up with

this brilliant idea...

to shoot down one of the

largest airplanes, ever.

I shot that shit outta the sky...

It's nothing.

But this right here, my friend...

happens to be the stupidest idea

I've ever heard of in my life.

I forgot that, you were the only

one to bring that plane down.

No, only thing I've ever seen him

take down was "No knees" Denise.

Remember? At prom?

Really, Brian? You're

gonna do that right here?

See, y'all try'na get me off my point.

All I'm saying is, I'm tired

of everybody around me...

making all the decisions.

This time, I lead.

Seriously. If I don't start

70

making decisions, I'm out.

All right, Roman.

What do you got?

I mean, I wouldn't try to get into the

whole leadership thing, like, now.

You know what I'm saying?

I'm just kind of...

Talking about like, at some point.

Like, you know, when we...

Whatever. I mean, I think...

Let's hit it from here.

- I don't think that that's...

- No, don't think.

That's my job.

Okay.

It is impossible to hit it there.

That is literally the most

secure spot on the mountain.

Why? Because you cannot

physically access it.

Now see, that's what makes it so

sweet.

Because it's the place that they

least expect us to hit them from.

As much as I hate to admit it,

he's on to something there.

What do you think, Dom?

Here?

Yeah.

I think we got a plan.

Completely wrong thinking.

And I like it.

- You see? - I'm good at this.

Good?

Okay.

How are you planning on

getting on that road?

Well, Tej?

I think I may actually

have a plan for that.

What? I delegated.

That's what good leaders do.

Leader!

You know, when I was reading your

files...

I was impressed with what you've

accomplished with your team.

But, meeting them now I gotta say,

Dom...

you truly have a gift.

Consider my workshop your new

playhouse.

I think you'll find our cars...

extremely appealing.

And your team...

is now complete.

I went to the house.

I was looking for you everywhere.

You scared the shit outta me.

You will never be alone...

Where did you find that?

Found it in Han's car.

It was left as a message.

A message I plan on returning.

Can you ride?

Yeah, of course I can.

Han was my family, too.

Brian!

We're gonna need long travel

suspension...

limited slip differentials in all of

them.

How you doing.

Tej!

I want the demon lovechild between

that...

and that.

That's a lot of armor.

Just gonna add more weight, slow

you down.

71

This time it ain't just about being

fast.

Yeah, I'm good.

From the streets, you know what I'm

sayin'?

It's nothing.

Hey, Roman, you're freaking out,

ain't you?

- No. - Yeah, you are.

I said, no.

Listen man, it takes a grown

man to embrace his feelings.

If you need to cry, just go ahead and

cry.

As your friend, you know I'm

concerned about your well-being.

Which is why I took the precaution...

of putting some adult diapers

in your glove compartment.

Can you just chill out, man?

I have seen some crazy shit, Dom,

but

this really could make some waves.

So let's just try to keep it

as low key as possible, huh?

Don't I always?

I tell you what: you knock it down

a couple of notches this time...

and I'll swap out my Belgian

for a keg of Corona.

You'd be doing yourself a favor

there.

Can somebody just walk me through

what we're supposed to be doing

here?

Come on, Rom. This was your

plan, you gotta embrace it.

No, this was not my plan.

Yeah, here we go. Gametime.

Roman, you need some fresh air?

'Cause you about to get a whole lot

of it.

Okay, here we go!

Just when you didn't think

it can get any better, huh?

Oh, shit!

Now we're moving.

Everybody good? Everybody make it

out?

You should tell 'em, that

this is not for you!

This is not your mission!

Rom, what's up man! Talk to me,

come on!

- I can't do it. - The hell, you can't!

Come on man! You throw that thing

in

reverse and get your ass out here

now!

Look I can't do it, okay?

Listen to what I'm saying.

Now isn't the time!

I'mma stay up here with the pilot.

We're gonna circle around and make

sure

we're holding them down from up

here!

We're running out of time!

The chute is guided by GPS!

You don't have to do anything!

- Tej! - I'm already on it.

Listen, man. Listen

I'm sorry to let y'all down, okay?

I'mma go ahead and stay up here.

No, brother.

- I'm sorry to let you down. - What?

Is that...?

Tej! What are you doing?

No!

Tej!

72

I hate you, Tej!

Get ready!

Ground's coming fast!

C'mon, baby.

Come on.

Touchdown, baby!

Car check. Call it in.

- Check. - Check.

I'm good, let's do this.

Hello? Please man!

Get me outta here, somebody!

No! The trees!

Shit.

Sit tight, Roman. We'll come back

for you.

This is not the plan!

CAUCASUS MOUNTAINS,

AZERBAIJAN

All right.

You got one chance to hit them here,

Dom.

You miss, they'll make it

to their black site...

they'll squeeze whatever information

they need out of Ramsey.

The device and your chance of ever

getting Shaw will be gone for good.

That ain't gonna happen.

I'll see you at the pickup.

Ramsey, will be in the bus.

Then let's do this.

Captain we have company. Four cars

inbound.

What, no!

- Tej, shoot it! - I'm on the way!

All right, formation!

Bulletproof, baby.

Punch it!

Strike!

Guns, free.

Yes, sir.

No!

Shit!

Get out of the way!

Those aren't guns, those

are goddamn cannons!

Armor piercing rounds!

Hook 'em up.

Brian, Tej, blow it!

Lock it up.

Brian, you're up!

Little closer, Tej!

Ramsey?

Stay away from me! Stay back!

Don't you touch me!

My name's Brian, and I'm

gonna get you out of here...

but I'm gonna need you to

settle down, all right?

I'm gonna cut those things off of you.

Sir?

Sir, we have an unidentified

vehicle approaching.

Come on! Closer!

You have to jump!

We're out of time. Come on.

We gotta get out of here!

Come on!

Look at me!

If you don't jump, we're gonna die!

Okay?

You're jumping. Come on!

One.

Two!

Well, well, well.

Take my hand!

Welcome to the party, Mr. Shaw.

Letty, stay with Brian.

Oh shit!

73

What are you doing? This is crazy!

Keeping you alive!

There's a cliff.

Cliff! cliff!

No!

Too slow!

Yeah!

I'm back, bitches!

You good?

Thank you.

Roman! Get back to the others.

What about you?

Don't worry about me.

I have to say, I am impressed.

I would very much like to know the

name...

of the man who is causing

me so much trouble.

There is no way out of there.

What is he doing?

He's frozen like a damn deer on

headlights.

Toretto ain't no deer.

Come on, Dominic.

Give us the girl, and I'll let you live.

What are you going to do?

You might wanna put on

your helmet for this one.

Target the driver!

Dammit! What is he thinking?

You're insane!

You're pointing the wrong way!

Am I now?

Fire on my mark.

Interesting.

Three!

Two!

Hold on.

One!

Fire!

Looks like our demon lovechild

worked.

That's one way down a mountain.

Where's Ramsey?

Hello Kitty's awake.

She don't look like a hacker to me.

Oh yeah? And what do hackers look

like?

They don't suppose to look...

like that.

I'm just saying, like, how they

normally

wear them li'l weird glasses...

that's all crooked, with pimples all

over they face from drinking soda.

I mean trust me, with a body like

that...

I ain't gonna park it behind a

computer.

How you feeling?

Did you hit your head?

Feeling nauseous? Ears ringing?

No?

Where's my shoe?

It flew off when you crashed.

When you start experiencing any of

those things, let me know. Okay?

I don't know whether to thank

you for rescuing me...

or to kick your ass for

throwing me off a cliff.

Thank us or kick our ass, huh?

How about you tell us where that

device is?

I mailed it to a friend.

In Abu Dhabi.

That was pretty easy.

That other team would've tortured

you for that information.

I didn't trust them.

74

I trust you.

Now why would you trust us?

You barely know us.

I know enough.

Ex-cop. Military, something like

that.

The way you took out those

guys, serious training.

Tech guy. Offended by the

hacker remark, naturally.

Alpha.

Mrs. Alpha.

Joker.

Wrong.

Double Alpha.

Man-candy. Y'know what I'm

saying?

Man, sit your candy-ass down.

The disrespect is real around here.

Life is binary. Zeroes and ones.

Only two things keep a

group like this together.

Fear or loyalty.

And I don't see a drop

of fear among you guys.

Very impressive. Just one thing.

They're not married.

She's so off as crack, you're

just gonna roll with it?

You're telling me there can't

be a double alpha in one group?

You work for the US government?

We got similar interests.

Tej, call it in.

We're going to the Middle East!

Hey, Dom, it was pretty

wild in that mountain, huh?

That was too close.

But we got the job done.

Know what the crazy thing is? It's...

You missed the bullets.

That's messed up, huh?

Brian, I've seen you jump from

trains, dive from planes.

Hell, I saw your courage the day I

met you.

Right.

You wanna know the bravest

thing I've ever saw you do?

Be a good man to Mia.

Being a great father to my nephew,

Jack.

Everyone's looking for their thrill...

but what's real,

is family.

Your family.

Hold on to that, Brian.

UNITED ARAB EMIRATES

This was hotter than I thought it

would be.

Yeah, well, we are in the

desert so, it would be hot.

No, I ain't talking about the weather.

My, my, my.

Now that, is a woman that's

worth falling out a plane for.

Get outta there, man. I got dibs on

that.

You see me looking at that.

Did you just say "dibs"?

What are you, in the fourth grade?

Man, can you just get outta there?

It's a free market.

What are you talking about?

- Get outta that. - Free.

Rock, paper, scissors for it.

Are you guys for real right now?

Look at you.

You both look whooped already.

75

You got stalker eyes.

I tried to call dibs on Ramsey.

Two years ago.

Her knee, my balls.

Trust me, you don't wanna do that.

Hey! Ramsey!

Hello, Zafar.

So you made some new friends.

Yeah, some short-tempered new

friends.

I need the speed drive I sent you.

Where is it?

Oh good, you will be pleased to

know.

I sold it.

You sold it?

You hear that?

I asked you to take care of it.

Why on Earth would you sell it?

We're gonna need it back.

Impossible.

Zafar, I stashed something inside it.

It's important.

Okay.

Good news: It is safe.

And the bad news?

It is very safe.

Sold it to a Jordanian

prince living up there.

Trust fund billionaire.

Said he wanted it in his supercar.

Now see, this...

This I like. Billionaire, supercar.

What makes it so, "Super"?

And, it's bulletproof.

Am I the only one around right now?

It's like, y'know what I'm sayin?

Whatever.

Where does he keep it?

In his penthouse.

Tower number one.

Now why in the hell would he

keep his car in his penthouse?

He's a billionaire, my friend.

He can do whatever he wants.

Now, tomorrow happens to be

the longest day of the year.

Prince wants to celebrate it,

host a party, tomorrow afternoon.

So you can get us up there, right?

Sure.

But not dressed like that.

What?

Something wrong?

There's a billion things wrong.

But not in this moment.

You look handsome.

I feel awkward.

You and me both.

Seeing you dressed like this...

Just reminds me of something.

Of what?

Old times.

You okay?

Yeah, I'm fine.

Showtime.

No, listen, man.

They're telling me they

party like this everyday,

on this level, they party everyday.

This is crazy. I might

have to move out here.

I think I'mma start a new culture.

It's called "Blarab".

You know, like Black Arab?

How are we looking, Tej?

We're almost in position.

Okay, so this is how we work this.

We gotta move in sync if we're

gonna pull this off so let's...

76

go over it to make sure everyone

clearly understands their role.

Roman, that means you.

You know what? You're being real

unprofessional right now, Tej.

The God's Eye chip is hidden in a

speed

drive installed in the prince's car...

which he keeps in a safe room vault.

Now I make 8 to 10 playing closed

security.

Not to mention the prince...

and his personal bodyguards.

Security cameras are

clustered by the north wall

that's where the vault is.

Now to get in that vault, we gotta

tap into the security system...

which can be accessed in

the prince's bedroom.

Alright, guys. I'm going in.

Excuse me.

I was just looking for...

- The party is that way. - What?

This room is off...

Now once we're tapped in

Ramsey and I can hack into

the network and pop the door

so you can get in and get that chip.

Wait, wait. You missed a step.

What about my steps? What

am I supposed to be doing?

No, we didn't miss anything.

You're special team, so when we

need you...

do what you do best.

And that is?

Shine brightly, like only

Roman Pearce can do.

Now we're talking.

Alright, Tej. I'm in.

Find a phone jack. The tap

always runs behind that.

It's gonna be a 350 mega

Hertz CAT5 D cable.

They probably got a

couple dozen back there.

But this'll be the bonded

pair with a plenum coat.

English, Tej.

It'll be the orange wire.

Alright, ladies and gentlemen,

we are in the pilot's seat.

Alright, Roman.

Do whatever it is you do.

It's your birthday, right?

Are you Jasmine?

God, no. Not the birthday routine.

Happy birthday to you. This way.

Excuse me, so sorry. I'm

coming through, sorry.

Right this way.

Listen, excuse me one second.

Man, you ain't...

Sir, thank you so much.

Listen, people. Please

everybody, gather around.

Understand something right now.

Listen to what I'm telling y'all.

We are here to celebrate

Jasmine's 18th birthday.

Happy birthday, my dear.

Happy birthday to you.

To you.

To you.

I wish I didn't see that.

Ramsey, open it up for us.

Copy that.

You're in.

You realize what this is?

77

Lykan HyperSport.

$3.4 million. 0 to 60 in

less than 30 seconds.

There's 7 of these things in the world

and

this guy keeps it locked up in a vault.

Nothing's sadder than

locking a beast in a cage.

Right now I really wanna

punch him in the face.

Okay.

Let's get to work.

You got this, right?

Go.

All right.

Would you believe I knocked

him out with my charm?

You ain't that charming, bitch.

Intruders.

Lock it down.

No!

Tej, our magic trick is failing.

We're losing systems.

I know.

I see it.

Tej, talk to me.

I'm trying but their security

system is locking us out.

Listen, ladies and gentlemen...

Oh, there he is. These your dancers?

This is a party, baby!

Some of ya'll probably went to the

bathroom

and noticed that all the

hairspray was missing.

Yep. She did it.

Thank you.

And we're so happy for you to be

here.

You look like you got some

missiles underneath that dress.

He did not just...

Did you just say that?

Shit! Not the gate!

Brian, faster!

We're playing all the

defense we can up here.

But we're gonna lose, you gotta hurry

up.

Thank god, you showed up.

These parties bore me to death.

Guys get out of there right now.

You've got an army headed your

way.

Brian, get up! Forget it!

Tej, we're taking the car.

This is what I do. Y'know what I'm

sayin'?

Letty, Letty, talk to me.

Are you okay?

Guys I can't hold it. I'm

losing the final gate.

You gotta get out of there.

Tear off the dash!

Go through it.

Wait, just hold on man.

Time to unleash the beast.

Go!

Stay with me, I got you.

Let's get the hell outta here.

Dom. Cars don't fly!

Cars don't fly!

Shit!

No brakes!

What?

- No brakes! - Shit!

No!

- Got it! - Get out!

78

TORRES ETHIHAD

Abu Dhabi.

Still miss the bullets, Brian?

There they are, disaster.

I'm sorry.

I get you an invite to the most

exclusive party in Abu Dhabi.

Zafar.

No, no, you steal the host's car.

And you jump it between two

buildings.

Actually, it was three buildings.

Oh! Two, insult. Three, honor. My

bad.

Wow, wow, wow.

I have to say...

You've got an interesting

interpretation

there of low key, Mr. Toretto.

I thought we had an understanding.

Sometimes you have to play

the hand you're dealt.

That's why I prefer to be the dealer.

Good night.

Kicked out of my own garage.

This is great.

May I?

Brian.

Give it to him.

All that trouble for this little... thing.

With all due respect, Dom...

You really did great work back there.

All of you.

All of my men are now standing by...

and are fully at your disposal.

Your call.

Ramsey.

Fire it up, and find me Shaw.

Damn, this is crazy.

Thank you.

Give me a second.

What is it doing now?

It's hunting.

Hacking into the security

cameras at Ethihad Towers.

That's the last place we saw

Shaw so that's where we start.

That's him, right there.

Wait. What are these numbers out

here for?

It's biomapping Shaw's face.

It will run that against every

camera...

Every audio device in this

hemisphere.

Bingo. Looks like he's holed up here.

That's perfect.

Automated factory, no people.

Lots of places to hide.

You just changed the face

of manhunts forever.

Congratulations.

Can I check my e-mail real quick?

Dawn's up in two hours.

We're gonna go take down Shaw

then.

Go get changed.

We should go now.

Just you, your team and me.

I thought you said at dawn?

My guys are racers.

Best drivers in the world.

But they ain't killers.

Told you he'd say that.

I know you too well, Dom,

and I'm going with you.

Looks like we got a nice

little hunting party.

Let's go bag a shadow.

Ten clicks out, boys. Get

79

ready to rock and roll.

Here we go. Weapons hot.

You ready for this?

Yeah.

I hope you're enjoying your last

meal.

This is it?

This is all you want?

A dozen men?

I think you'll find it's more than

enough.

I'm ready to meet my maker.

Are you?

What were you expecting, Toretto?

Catch me off guard?

Me standing here, waving a white

flag?

Have you ever heard the saying:

"The enemy of my enemy...

is my friend"?

I don't have friends.

I got family.

Well, I got a lot of friends.

Keep your formation! Sheppard,

clear one!

Brian, leave it!

Get down!

I got you.

The God's Eye.

You didn't really think I was gonna

walk in there naked, did you?

You got hit bad.

Look. Toretto.

I know you won't listen to me.

You're not gonna wanna

hear what I have to say.

But the truth is...

you really ought to...

try that Belgian ale, man.

It's something special.

Belgian ale, huh?

We gotta get you to a hospital.

No, you're not.

I carry my own health insurance.

SOCOM Medics on standby.

They're already inbound.

Pull over, kid.

Dom, you got to protect Ramsey.

As long as she's alive,

she can lock them out of God's

Eye and they know that.

That means, they're not gonna stop

coming until they've got her.

And this time when they come...

They're gonna come with

everything they've got.

I'm not leaving you.

You're not.

I'm leaving you.

Go now, Dom.

A war is coming to us

whether we like it or not.

But if a war's coming...

We're gonna face them on

the streets we know best.

I'm all for winging it,

but this is crazy, man.

We got mercenaries with

some real heat on us.

I mean I ain't scared of nothing but...

I don't even have a gun.

Gun?

We got a whole city.

And we may have more than that.

If they use God's Eye...

it will tap the cameras

around to find our location.

Which means we could plant a virus.

And then break in when they access

it.

80

So you're talking about

hacking my hacking device.

That's brilliant.

Yeah, but there's one problem.

The signal strength.

We can't start a hack on them until

they're within a two mile range.

- That's really close. - Close?

These guys are military.

If they're within two miles

of us, we already dead.

I don't know about y'all, but I

didn't really plan on dying today.

Only one way to stay alive.

We play keepaway with Ramsey.

What?

They can't hit us if we keep moving.

And I'll take Shaw.

So basically we're just gearing up

for a big game of hot potato, huh?

Why does it feel like I'm

not gonna see you again?

I'll come back for that.

Promise?

Promise.

Brian, are you okay?

Mia, listen to me.

Something's about to go down.

If you don't hear from me in 24

hours...

I need you to take Jack and move on.

You understand?

You understand what I'm saying?

No I can't do that, Brian.

No, I can't.

We're gonna have another baby.

It's a little girl.

And she's going to need her father.

So you have to finish what you're

doing...

and you have to come home to her.

You have to come home to us.

I'm sorry I didn't tell you before.

I was scared you'd be

disappointed with domestic life.

You know the best decision I ever

made was stepping into that store...

buying that first sandwich.

It was such a bad sandwich.

I know.

But I ate a lot of 'em.

I love you, Mia.

Don't do that.

What?

The way you said it. It's like

goodbye.

Say something else.

Okay. Kiss Jack for me.

I will.

I love you, Brian.

I love you, Mia.

One last ride.

Boot up God's Eye, and find them.

I'm getting something.

I got a positive ID. It's Toretto.

God's Eye is placing him

at Hill and Seventh.

Should we follow him?

No. Let Shaw take care of him.

Find Ramsey.

Yes, sir.

I don't know why we gotta keep

driving around like this.

Why can't we just pull over

somewhere...

park, gather our thoughts

in like a bunker somewhere?

Because it does not work like that.

We gotta stick close

enough to the bad guys...

81

in order to get in range

for Ramsey to hack 'em...

but we gotta be mobile enough not

to get shot like fish in a barrel.

So do me a favor, focus on the

mission, keep us from getting killed.

Got them. Target acquired.

She's riding shotgun in a blue GT-R.

Guys, they're here.

How many cars?

None.

And that's kind of the problem.

Let's give them a tour.

Break on my mark.

Three, two, one.

Go!

Splitting up won't work.

You can't hide from God's Eye.

In range.

Ramsey, start the hack.

Initiating.

Now.

Sir, I think someone's

trying to hack the system.

It's Ramsey.

Send in the predator!

Take her out!

Releasing predator.

I think we lost the chopper.

I think we got bigger problems than

that!

Oh, my God.

What are you doing?

Going old school!

PUBLIC PARKING

It's coming back around!

The predator's back on 'em.

Ready missiles!

Roger that.

Fire!

Shit!

I need a lateral.

Rom, where are you?

Running back! Charging in.

Meet me on Third and Spring.

You got it!

I'm halfway there.

Grab your computer and get in the

window!

- Why? - Do it, now!

You gotta go! Right now!

Fire!

No!

He made it!

Can't believe we pulled that off!

Wait, we're still being hacked.

What?

God's Eye is still tracking Ramsey.

Keep the drone in pursuit of her.

The signal has to be coming from

somewhere.

Breaking news out of Los Angeles

tonight.

In what can only be described

as vehicular warfare,

police are engaged in a

high speed pursuit...

I got it. The piggyback in the hack

off that satellite tower right there.

Take it out!

Toretto.

Wait, what happened? We were

almost there.

They've cut the signal. I

can't finish the hack.

What do you mean?

Brian, they took out the tower!

Dad, what's going on?

Daddy's gotta go to work.

82

Alright, baby girl.

Elena's gonna be here in a little bit.

You know our drill.

Give me three for the road.

You thought this was

gonna be a street fight?

You're goddamn right it is.

There has to be another way.

Wait. I'm seeing half a dozen cell

towers between Sixth and State.

Brian, if you can get to the top of any

one of those buildings around there...

we can reroute the signal

manually and finish the job.

I'm on it.

Sir, did you hear that?

O'conner is on foot heading for a

repeater.

He's gonna try to reinitiate the hack.

Keep the drone on the girl.

Kiet.

O'conner's on foot somewhere

between Sixth and State.

Don't let him make it there.

Boys is on us!

And them boys ain't ready for this!

Shit!

First a tank, then a plane...

Now we got a spaceship?

That's not a spaceship, that's a drone!

Oh it's a drone?

Now you gonna break it

down and be articulate...

like you already know what

the hell is going on?

Shut your ass up and drive the car!

Letty, the football's on fire!

We need help!

Hang on! I'm coming!

Ramsey, get ready to go again.

Drone has missile lock.

Fire!

Target destroyed.

Wait! God's Eye still has her.

How can that be?

Get up. Come on.

Let's go! Let's go.

They switched her under the bridge.

What?

You gotta get outta here, it's on

your trail and it's coming fast.

Got it.

So if this car goes south,

who's coming to save us?

Save us, honey? We're it.

Where are they now?

Six blocks east, hauling ass.

Where we heading, Tej?

There's a service elevator

past the maintenance center.

It will take you directly

up to the repeater.

Brian, you gotta hurry!

Too slow!

It's coming back.

We'll lose them in the tunnel.

Got it!

Fire!

I can't shake this thing!

The predator has missile lock.

Take it out!

No way.

Wait! What happened?

Sir, someone just double tapped our

drone.

What?

Hey, did you bring the cavalry?

Woman, I am the cavalry.

Who is that?

That's Hobbs!

83

I'm at the repeater.

The access cable's in the base.

Just plug it into your phone and

Ramsey will be back online.

Ramsey, go!

Brian did it. We're back in.

We've got God's Eye back.

- We lost the God's Eye! - What?

Shit!

Military's inbound. Three

minutes and closing.

We need to get the hell outta here.

Tej, Roman, I'm on my way.

Alright, homie. I'll see you there.

I have eyes on Toretto.

Shaw's in the way.

Then it seems our friendship is at an

end.

Do it.

The thing about street fights?

The street always wins.

Goodbye, Toretto.

Take him out!

Son of a...

I need some help out here!

We're getting killed.

I need some backup!

No! Son of a bitch.

He's getting away!

No, stop them.

Don't miss.

Dom!

Come on.

C'mon, buddy.

Is he breathing?

Here's what I need you to do.

Keep his head tilted up.

All right. Keep it back like this.

Clinch his nose, keep his head tilted.

Breathe in him now. Go.

That's good.

Come on, Dom.

Come on, goddammit!

You come on, you breathe!

Go, go, breathe!

C'mon, dammit. Let's go. Come on,

Dom!

I need you to breathe.

Come on, Dom. Come back, c'mon.

Come on, buddy. Dom, come on!

Back off!

Will you stop? Breathe into him.

You breathe into him.

- You breathe into him. - Back off!

Please, please, Dom.

Dom, baby.

I know you're hurting right now.

But I want you to listen.

Stay awake and focus on me.

I remember everything.

It came to me like a flood.

That night, in the Dominican

Republic.

The night we got married.

Who has the ring?

Will this do?

With this silver necklace, love...

We have eternity in this moment.

You will never be alone again.

I vow, wherever you go, I go.

You ride, I ride.

You fight, I fight.

And if you ever die on

me, Dominic Toretto...

I'm gonna die with you.

I love you, Letty.

I will always love you.

If you die, I die.

And I'm not ready to leave this place

yet.

84

This moment, still ours.

I remember everything.

I remember it all.

It's about time.

Oh, God.

Why didn't you tell me we were

married?

Because you can't tell

someone they love you.

Holy shit.

BLACK SITE... CIA

You sure you brought enough

backup with you, Hobbs?

Oh, they ain't mine.

They're here to protect you.

From me killing your ass.

You do know, none of this

will keep me, right?

Well I want you to dig through

and my fist and a bodybag will be

waiting for you on the other side.

So I suggest you get to digging, boy.

- Daddy, come play. - Yeah.

Look at him, look at him.

Yeah, buddy.

- Duty calls. - It does.

- Come on... - Let's get momma...

Y'know we gotta tan because...

the sun is out, you know...

medium rare, but I can get like...

well done, like really dark.

- What you nudging me for?

- Close your mouth for two seconds.

Just open your eyes, man.

Beautiful.

That's where he belongs.

Home.

Where he's always belonged.

Things are gonna be different now.

You got it. What...

One more time.

You aren't going to say goodbye?

Yeah! Good job!

My man.

It's never goodbye.

Hey, thought you could leave

without saying goodbye?

I used to say I lived my life

a quarter mile at a time.

And I think that's why we were

brothers.

Because you did, too.

- This is your car. - My car?

You're all free.

Home, sweet home.

- What's happening, boy?

- Thanks for the invite.

Wanna go for a drive?

No matter where you are,

whether it's a quarter mile away,

or halfway across the world...

The most important thing in life will

always be the people in this room.

Right here, right now.

Salud, mi familia.

You'll always be with me.

And you'll always be my brother.

FOR PAUL

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THE ILLOCUTIONARY ACTS IN FAST & FURIOUS 7 MOVIE

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