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
No Data Illocutionary
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
No Data Illocutionary
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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 –
01:01:12, as follows:
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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!”
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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 –
01:47:24, as follows:
Roman : Letty, the football‟s on fire! We need help!
Letty : Hang on! I‟m coming!
a. Context
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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 –
00:11:13, as follows:
Elena : Thanks, Hobbs. Thanks for everything.
Hobbs : Come on, way too sentimental right now.
a. Context
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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 –
01:31:19, as follows:
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
These are aspects which support analysis of the 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."
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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 –
01:21:03, as follows:
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the context:
1) Addresser & Addressee : Hobbs & Deckard Shaw
2) Setting : In Diplomatic Security Service Los Angeles
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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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 –
00:22:00, as follows:
Mia : Thank you so much for letting us stay, Mando.
Mando : You’ll be safe.
a. Context
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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
These are aspects which support analysis of the 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.
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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.
You're under arrest.
Deckard Shaw : Like I said, I'm here for thretean that crippled my
brother.
a. Context
These are aspects which support analysis of the context:
1) Addresser & Addressee : Hobbs & Deckard Shaw
2) Setting : In Diplomatic Security Service Los Angeles
Division – Night
3) Context : In this case, Hobbs declared that Deckard
Shaw was being arrested at that time and no compromised anymore.
56
b. Illocutionary act
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.
c. Direct & Indirect Speech Act
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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Ilmu.
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In “Silence Movie”, Faculty Of Humanities and Culture, The State
Islamic University Maulana Malik Ibrahim, Malang.
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Publishing.
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UIN Syarif Hidayatullah, Jakarta.
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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
62
APPENDIXES
http://www.springfieldspringfield.co.uk/movie_script.php?movie=furious-7
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.
You're under arrest.
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