the inferences in finding referents of person deixis in kingsman

i

THE INFERENCES IN FINDING REFERENTS OF PERSON DEIXIS

IN KINGSMAN: THE SECRET SERVICE MOVIE SCRIPT

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

RENDY LANCERIANDA

Student Number: 094214064

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2016

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

ii

THE INFERENCES IN FINDING REFERENTS OF PERSON DEIXIS


AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

RENDY LANCERIANDA

Student Number: 094214064

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

YOGYAKARTA 2016


STATEMENT OF WORK'S ORIGINALITY

I certify that this undergraduate thesis contains no material which has beenpreviously submitted for the award of any other degree at any university, and that,to the best of my knowledge, this undergraduate thesis contains no materialpreviously written by any other person except where due reference is made in thetext of the undergraduate thesis.

Yogyakarta, September 23,2016

Rendy Lancerianda

v


LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAHUNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma:

NamaNomor Mahasiswa

: Rendy Lancerianda: 094214064

Demi pengembangan ilmu pengetahuan, saya memberikan kepada PerpustakaanUniversitas Sanata Dharma karya ilmiah saya yang berjudul

THE INFERENCESIN FINDING REFERENTS OF PERSON DEIXIS


Beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikankepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan,mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalandata, mendistribusikan secara terbatas, dan mempublikasikannya di internet ataumedia lain untuk kepentingan akademis tanpa perlu meminta ijin dari sayamaupun memberikan royalti kepada saya selama tetap mencantumkan nama sayasebagai penulis.

Demikian pernyataan ini saya buat dengan sebenarnya.

Dibuat di YogyakartaPada tanggal23 September 2016

Yang menyatakan,

Rendy Lancerianda

vi


vii

“URIP KUWI KUDU ISA URUP.”


viii

This undergraduate thesis is dedicated to

Mami, Ayah,

Vina, Ian, Mas Serra,

Sylvia,

Mamah, Papah

Mbak Tata, and Danang


ix

ACKNOWLEDGEMENTS

First of all, I would like to express my gratitude to Allah SWT, for always

bringing light to my life. I am very thankful for everything Allah gives to me. I

also thank Allah SWT for sending me the talented people that will be mentioned

below.

My deep gratitude goes to my thesis advisor, Adventina Putranti, M.Hum.

for her patience, support, and encouragement in guiding me to accomplish this

thesis. My deep thanks also go to all my lecturers in English Letter Study Program

of Sanata Dharma University for the chance to learn English and life values

together, especially to Dr. B. Ria Lestari, M.Sc., as my academic advisor. I also

want to express my thankfulness to Arina Isti’anah, S.Pd., M.Hum., for the help

during the proposal seminar time and as the co-advisor of my thesis. I also thank

Mbak Ninik for always helping me with the administrative matters.

My deep gratitude goes to my beloved parents, my father in heaven

Hariyadi and my mother Sri Sumarni, and to my beloved siblings Serra Argo

Rianda, Ian Carianda, and Shofia Vilina Rianda, for their irreplaceable care,

love, support, patience, and advice. I thank them for the time we spend. I also

thank them for always understanding me in every tough time I get through.

Last but not least, my gratefulness goes to all of the people whose names

cannot be mentioned one by one here. May God bless us forever.

Rendy Lancerianda


x

TABLE OF CONTENTS

TITLE PAGE……………………………………………………………… Ii APPROVAL PAGE………………………………………………………. Iii ACCEPTANCE PAGE……………………………………………………. Iv STATEMENT OF WOKS’ ORIGINALITY……………………………. V LEMBAR PERSETUJUAN PUBLIKASI KARYA ILMIAH……..…….... Vi MOTTO PAGE……………………………………………………………. Vii DEDICATION PAGE…………………………………………………….. Viii ACKNOWLEDGEMENTS………………………………………………. Ix TABLE OF CONTENTS…………………………………………………. X ABSTRACT……………………………………………………………....... Xii ABSTRAK....................................................................................................... Xiii CHAPTER I INTRODUCTION………………………………………..... 1 A. Background of the Study……………………………………………….. 1 B. Problem Formulation………………………………………………….... 2 C. Objectives of the Study…………………………………………………. 3 D. Definition of Terms……………………………………………………... 3

CHAPTER II REVIEW OF LITERATURE…………………………… 5 A. Review of Related Studies………………………………………………. 5 B. Review of Related Theories…………………………………………....... 7

1. Deixis..........………………………………………………………… 7 a. Person Deixis..………………………………………………….. 8

i. Pronouns……………………………………………………. 8 ii. Vocatives…………………………………………………… 9

b. Spatial Deixis…………………………………………………… 10 c. Temporal Deixis……………………………………………….... 11

2. Reference and Referent…………………………………………….. 11 a. Endophora………………………………………………………. 12

i. Anaphora …………………………………………………… 12 ii. Cataphora…………………………………………………… 12

b. Exophora………………………………………………………... 13 3. Inference……………………………………………………………. 13 4. Three-Act Structure………………………………………………… 13

C. Theoretical Framework………………………………………………….. 14


xi

CHAPTER III METHODOLOGY………………………………............. 16 A. Object of the Study…………………………………………………….. 16 B. Approach of the Study………………………………………………..... 17 C. Method of the Study…………………………………………………… 17

1. Kind of Data……………………………………………………........ 17 2. Data Collection…………………………………………………….... 17 3. Data Analysis……………………………………………………...... 18

CHAPTER IV: ANALYSIS RESULTS AND DISCUSSION…………... 21 A. The Referents of the Person Deixis Occur in the Kingsman: The Secret

Service Movie…………………………….……………………………. 21

1. Endophora…………………………….……………………………. 21 a. Anaphora…………………………….…………………………. 21 b. Cataphora…………………………….……………………….... 34

2. Exophora…………………………….……………………………... 38 B. The Inference Needed to Find the Referents of the Person Deixis in the

Kingsman: The Secret Service Movie…………………………….……. 42

CHAPTER V: CONCLUSION…………………………………………… 48

BIBLIOGRAPHY…………………………………………………………. 50

APPENDIX........…………………………………………………………… 52


xii

ABSTRACT

Lancerianda, Rendy. (2016). The Inferences in Finding Referents of Person Deixis in Kingsman: The Secret Service Movie Script. Yogyakarta: English Letters Study Program Sanata Dharma University.

Kingsman: The Secret Service is one of the successful movies released in 2015. Directed by Matthew Vaughn, this British spy action comedy movie tells about spy recruitment, which involves Eggsy as the main character. In this movie, Vaughn inserted many personal pronouns in some dialogues, for example first person ‘I’ and ‘we’, second person ‘you’, and the third person ‘he’, ‘she’, ‘it’, and ‘they’. Besides, Vaughn also inserted some vocatives such as ‘Merlin’ and ‘Eggsy’ as name of someone or something, and ‘a guerrilla army base’ as a noun phrase.

This study is conducted to answer the following questions: (1) What are the referents of person deixis which occur in the Kingsman: The Secret Service movie script? and (2) What are the inferences needed to identify the referents of person deixis which occur in Kingsman: The Secret Service movie script?

The first question was answered by collecting and analyzing the data from the movie script by using pragmatic approach. In collecting and analyzing the data, the writer found 480 utterances that include person deixis. Then, the writer classified the data into (1) Anaphora, (2) Cataphora, and (3) Exophora. Then, the classified data were used to find the referents of the person deixis. From the script, the writer found 26 anaphoric references, 9 cataphoric references, and 16 exophoric references.

The second question in the problem formulation was answered by the description of kind of inference or background knowledge that is needed to identify the referents of person deixis which occur in the Kingsman: The Secret Service movie script. The inference can be seen visually from the movie, it is seen from the gesture of the speaker when the utterance is spoken. They can also be found from the context of the utterance.

There are five (5) fields that are needed to help the audience to understand what the characters are talking about: (1) Drugs Terms, (2) Military Terms, (3) Beverage Terms, (4) British Proverb Terms, and (5) Music Terms.


xiii

ABSTRAK

Lancerianda, Rendy. (2016). The Inferences in Finding Referents of Person Deixis in Kingsman: The Secret Service Movie Script. Yogyakarta: English Letters Study Program Sanata Dharma University.

Kingsman: The Secret Service adalah salah satu film yang dinilai sukses pada tahun 2015. Dengan disutradarai oleh Matthew Vaughn, film bergenre spy komedi aksi ini bercerita tentang pencarian agen rahasia yang melibatkan Eggsy sebagai pemain utama. Dalam film ini, Vaughn menyisipkan banyak pronominal persona (kata ganti) dalam setiap dialognya, seperti kata ganti orang pertama ‘saya’ dan ‘kami’, kata ganti orang kedua ‘anda’, dan kata ganti orang ketiga ‘dia’ dan ‘mereka’. Selain itu, Vaughn juga menyisipkan beberapa kata vokatif seperti ‘Merlin’ dan ‘Eggsy’ sebagai nama orang atau benda, dan ‘a gorilla army base’ sebagai frasa nomina.

Studi ini dirancang untuk menjawab pertanyaan dalam formula pertanyaan: (1) Apa sajakah rujukan dari deiksis persona yang muncul dalam skrip film Kingsman: The Secret Service? dan (2) Inferensi apa sajakah yang dibutuhkan untuk mengidentifikasi rujukan tersebut?

Pertanyaan pertama dapat terjawab dengan mengumpulkan dan menganalisis data yang didapat dari naskah film, dengan menggunakan pendekatan pragmatik. Dalam mengumpulkan dan menganalisa data, penulis menemukan 480 ungkapan yang mengandung deiksis persona. Kemudian, penulis membagi data tersebut menjadi (1) Anafora, (2) Katafora, dan (3) Exofora. Kemudian data tersebut digunakan untuk menentukan deiksis persona dalam film tersebut. Dari hasil analisis, penulis menemukan 26 rujukan anafora, 9 rujukan katafora, dan 16 rujukan exofora.

Pertanyaan kedua dapat dijawab melalui deskripsi mengenai macam-macam inferensi yang dibutuhkan oleh penonton untuk mengidentifikasi rujukan dari deiksis persona yang telah ditemukan dari skrip film. Pada kesimpulannya, terdapat lima (5) bidang yang dibutuhkan oleh penonton untuk membantu mereka memahami topik bahasan dari pembicaraan dalam naskah film, yaitu: (1) Obat-obatan terlarang, (2) Kemiliteran, (3) Ilmu Minuman, (4) Peribahasa Bahasa Inggris, dan,(5) Musik.


1

CHAPTER I

INTRODUCTION

A. Background of the Study

Kingsman: The Secret Service is a British movie released in 2015. The

awards, such as The Best British Film on 2015 by Empire Award, UK and The

Best Comic Book Adaptation Movie by IGN (Imagine Games Network) on 2015,

are the proofs that this movie is one of the successful movies in 2015. With a

touch of comedy, Kingsman: The Secret Service tells about spy recruitment,

which involves Eggsy as the main character. Matthew Vaughn was the one who

directed and wrote the script of this British spy action movie.

In the movie script, there are so many conversations and we know as dialog.

The writer found so many deixis occurring in the dialog. For the people who do

not learn about language deeply, they may not be familiar with the term ‘deixis’.

In fact, deixis often appears in the outcome of language.

Cutting (2002: 7) states that deixis is known as the referring expression

points to the referent in the context (whether interlocutors can see it or not).

Cutting (2002: 7) divides deixis into three types: person, place, and time. Deixis is

defined as the terms that are used to refer to someone or something, space, and

time. Furthermore, according to Yule (1996: 9), deixis is a form of referring that is

tied to the speaker context. In the previous example, the case is that the listener

has to understand the message that the speaker tries to deliver. When the listener

does not have the same images or the similar knowledge about what the speaker


2

says, the listener may get lost in understanding the message of the utterances. The

more two speakers have in common, the less language they will need to use to

identify familiar things (Yule, 1996: 8). There is where the deixis comes from.

However, this study only focuses on the person deixis. Person deixis

includes the words used to point to a person. There are three kinds of person

deixis, first person ‘I’ and ‘we’, second person ‘you’, and the third person ‘he’,

‘she’, ‘it’, and ‘they’. There are “I, you, we, they, he, she, and it”.

Then, since we often find something unfamiliar in the movie, the writer

tried to reveal the entity of the reference being referred to, or next will be called as

referent. Then, this study also discusses the background knowledge that the

audiences probably need to understand in order to be familiar with the movie and

its story line. This kind of background knowledge is then called as inference. The

importance of the inference identification in this study is to help the audiences is

understanding the movie. This study can help the audience to grasp what the

movie tries to tell to them. The broader the knowledge the audiences have, the

bigger the probability of them to understand about the movie. Thus, despite of

focusing on the person deixis, this study also focuses on the referent and inference

of the person deixis itself.

B. Problem Formulation

This study is conducted to answer the following questions:

1. What are the referents of person deixis occur in the Kingsman: The Secret

Service movie script?


3

2. What are the inferences needed to identify the referents of person deixis

occur in the Kingsman: The Secret Service movie script?

C. Objectives of the Study

This study attempts to answer the problems found in Kingsman: The Secret

Service movie, especially in terms of person deixis. Firstly, this study finds out the

referent of the person deixis in Kingsman: The Secret Service movie. It used to

help the audience understand the referent of the person deixis found in the movie.

The writer has to synchronize the image of referent used in this study.

Afterward, the writer analyzes what inference is needed to identify the

referents of person deixis which occur the movie. It means that this study tries to

find what probable field, discipline, or specialty that the audience should

understand to find the link they probably miss when they watch the movie.

D. Definition of Terms

Person deixis clearly operates on a basic three-part division, exemplified by

the pronouns for first person (‘I’), second person (‘you’) and third person

(‘he’,’she’,’it’) (Yule, 1996: 10). In this study, a person deixis is pronoun that

refers to particular person.

In this study, a reference is the act of using language to refer to entities in

the context (Cutting, 2002:7). There are two kinds of reference according to

Cutting (2002: 9-10): Endophora, which consists of anaphora and cataphora, and

expohora.


4

While a referent is the entity being the referred to (Cutting, 2007). In this

study, the referent is the thing that the reference refers to. Referent usually occurs

in the text, but sometimes it does not occur in the text.

Inference is what thinking adds to what we know, read, or learn (Silver,

Dewing, & Perini, 2012). In this study, the inference is the background knowledge

of the audience about the topic that the speaker is talking in the utterance of the

movie.


5

CHAPTER II

REVIEW OF LITERATURE

A. Review of Related Studies

Kingsman: The Secret Service is a British spy action comedy movie directed

by Matthew Vaughn. This movie is about a recruitment and training of a potential

secret agent, Gary Unwin - or called as Eggsy – into a secret spy organization that

aimed to tackle a global threat from a wealthy eco-terrorist.

Released on 13 February 2015, the movie was actually based on the comic

book The Secret Service created by Mark Millar and David Gibbons. This British

action movie was directed by Matthew Vaughn, and it became his most

commercially successful film to date because of the positive reviews and awards

received by the movie such as: The Best British Film on 2015 by Empire Award,

UK and The Best Comic Book Adaptation Movie by IGN (Imagine Games

Network) on 2015.

In the movie, there were many deixis. According to Yule (1996) and Cutting

(2002), there are three kinds of deixis: person deixis, spatial deixis, and temporal

deixis. However, this study only focuses on person deixis.

The first study was from a thesis from Silvia Kurnia Dewi (2007). In this

study, Dewi analyzed the person deixis that appears in the Dreamgirls Musical

Movie soundtrack entitled It’s All Over. Using pragmatic approach, the study

found that the kinds of person deictic expressions always refer to reference to

indicate the person being referred. For example, first person pronoun refers to the


6

speaker, second person pronoun refers to the addressee, and third person pronoun

refers to the other participants nor speaker nor the addressee.

Ike Endah Rachmawati (2007) conducted a thesis that analyzed the case

study among the students of English Department Program of Diponegoro

University, Semarang. By using Levinson’s book, she studied the person deixis

involved in the conversation in the environment of English Department Program

of Diponegoro University. From the study, she found that the first person deictic

expression found were aku, saya, and kita; second person deictic expression found

were dia, deknen, beliau, the name of the third person and kinship terms.

The last study was conducted by Agustina Meliani in 2002. The study

analyzed the kinds of deixis that appear in written language: person deixis, time

deixis and place deixis from those ten stories. By counting the total of each type

of deixis, the study found that person deixis is mostly used in the while stories and

followed by place deixis and time deixis. She also found out that the use of deixis

may not lead the reader to confusion by knowing the clear references mentioned

by the speaker.

The previous studies are very useful for conducting this thesis. However,

this thesis only used the studies that relate to this thesis: deixis, and person deixis.

This research is different from all the studies above because the focus is only on

the person deixis, the referent and the inference of person deixis found in the

movie.


7

B. Review of Related Theories

1. Deixis

According to Yule (1996: 9), deixis is a form of referring that is tied to the

speaker context. Cutting (2002: 7) states that deixis is known as the referring

expression points to the referent in the context (whether interlocutors can see it or

not). The linguistic form that is used to accomplish this referring is called deictic

expression. In the movie, there are a lot of deictic expression insertions. The

deictic expression is related to the speaker’s context. The speaker may do some

gestures or point to certain things to help the listener get the message of the

speaker. In the Kingsman: The Secret Service movie, deictic words can be found

frequently. Furthermore, we may met many deictic expression in daily spoken

language.

As the definition states, deictic words point to things in the physical-social

context of the speaker and addressee(s) and whose referents can only be

determined by knowing the context in which they are used (Kreidler, 1998: 144).

Deixis includes the use of demonstratives, first and second pronouns, tense,

specific time and place adverbs like now and here, and a variety of grammatical

features tied directly to the circumstances of utterance (Levinson, 1983: 54).

Levinson’s statement is supported by Yule that he divides deixis into three

categories: person deixis, spatial deixis and temporal deixis. They can be used to

indicate people (person deixis), location (spatial deixis), or time (temporal deixis),

(Yule, 1996: 9). Meanwhile, this study only focuses on the person deixis.


8

a. Person Deixis

This study only focuses on the personal pronoun or pronouns that refer to

person. Person deixis clearly operates on a basic three-part division, exemplified

by the pronouns for first person (‘I’), second person (‘you’), and third person

(‘he’, ’she’, or ’it’) (Yule, 1996: 10). According to Cutting (2002: 7), person

deixis is used to point to a person, with the personal pronouns ‘I’, ‘you’, ‘they’,

‘we’, ‘she’, ‘he’, or ‘it’.

The example of person deixis are ‘Dora and Yuka go to school every

morning. They go to school by bus.’ The word ‘they’ is included as person deixis,

since it refers to a personal pronoun that represents ‘Dora and Yuka’.

i. Pronouns

A pronoun is used in place of a noun (Azar, 1999: 32). Pronouns are

classified into singular and plural pronouns. A singular pronoun is used to refer to

a singular noun. A plural pronoun is used to refer to a plural noun. Each of them is

divided into four: subject pronoun, object pronoun, possessive pronoun, and

possessive adjective. The following table from Azar (1999) will show us the

classification of personal pronouns:

Subject Pronoun

Object Pronoun

Possessive Pronoun

Possessive Adjective

Singular I

you she, he, it

me you

her, him, it

mine yours

hers, his, its

my name your name

her, his, its name

Plural we you they

us you them

ours yours theirs

our names your names their names


9

Subject pronouns are used as subjects of sentences. For example, ‘Amy has

a bike. She bikes to work.’ The word ‘she’ refers to Amy, and it stands as a

subject pronoun of the sentence since it is located as the subject of the sentence.

Object pronouns are used as the object of verbs. For example, ‘Bella never

skipped the class. I know her very well.’ The word ‘her’ refers to Bella, and it

stands as the object pronouns of the sentence based on its function as the object of

the verb in the sentence.

Possessive pronouns are not followed immediately by a noun; they stand

alone. For example, ‘That book is mine. Yours is over here.’ The words ‘mine’

and ‘yours’ represent the possession of the noun ‘book’. That kind of function

does not need any following noun, that is why they stand as possessive pronouns

of the sentence.

Possessive adjectives are followed immediately by a noun; they do not stand

alone. For example, ‘Your pencil is here. Her pencil is over there.’ As the

definition stated, the possessive adjectives of the sentence are the words ‘your’

and ‘her’. We call them possessive adjectives by the fact that a noun ‘pencil’

follows them, they do not stand alone.

ii. Vocatives

A vocative is a subclass of proper nouns that has another function, which is

to call or indicate the person or thing that is addressed by their name. In English,

people do this by merely calling the name of the person. Compared to reference,

this function is a bit different.


10

“Other kind of title/ proper name often come in two distinct set, one for use

in address (as vocative in second person usage) and the other for use in reference

(i.e. referring to individual in third person role)” (Levinson, 1983: 70). This

calling function is considered simpler than the reference function since it applies

only to other people (or may be to animals that are treated like people) and it is

only appropriate when the person called is present. This shows that person deixis

is about not only the usage of personal pronoun, but also the usage of vocatives.

Vocatives are noun phrases that refer to the addressee (Levinson, 1983: 71).

Vocative is a noun identifying the person (or animal, object, etc.) addressed and/or

the determiners of that noun. For example, in the sentence, ‘I don't know, Tiara.’

The word ‘Tiara’ is a vocative expression referring to who is being addressed.

This holds an opposing view to the sentence ‘I don't know Tiara,’ where Tiara is

the direct object of the verb, ‘know’. In addressing someone directly, the name

being used (e.g., Tiara, Lidya, my sweetheart, you boys, my daughter) should be

separated from rest of the sentence by using a comma or commas.

b. Spatial Deixis

According to Yule (1996: 12), spatial deixis is clearly relevant to the

concept of distance, where the relative location of people and things in being

indicated.

Spatial deixis is used to point to a location or the place where an entity is in the context, as in the demonstrative adverbs ‘there’ and ‘here’; and in the demonstrative adjective and pronouns ‘this’, ‘that’, ‘these’, and ‘those’ (Cutting, 2002: 8).


11

Spatial deixis shows the idea of where the thing is located. For example,

‘here’, ‘this’, ‘those’, and ‘these’.

c. Temporal Deixis

According to Cutting (2002: 8), temporal deixis is used to point to a time.

Furthermore, according to Yule (1996: 14), temporal deixis simply indicates the

time when the utterance is spoken. In temporal deixis, we have some indicators

like ‘now’, ‘then’, ‘yesterday’, ‘tomorrow’, ‘today’, ‘tonight’, ‘next week’, ‘last

week’, and ‘this week’. For example, ‘Now you have to submit the assignment to

me.’ The word ‘now is included as the temporal deixis of the sentence, since it

represents the time when the utterance is spoken.

2. Reference and Referent

Reference in an utterance including the indexical expressions such as

personal pronoun and the tense of verb (Leech, 1983: 11). This means that a

reference includes personal pronoun (which includes person deixis) and has

something to do with the time the utterance takes. Thus, the finding of the

reference of an utterance depends on the time, the speaker, the person who the

speaker is speaking to (the interlocutor), and the person whom the speaker is

talking about.

It is a context dependent aspect of utterance-meaning: it is a relation that

holds between speakers (more generally, locutionary agents) and what they are

talking about on particular occasions (Lyons, 1995: 294). This shows that the

reference depends on the context of the utterance, the speakers of the utterance

and the topic of the utterance.


12

Reference is the act of using language to refer to entities in the context

(Cutting, 2002:7). Entity is the object that is present in the real world. Entity is

something that we really refer to, and exists in the real world. This is not the

matter of the name or how we call the object, but about the existence of the object

itself. This means that a reference is the expression of referring any object.

According to Cutting (2002: 7) the referent is the entity being the referred

to. For example, if we have the sentence ‘How are you, Linda?’. From the

sentence, the word ‘you’ referred to Linda. It means that Linda is the referent of

the deictic word ‘you’. Thus, a referent is someone or something the speaker

being referred to.

There are two kinds of reference according to Cutting (2002: 9-10):

a. Endophora

Endophora is when the reference and the referent are mentioned in the

utterance. There are two kinds of endophoric reference:

i. Anaphora

Anaphoric reference is a reference that the referent occurs before the deixis.

For example, ‘Desy, could you please answer the phone?’ In the sentence, the

referent ‘Desy’ is mentioned before the deictic word is ‘you’. It means that the

deictic word ‘you’ is an anaphoric reference since the speaker mentioned the

referent before the person deixis of the utterance.

ii. Cataphora

On the other hand, cataphoric reference is a reference that the referent

occurs after the deixis. For example, ‘They will explode in five minutes. It is


13

because the grenades have certain explosive substances.’ The deictic word of the

utterance is ‘they’, and the referent ‘the grenades’ is clearly mentioned in the

second sentence. This means that the reference is a cataphoric reference since the

referent is mentioned after the person deixis.

b. Exophora

Exophora is a reference that the referent does not appear or is not mentioned

in the speaker’s utterance. They might be seen or shown from the context or the

speaker’s gestures. For example, a teacher said ‘Do it at home and submit it

tomorrow morning.’ The deictic word ‘it’ refers to a homework.

3. Inference


Dewing, & Perini, 2012). The inference is the background knowledge of the

audience about the topic that the speaker is talking in the utterance of the movie.

The audience’s understanding is very important for the moviemaker. This

importance has relationship with the story line understanding. Because by

understanding the topic of what the characters are talking about, the audience is

able to relate and really understand the story of the movie.

4. The Three-Act Structure

The three-act structure is an old principle widely adhered to in storytelling

today (Moura, 2014). We can find this principle in plays, poetry, novels, comic

books, short stories, video games, and the movies. According to Moura (2014),

the three-act structure is classified as: Act 1 (setup), Act 2 (Confrontation), and

Act 3 (Resolution). People usually call them introduction, rising action, and


14

falling action. The aim of the acts is to make sure that the story evolves and the

stakes get higher. The description will be represented by the following graphic.

Moura (2014)’s Three-Act Structure Illustration

C. Theoretical Framework

The main purpose of this study is to analyze the referent and the inference of

person deixis found in the Kingsman: the Secret Service movie. To help the writer

to answer the problems formulation of this study, the writer takes some theories

and makes them as the foundation of this study.

The first and second theories are the theories of deixis and person deixis.

The theories run their important roles in this study. In the theory of deixis, deixis

is a referring expression to point to the referent in certain context. Otherwise, the

theory person deixis defines person deixis as the personal pronouns used in

referring person.

The third and last theories are the theories of reference and inference. In the

theory of reference, reference means a relation that holds between speakers (more

generally, locutionary agents) and what they are talking about on particular

crisis

ACT I ACT II ACT III


15

occasions (Lyons, 1995: 294). Then, inference as the theory defines is the

background knowledge of the reader, then we deal as the audience.

In answering the problem formulation above all of the previous theories

cannot be ignored. Each of them has its own roles in this study. The theories are

applied in this study in the process of analyzing the data.

The deixis and person deixis theories are used as the foundation of

classifying the data into more specific. The theories show the writer how to collect

and classify the data. Then, the theory of reference and inference are the theories

that help the writer to analyze the utterance as the data. The theories lead the

writer to decide whether the person deixis of the utterance can be classified into

endophora or exophora, and to whom the utterance is being referred.


16

CHAPTER III

METHODOLOGY

A. Object of the Study

In this study, the writer analyzes a movie entitled Kingsman: The Secret

Service. The movie that was released on 13 February 2015 was actually based on

the comic book The Secret Service created by Mark Millar and David Gibbons.

This British action movie was directed by Matthew Vaughn and according to

imdb.com (2015) it is considered as successful film to date due to the good ratings

and positive reviews received by the movie.

This study discussed the phrases used in utterances in the dialogue. This

language element was chosen because every deixis refers to one or some referents.

While the referent is always a noun phrase. To limit the object of the study, the

writer bounds the data into one act only: first act. In a movie, according to Moura

(2014) there are 3 major acts called three-act structure: the introduction, the rising

action, and the falling action. The introduction part includes the introduction of

the setting, the major characters, and the story of the movie. Each of the acts has

different duration. In this movie, the first act or introduction part lasts for 25

minutes 38 seconds. From the first act, the writer collected 480 numbers of data.


17

B. Approach of the Study

In writing this study, the writer employed pragmatic approach to analyze the

deixis. It is because the data are suitable with pragmatic approach, which

concerned with the language relation to the contextual background features.

C. Method of the Study

In collecting the data for this study, the writer used internet research and

library research. The writer found the script from moviequotesandmore.com and

some theories from the internet and some other theories from books.

1. Kind of Data

The data needed in this thesis writing was the person deixis found in the

Kingsman: The Secret Service movie. The person deixis deals with personal

pronoun and vocatives. In personal pronouns, there were three types of personal

pronoun. The types of personal pronoun found in this movie were first personal

pronoun such as ‘I’, ‘my’, ‘me’, ‘we’, ‘our’, ‘us’; second personal pronoun such

as ‘you’, ’your’; and the third personal pronoun such as ‘he’, ‘she’, ‘it’. The

vocatives also found in the movie’s dialog, such as ‘Valentine’, ‘Galahad’, and

‘Eggsy’.

2. Data Collection

The writer collected the data by finding the script on the internet then

checking the validity of the script by watching the movie repeatedly to get the

person deixis and the referent.


18

Then, the writer limited the data into one act only (act 1 only). Then, the

writer found the person deixis and the referent, which occurred in the dialogue,

found in the movie based on the theory of person deixis and reference. The

collected data were classified into three major categories of reference: (1)

Anaphora, (2) Cataphora, and (3) Exophora.

3. Data Analysis

After gathering the data needed in this study, the writer did an analysis on

the data. There are two major steps in analyzing the data: data observation and

data analysis.

First, the writer observed the collected data of the movie by watching the

movie then validating the script of the movie. Second, the writer collected and

analyzed the entire person deixis expression used in the introduction part (act 1) of

the movie by classifying the type of reference by giving a tick (√) to the destined

table. Then the writer tried to find the referents of the person deixis. The writer

sorted the data chronologically in order to make the table easier to understand.

After finding the referents of the person deixis, the writer concerned about

the inference that the audience will probably need when watching the movie. The

following table is the table used to collect and classify the data:

No. Minutes Speaker Utterance Reference

Referent Endo Exo

Ana Cata


19

The ‘number’ column in the previous table is used to give an order to the

collected data so that the data will be displayed chronologically. It means that the

numbers in the column are set by the time the utterance spoken, so the earlier the

utterance is spoken, the earlier the number. Different from it, the ‘number’ column

in the table of the data analysis (in chapter IV) will show us the number of the

data that is originally taken from the data collection in appendix. Thus, the

number in chapter IV may not be in order, only taken data that is used in the

chapter that will show up in the data analysis table. The ‘minutes’ column refers

to the time when the utterance is stated. The ‘speaker’ column contains the one

who speaks the utterance. The ‘utterance’ column filled with the sentence that the

speaker stated at that time. In this column, the person deixis will be in bold letters.

Then, the ‘reference’ column is filled with a tick (√) depending on the reference of

the person deixis shown in the utterance, whether the deixis is an Endo

(Endophora) which include an Ana (Anaphora), a Cata (Cataphora); or as an Exo

(Exophora). The last is column of ‘referent’, the column represents whom the

reference is being referred to. The example of the classification of the data will be

shown as follows.

No. Minutes Speaker Utterance

Reference

Referent Endophora Exo

Ana Cata

1 00:02:22 Harry Hart

“Fucking missed it.” √ The grenades


“How did I fucking missed it.”

√ Harry Hart


“Merlin, I apologise for putting you in this position.”

√ Merlin


20

Then, the following table is the example of the table used in analyzing

anaphoric reference of the utterance (in Chapter IV) with ‘The Grenade’ as the

referent:

No Minutes Speaker Utterance Referent 13 00:02:22 Galahad “Fucking missed it.” The grenade 318 00:18:44 Harry

Hart “The day your father died, I missed something.”

The grenade

The last step of this study is finding the inferences needed by the audience

to find the referents. In finding the inference, the writer picked some items that are

found from the utterances in the collected data. The chosen items are found from

the table ‘referent’. The writer then looked up the dictionary to find the definition

of the terms that will be used as the data of the inferences. The definition helped

the writer to show the scope of the terms. The definition also helped the writer to

decide what item is included as what terms. For example, ‘a group of mercenaries’

is one of the items that are included as ‘military terms’ because the term includes

something relates to soldier or armed forces (such as the army, navy, marines, and

air force).


21

CHAPTER IV

ANALYSIS RESULTS AND DISCUSSION

A. The Referents of the Person Deixis Occur in the Kingsman: The Secret

Service Movie

After collecting and analyzing the data, the writer found 480 utterances that

have person deixis. Then, the writer determined the most suitable referents of

those person deixis. Previously, the writer classified the reference into: (a)

Endophoric and (b) Exophoric reference. Furthermore, in endophoric reference

there are: (a) Anaphoric and (b) Cataphoric reference. Anaphoric reference is a

reference that the referent comes before the pronouns, while cataphoric reference

is a reference that the referent is mentioned or explained after the pronouns.

Exophoric reference is a reference that the referents are not mentioned directly in

the utterance. The referents that occur are described as the following.

1. Endophora

In endophoric reference, the referents are mentioned in the utterance. In this

kind of reference, the referent might occur before or after the pronouns in an

utterance. The divisions are:

a. Anaphora

There are twenty six anaphoric referents found in act 1:

i. The Grenade

As an anaphoric reference, ‘the grenade’ is mentioned before the pronouns.

In this movie, the word ‘grenade’ is first mentioned by Harry Hart in minutes


22

00:02:12: “Grenade. Get back.” It shows that the word ‘Grenade’ is spoken

earlier than when Galahad said, “Fucking missed it.” in minutes 00:02:22.

No Minutes Speaker Utterance Referent 13 00:02:22 Galahad “Fucking missed it.” The grenade 318 00:18:44 Harry

Hart “The day your father died, I missed something.”

The grenade

ii. Merlin

As an anaphoric reference, ‘Merlin’ is mentioned before the pronouns. In

this movie, the word ‘Merlin’ is first mentioned by Harry Hart in minutes

00:02:31: “Merlin, I apologise for putting you in this position.” It shows that the

word ‘Merlin’ is spoken earlier than when Harry Hart said, “Merlin, I apologise

for putting you in this position.” in minutes 00:02:31.

No Minutes Speaker Utterance Referent 18 00:02:31 Harry

Hart Merlin, I apologise for putting you in this position.”

Merlin

iii. James

As an anaphoric reference, ‘James’ is mentioned before the pronouns. In

this movie, the word ‘James’ is first mentioned by Merlin in minutes 00:02:42:

“James, your training is over.” It shows that the word ‘James’ is spoken earlier

than when Merlin said, “James, your training is over.” in minutes 00:02:42.

No Minutes Speaker Utterance Referent 22 00:02:42 Merlin “James, your training is over.” James 23 00:02:42 Harry

Hart “Welcome to Kingsman, Lancelot.”

James

87 00:05:55 Lancelot “I suppose asking to borrow a cup of sugar is a step too far?”

James

104 00:08:15 Valentine “Listen, I’m so sorry you had to witness all of this unpleasantness due to our uninvited guest.”

James

120 00:09:31 Arthur “Lancelot was an outstanding agent and a true Kingsman.”

James


23

124 00:09:32 Arthur “He will be sorely missed.” James 158 00:10:47 Merlin “This is his last transmission.” James 412 00:23:00 Harry

Hart “Yesterday a friend of mine died” James

iv. Eggsy

As an anaphoric reference, ‘Eggsy’ is mentioned before the pronouns. In

this movie, the word ‘Eggsy’ is first mentioned by Eggsy in minutes 00:03:53:

“Eggsy.” It shows that the word ‘Eggsy’ is spoken earlier than when Harry Hart

said, “Hello, Eggsy.” in minutes 00:03:54.


Hart “Hello, Eggsy.” Eggsy


“You take care of this, Eggsy.” Eggsy


“And take care of your mom too.” Eggsy

197 00:12:29 Dean “Why don’t you take this and get the stuff and get yourself some sweets?”

Eggsy

210 00:13:13 Eggsy’s friend 1

“Note his mum’s a wolfie.” Eggsy


“No offense, pal.” Eggsy


“Are you mental, cuz.” Eggsy

225 00:13:31 Rott “Oy, you think you can chat shit about us and we’ll do nothing just because our guy’s bangin’ Eggsy’s mum?”

Eggsy


“Leave it, let’s go, man.” Eggsy


“You jacked his fucking car keys, bruh?”

Eggsy

250 00:14:49 Rott “I’ve come out of the pub; he’s done 15 about donuts on my fucking face.”

Eggsy

263 00:15:49 Eggsy “I’ll sort this, get out of the car.” Eggsy 272 00:16:15 Eggsy “I want to exercise my right to a

phone call.” Eggsy

281 00:16:28 Eggsy “My name is Eggsy Unwin.” Eggsy


24

282 00:16:30 Eggsy “Sorry. Gary Unwin.” Eggsy 331 00:19:04 Eggsy “You can’t talk to me like that.” Eggsy 438 00:24:12 Eggsy’s

Mom “Don’t hurt him.” Eggsy

468

00:25:01 Harry Hart

“So I suggest you leave the boy alone.”

Eggsy

v. Professor Arnold

As an anaphoric reference, ‘Professor Arnold’ is mentioned before the

pronouns. In this movie, the word ‘Professor Arnold’ is first mentioned by Harry

Hart in minutes 00:04:56: “I’m so sorry, Professor Arnold.” It shows that the

word ‘Professor Arnold’ is spoken earlier than when the kidnapper said, “I am

under very strict instructions not to hurt you.” in minutes 00:05:04.

No Minutes Speaker Utterance Referent 71 00:05:04 Kidnapper “I am under very strict

instructions not to hurt you.” Professor Arnold

74 00:05:09 Prof. Arnold

“I am university lecturer.” Professor Arnold

88 00:06:17 James “Professor Arnold, I’m here to take you home.”

Professor Arnold

153 00:10:47 Merlin “This is his last transmission.” Professor Arnold

155

00:10:58 Harry Hart “But what’s curious, is he’s not actually missing.”

Professor Arnold

vi. Arthur and Galahad

As an anaphoric reference, ‘Arthur and Galahad’ is mentioned before the

pronouns. In this movie, the word ‘Arthur and Galahad’ is first mentioned by

Harry Hart in minutes 00:09:10: “Arthur.” and by Arthur in minutes 00:09:11:

“Galahad.” It shows that the word ‘Arthur and Galahad’ is spoken earlier than

when Harry Hart said, “The others were beginning to wonder if we were going to

have a double toast.” in minutes 00:02:22.


25

No Minutes Speaker Utterance Referent 116 00:09:14 Harry Hart “The others were beginning to

wonder if we were going to have a double toast.”

Arthur and Galahad

137 00:10:08 Merlin “Glasses, gentlemen. Please.” Arthur and Galahad

140 00:10:16 Merlin “You put it in the water supply of a guerrilla army base.”

Arthur and Galahad

vii. Arthur

As an anaphoric reference, ‘Arthur’ is mentioned before the pronouns. In

this movie, the word ‘Arthur’ is first mentioned by Harry Hart in minutes

00:09:10: “Arthur.” It shows that the word ‘Arthur’ is spoken earlier than when

Arthur said, “Gentlemen, I am thankful to say that it’s been 17 years… since we

last had occasion.” in minutes 00:02:22.

No Minutes Speaker Utterance Referent 118 00:09:21 Arthur “Gentlemen, I am thankful to say

that it’s been 17 years… since we last had occasion.”

Arthur

180 00:11:37 Harry Hart

“With respect, Arthur, you’re a snob.”

Arthur

181 00:11:37 Harry Hart

“With respect, Arthur, you’re a snob.”

Arthur

viii. Synthetic Cathinone

As an anaphoric reference, ‘synthetic cathinone’ is mentioned before the

pronouns. In this movie, the word ‘synthetic cathinone’ is first mentioned by

Merlin in minutes 00:10:10: “Uganda, 2012. Synthetic Cathinone.” It shows that

the word ‘Synthetic’ is spoken earlier than when Merlin said, “You put it in the

water supply of a guerrilla army base.” in minutes 00:10:16.

No Minutes Speaker Utterance Referent 141 00:10:16 Merlin “You put it in the water supply of a

guerrilla army base.” Synthetic Cathinone


26

ix. Kingsman agents

As an anaphoric reference, ‘Kingsman agents’ is mentioned before the

pronouns. In this movie, the word ‘Kingsman agents’ is first mentioned by Merlin

in minutes 00:09:30: “Lancelot was an outstanding agent and a true Kingsman.”

It shows that the word ‘Kingsman agents’ is spoken earlier than when Arthur said,

“I want each of you to propose a candidate and have them report to UK HQ no

later than 9 p.m.” in minutes 00:09:48.

No Minutes Speaker Utterance Referent 126 00:09:48 Arthur “I want each of you to propose a

candidate and have them report to UK HQ no later than 9 p.m.”

Kingsman’s agents

148 00:10:30 Merlin “Indisputable, the work of our mercenaries but no trace of any chemicals of any kind.”

Kingsman’s agents

x. A group of mercenaries

As an anaphoric reference, ‘a group of mercenaries’ is mentioned before the

pronouns. In this movie, the word ‘a group of mercenaries’ is first mentioned by

Merlin in minutes 00:10:30: “Indisputable, the work of our mercenaries but no

trace of any chemicals of any kind.” It shows that the word ‘A group of

mercenaries’ is spoken earlier than when Merlin said, “He tracked them to this

property in Argentina.” in minutes 00:10:34.

No Minutes Speaker Utterance Referent 151 00:10:34 Merlin “He tracked them to this property

in Argentina.”

A group of mercenaries

155 00:10:40 Merlin “And while he had them under surveillance, he became aware that they had effected a kidnapping.”

A group of mercenaries


27

xi. Harry Hart

As an anaphoric reference, ‘Harry Hart’ is mentioned before the pronouns.

In this movie, the word ‘Harry Hart’ is first mentioned by Harry Hart in minutes

00:18:18: “My name is Harry Hart.” It shows that the word ‘Harry Hart’ is

spoken earlier than when Arthur said, “It’s all yours.” in minutes 00:11:06.

No Minutes Speaker Utterance Referent 164 00:11:06 Arthur “It’s all yours.” Harry Hart 303 00:18:21 Harry

Hart “And I gave you that medal.” Harry Hart

306 00:18:23 Harry Hart

“Your father saved my life.” Harry Hart

307 00:18:28 Eggsy “So before you was a tailor, was you in the army.”

Harry Hart

315 00:18:40 Eggsy “But my dad saved your life, yeah?”

Harry Hart

398 00:20:31 Rott “You should get out of the way, Granddady, or you’ll get hurt a lot.”

Harry Hart

407 00:21:13 Harry Hart

“Then let me teach you a lesson.” Harry Hart

453 00:24:37 Dean “I want to know his fucking name.” Harry Hart

xii. Galahad

As an anaphoric reference, ‘Galahad’ is mentioned before the pronouns. In

this movie, the word ‘a ‘Galahad’ is first mentioned by Arthur in minutes

00:09:11: “Galahad.” It shows that the word ‘Galahad’ is spoken earlier than

when Arthur said, “Let’s face it, Galahad.” in minutes 00:11:31.

No Minutes Speaker Utterance Referent 178 00:11:31 Arthur “Let’s face it, Galahad.” Galahad 179 00:11:32 Arthur “Your little experiment failed.” Galahad

xiii. Whistler’s paper

As an anaphoric reference, ‘whistler’s paper’ is mentioned before the

pronouns. In this movie, the word ‘whistler’s paper’ is first mentioned by Eggsy’s


28

Mom in minutes 00:12:11: “Got any whistler’s papers?” It shows that the word

‘whistler’s paper’ is spoken earlier than when Harry Hart said, “Get em yourself!”

in minutes 00:12:19.

No Minutes Speaker Utterance Referent 188 00:12:19 Eggsy “Get em yourself!” Whistler’s

paper 196 00:12:28 Dean “Why don’t you take this and get

the stuff and get yourself some sweets?”

Whistler’s paper

xiv. Eggsy’s Mom

As an anaphoric reference, ‘Eggsy’s Mom’ is mentioned before the

pronouns. In this movie, the word ‘Eggsy’s Mom’ is first mentioned by Harry

Hart in minutes 00:04:13: “And take care of your mom too.” It shows that the

word ‘Eggsy’s mom’ is spoken earlier than when Eggsy’s mom said, “What I’d

say to you about speaking to Dean like that?” in minutes 00:12:21.

No Minutes Speaker Utterance Referent 189 00:12:21 Eggsy’s

Mom “What’d I say to you about speaking to Dean like that?”

Eggsy’s mom


“If he treats your mum so bad, why doesn’t she leave him?”

Eggsy’s mom


“That’s her problem.” Eggsy’s mom

xv. Dean

As an anaphoric reference, ‘Dean’ is mentioned before the pronouns. In this

movie, the word ‘Dean’ is first mentioned by Eggsy’s Mom in minutes 00:12:21:

“What’d I say to you about speaking to Dean like that?” It shows that the word

‘Dean’ is spoken earlier than when Eggsy said, “Why don’t Dean’s poodle go?”

in minutes 00:12:24.


29

No Minutes Speaker Utterance Referent 192 00:12:24 Eggsy “Why don’t Dean’s poodle go?” Dean 193 00:12:27 Dean “I’ll say you what?” Dean 203 00:12:39 Mom “Thanks babe. Here we go.” Dean 204 00:13:08 Eggsy’s

friend 1 “If he treats your mum so bad, why doesn’t she leave him?”

Dean


“If he treats your mum so bad, why doesn’t she leave him?”

Dean


“One of this days I’m gonna smash his face in.”

Dean

256 00:14:55 Rott “and so he’s disrespecting you.” Dean 446 00:24:26 Dean “Fucking tell me his name.” Dean 462

00:24:55 Harry Hart

“I have enough evidence on your activities to have you locked up for the rest of your life.”

Dean

465

00:24:59 Harry Hart

“Mister Dean Anthony Baker.” Dean

xvi. Dean and Eggsy

As an anaphoric reference, ‘Dean and Eggsy’ is mentioned before the

pronouns. In this movie, the word ‘Dean’ is first mentioned by Eggsy’s Mom in

minutes 00:12:21: “What’d I say to you about speaking to Dean like that?” While

the word ‘Eggsy’ is first mentioned by Eggsy in minutes 00:03:53: ”Eggsy.” It

shows that the word ‘Dean and Eggsy’ is spoken earlier than when Dean said,

“And while you’re gone, we’ll show your mother if we can be a good family.” in

minutes 00:12:32.

No Minutes Speaker Utterance Referent 200 00:12:32 Dean “And while you’re gone, we’ll

show your mother if we can be a good family.”

Eggsy and Dean

xvii. Dean, Eggsy, Eggsy’s Mom

As an anaphoric reference, ‘Dean, Eggsy and Eggsy’s Mom’ is mentioned

before the pronouns. In this movie, the word ‘Dean’ is first mentioned by Eggsy’s

Mom in minutes 00:12:21: “What’d I say to you about speaking to Dean like


30

that?” While the word ‘Eggsy’ is first mentioned by Eggsy in minutes 00:03:53:

”Eggsy.” The last is the word ‘Eggsy’s Mom’ is first mentioned by Harry Hart in

minutes 00:04:13: “And take care of your mom too.” It shows that the word

‘Dean, Eggsy, and Eggsy’s mom’ is spoken earlier than when Dean said, “And

while you’re gone, we’ll show your mother if we can be a good family.” in

minutes 00:12:34.

No Minutes Speaker Utterance Referent 202 00:12:34 Dean “And while you’re gone, we’ll

show your mother if we can be a good family.”

Dean, Eggsy, and Eggsy’s Mom

xviii. Eggsy’s father

As an anaphoric reference, ‘Eggsy’s father’ is mentioned before the

pronouns. In this movie, the word ‘Eggsy’s father’ is first mentioned by Harry

Hart to Eggsy in minutes 00:18:23: “Your father saved my life.” It shows that the

word ‘Eggsy’s father’ is spoken earlier than when Harry Hart said, “And if it

weren’t for his courage, my mistake would have cost the lives of every man

present.” in minutes 00:18:47.


Hart “And if it weren’t for his courage, my mistake would have cost the lives of every man present.”

Eggsy’s father

324 00:18:52 Harry Hart

“So, I owe him.” Eggsy’s father

328 00:19:00 Harry Hart

“And having read your files, I’d think he’d be bitterly disappointed in the choices you’ve made.”

Eggsy’s father

xix. Eggsy’s huge IQ and great performance

As an anaphoric reference, ‘Eggsy’s Huge IQ and great performance’ is

mentioned before the pronouns. In this movie, the word ‘Eggsy’s Huge IQ and


31

great performance’ is first mentioned by Harry Hart in minutes 00:19:17: “Huge

IQ, great performance in primary school.” It shows that the word ‘Eggsy’s

hhuge IQ and great performance’ is spoken earlier than when Harry Hart said,

“And it all went tits up.” in minutes 00:19:09.


Hart “And it all went tits up.” Eggsy’s huge

IQ and great performance in primary school

xx. Eggsy and Harry Hart

As an anaphoric reference, ‘Eggsy and Harry Hart’ is mentioned before the

pronouns. In this movie, the word Eggsy and Harry Hart’ is first mentioned by

‘Eggsy’ is first mentioned by Eggsy in minutes 00:03:53: ”Eggsy.” While the

word ‘Harry Hart’ is first mentioned by Harry Hart in minutes 00:18:18: “My

name is Harry Hart.” It shows that the word ‘Eggsy and Harry Hart’ is spoken

earlier than when Eggsy said, “Nonsense, we haven’t finished our drinks” in

minutes 00:20:06.

No Minutes Speaker Utterance Referent 374 00:20:06 Eggsy “Nonsense, we haven’t finished our

drinks.” Eggsy and Harry Hart

375 00:20:06 Eggsy “Nonsense, we haven’t finished our drinks

Eggsy and Harry Hart

394 00:20:23 Harry Hart

“I would appreciate it enormously if you could just leave us in peace.”

Eggsy and Harry Hart

xxi. Dean’s Poodle

As an anaphoric reference, ‘Dean’s Poodle’ is mentioned before the

pronouns. In this movie, the word ‘Dean’s Poodle’ is first mentioned by Eggsy in

minutes 00:12:24: “Why don’t Dean’s poodle go?” It shows that the word


32

‘Dean’s poodle’ is spoken earlier than when Poodle said, “After you nicked his

car, Dean says you’re a fair guy I don’t give a shit what your mum says.” in

minutes 00:20:10.

No Minutes Speaker Utterance Referent 381 00:20:10 Poodle “After you nicked his car, Dean

says you’re a fair guy I don’t give a shit what your mum says.”

Dean’s Poodle

xxii. Another rent boy

As an anaphoric reference, ‘Another rent boy’ is mentioned before the

pronouns. In this movie, the word ‘Another rent boy’ is first mentioned by Dean’s

Poodle in minutes 00:20:45: “If you’re looking for another rent boy, they’re on

the corner of Smith’s Street.” It shows that the word ‘another rent boy’ is spoken

earlier than when Poodle said, “If you’re looking for another rent boy, they’re on

the corner of Smith’s Street.” in minutes 00:20:46.

No Minutes Speaker Utterance Referent 404 00:20:46 Poodle “If you’re looking for another rent

boy, they’re on the corner of Smith’s Street.”

Another rent boy

xxiii. One thing Eggsy can do

As an anaphoric reference, ‘One thing Eggsy can do’ is mentioned before

the pronouns. In this movie, the word ‘One thing I can do’ is first mentioned by

Eggsy in minutes 00:23:15: “If there is one thing I can do, it’s keep my mouth

shut.” It shows that the word ‘one thing Eggsy can do’ is spoken earlier than when

Eggsy said, “If there is one thing I can do, it’s keep my mouth shut.” in minutes

00:23:15.


33

No Minutes Speaker Utterance Referent 422 00:23:15 Eggsy “If there is one thing I can do, it’s

keep my mouth shut.” One thing Eggsy can do

xxiv. Valentine

As an anaphoric reference, ‘Valentine’ is mentioned before the pronouns. In

this movie, the word ‘Valentine’ is first mentioned by the news reporter in

minutes 00:23:32: “In celebrity news, The Richmond Valentine movie premiered

in Hollywood, last night.” It shows that the word ‘Valentine’ is spoken earlier

than when the news reporter said, “The story internet billionaire’s rise to power

is expected to be this award season’s hot ticket.” in minutes 00:23:35.

No Minutes Speaker Utterance Referent 434 00:23:35 The news

reporter “The story of internet billionaire’s rise to power is expected to be this award season’s hot ticket.”

Valentine

xxv. Dean’s capability to kill Eggsy

As an anaphoric reference, ‘Dean’s capability to kill Eggsy’ is mentioned

before the pronouns. In this movie, the word ‘Dean’s capability to kill Eggsy’ is

first mentioned by Dean in minutes 00:24:51: “I could kill you right now and I

would in the old world, you know it.” It shows that the word ‘Dean’s capability to

kill Eggsy’ is spoken earlier than when Dean said, “I could kill you righy now and

I would in the old world, you know it.” in minutes 00:24:51.

No Minutes Speaker Utterance Referent 458 00:24:51 Dean “I could kill you right now and I

would in the old world, you know it.”

Dean’s capability to kill Eggsy


34

xxvi. Criminal evidence of Dean

As an anaphoric reference, ‘Criminal Evidence of Dean’ is mentioned

before the pronouns. In this movie, the word ‘Evidence’ is first mentioned by

Harry Hart in minutes 00:24:54: “I have enough evidence on your activities to

have you locked up for the rest of your life.” It shows that the word ‘criminal

evidence of Dean’ is spoken earlier than when Lancelot said, “Or I shall be forced

to deliver it to the appropriate authorities.” in minutes 00:25:02.

No Minutes Speaker Utterance Referent 470 00:25:02 Lancelot “Or I shall be forced to deliver it to

the appropriate authorities.” Criminal evidence of Dean

The previous twenty six referents showed the referents that come before the

pronouns in an utterance.

b. Cataphora

There are nine cataphoric referents found in act 1:

i. Galahad

As a cataphoric reference, ‘Galahad’ is mentioned after the pronouns. In this

movie, the word ‘Galahad’ is first mentioned by Arthur in minutes 00:09:11:

“Galahad.” It shows that the word ‘Galahad’ is spoken later than when Harry

Hart said, “I will count from one to ten.” in minutes 00:01:40.

No Minutes Speaker Utterance Referent 7 00:01:40 Harry Hart “I will count from one to ten.” Galahad 9 00:01:49 Harry Hart “Within that you’ll tell me

what I wanna know” Galahad

14 00:02:23 Harry Hart “How did I fucking miss it.” Galahad 24 00:02:48 James “Sir.” Galahad 31 00:03:07 Eggsy’s Mom “… if you won’t tell me

anything?” Galahad

55 00:03:38 Eggsy’s Mom “I don’t want your help.” Galahad


35

ii. Eggsy’s father

As a cataphoric reference, ‘Eggy’s father’ is mentioned after the pronouns.

In this movie, the word ‘Eggsy’s father’ is first mentioned by Harry Hart to Eggsy

in minutes 00:18:23: “Your father saved my life.” It shows that the word ‘your

father’ is spoken later than when Harry Hart said, “You trained him well.” in

minutes 00:02:34.

No Minutes Speaker Utterance Referent 20 00:02:34 Harry Hart “You trained him well.” Eggsy’s

Father 27 00:03:01 Harry Hart “I very much regret that your

husband’s bravery can’t be publicly celebrated.”

Eggsy’s Father

34

00:03:10 Mom “I didn’t even know he was away with his squad.”

Eggsy’s father

35

00:03:11 Mom “I didn’t even know he was away with his squad.”

Eggsy’s father

iii. Eggsy’s Mom

As a cataphoric reference, ‘Eggsy’s mom’ is mentioned after the pronouns.

In this movie, the word ‘Eggsy’s Mom’ is first mentioned by Harry Hart in

minutes 00:04:13: “And take care of your mom too.” It shows that the word

‘Eggsy’s mom’ is spoken later than when Harry Hart said, “I hope you

understand.” in minutes 00:03:04.

No Minutes Speaker Utterance Referent 29 00:03:04 Harry Hart “I hope you understand.” Eggsy’s mom30 00:03:06 Eggsy’s

Mom “How can I understand...” Eggsy’s mom

32 00:03:07 Eggsy’s Mom

“… if you won’t tell me anything?”

Eggsy’s mom

48 00:03:30 Harry Hart “The nature of it is your choice Eggsy’s Mom

53 00:03:36 Harry Hart “And then I’ll know it’s you.” Eggsy’s mom57 00:03:41 Mom “I want my husband back.” Eggsy’s mom


36

iv. Eggsy

As a cataphoric reference, ‘Eggsy’ is mentioned after the pronouns. In this

movie, the word ‘Eggsy’ is first mentioned by Eggsy in minutes 00:03:53:

“Eggsy.” It shows that the word ‘Eggsy’ is spoken later than when Harry Hart

said, “What’s your name, young man?” in minutes 00:03:52.

No Minutes Speaker Utterance Referent 58 00:03:52 Harry Hart “What’s your name, young man?” Eggsy 59 00:03:52 Harry Hart “What’s your name, young

man?” Eggsy

181 00:12:16 Dean “Why don’t you do your mamma a favor?”

Eggsy

v. The instruction not to hurt Professor Arnold

As a cataphoric reference, ‘the instruction not to hurt Professor Arnold’ is

mentioned after the pronouns. In this movie, the word ‘the instruction not to hurt

Professor Arnold’ is first mentioned by the kidnapper in minutes 00:05:02: “I am

under very strict instructions not to hurt you.” It shows that the word ‘the

instruction not to hurt Professor Arnold’ is spoken later than when the kidnapper

said, “I am under very strict instruction not to hurt you.” in minutes 00:05:02.

No Minutes Speaker Utterance Referent 70 00:05:02 Kidnapper “I am under very strict

instructions not to hurt you” The instructions not to hurt Prof. Arnold

vi. Valentine

As a cataphoric reference, ‘Valentine’ is mentioned after the pronouns. In




37

in Hollywood, last night.” It shows that the word ‘Valentine’ is spoken later than

when the kidnapper said, “He’ll be here soon.” in minutes 00:05:17.

No Minutes Speaker Utterance Referent 82 00:05:17 Kidnapper “He’ll be here soon.” Valentine 96 00:07:51 Valentine “My kind welcome.” Valentine 97 00:08:02 Valentine “I mean, literally.” Valentine 99 00:08:02 Valentine “I see one drop of blood, that is

me… done.” Valentine

vii. Valentine and Professor Arnold

As a cataphoric reference, ‘Valentine’ is mentioned after the pronouns. In



in Hollywood, last night.” While, ‘Professor Arnold’ is mentioned by Harry Hart

in minutes 00:04:56: “I’m so sorry, Professor Arnold.” It shows that the word

‘Valentine and Professor Arnold’ is spoken later than when Valentine said,

“Listen, I’m so sorry you had to witness all of this unpleasantness due to our

uninvited guess.” in minutes 00:08:15.

No Minutes Speaker Utterance Referent 103 00:08:15 Valentine “Listen, I’m so sorry you had to

witness all of this unpleasantness due to our uninvited guest.”

Valentine and Professor Arnold

viii. Arthur

As a cataphoric reference, ‘Arthur’ is mentioned after the pronouns. In this

movie, the word ‘Arthur’ is first mentioned by Harry Hart in minutes 00:09:10:

“Arthur.”

No Minutes Speaker Utterance Referent 111 00:08:59 Galahad’s

assistant“Arthur is in the dining room, Sir!”

Arthur


38

ix. Harry Hart

As a cataphoric reference, ‘Harry Hart’ is mentioned after the pronouns. In

this movie, the word ‘Harry Hart’ is first mentioned by Harry Hart in minutes

00:18:18: “My name is Harry Hart.” It shows that the word ‘Harry Hart’ is

spoken later than when Eggsy said, “Who are you?” in minutes 00:18:11.

No Minutes Speaker Utterance Referent 299 00:18:11 Eggsy “Who are you?” Harry Hart 300 00:18:13 Harry Hart “The man who got you

released.” Harry Hart

301 00:18:18 Harry Hart “My name is Harry Hart.” Harry Hart

The previous referents that are mentioned above are the referents that come

after the pronouns in an utterance.

2. Exophora

There are sixteen exophoric referents found in act 1:

i. An aircraft code name

‘Zero One Alpha’ is known as the name of the plane because every aircraft,

including military aircraft must have an aircraft registration (faa.gov, 2016).

No Minutes Speaker Utterance Referent 1 00:01:40 Pilot “This is Zero One Alpha.” Pilot and co-

pilot

ii. Pilot and Co-pilot

Visually, the one who spoke is someone who operates the aircraft (a pilot).

Thus, the person who accompanied the pilot is a co-pilot.

No Minutes Speaker Utterance Referent 2 00:01:41 Pilot “We have secured the Falcon.” Pilot and co-

pilot


39

iii. The enemy’s aircraft

‘The Falcon’ refers to F-16 aircraft made by Lockheed Martin, a global

security and aerospace company (Losinger, 2016).

No Minutes Speaker Utterance Referent 3

00:01:41 Pilot “We have secured the Falcon.” The enemy’s

aircraft

iv. Pilot

No Minutes Speaker Utterance Referent 4 00:01:42 Pilot “I say again, we have secured the

Falcon” Pilot

v. Tape

Visually ‘it’ refers to the tape that is used to cover Professor Arnold’s

mouth.

No Minutes Speaker Utterance Referent 68 00:04:59 Prof.

Arnold “Oh for God’s sakes, just take it off.”

Tape

vi. Kidnapping Professor Arnold

‘A mistake’ refers to the decision of kidnapping Professor Arnold.

No Minutes Speaker Utterance Referent 73 00:05:06 Prof.

Arnold “Look, you’ve made a mistake.” Kidnapping

Professor Arnold

vii. A group of hired soldiers that serve merely for wages who were

experimenting with biological weaponry

According to britannica.com, a mercenary is known as a hired professional

soldier who fights for any state or nation without regard to political interest or

issues (2016).


40

No Minutes Speaker Utterance Referent 134 00:10:03 Arthur “Lancelot was investigating a

group of mercenaries who were experimenting with biological weaponry.”

A group of hired soldiers that serve merely for wage

viii. An amphetamine

Synthetic cathinone or human-made drugs chemically related to cathinone,

are usually in form of a white or brown crystal-like powder and are labeled “not

for human consumption”, since it is chemically similar to amphetamines, cocaine,

and MDMA and may produce similar effects on the brain. The consumption of the

drugs can cause nosebleeds, paranoia, and hallucinations, increases sociability,

sex drive, and shows any panic attacks (drugsabuve.gov, 2016).

No Minutes Speaker Utterance Referent 139 00:10:10 Merlin “Uganda, 2012. Synthetic

cathinone” An amphetamine

ix. Cigarette

Whister’s paper is the slang language of cigarette.

No Minutes Speaker Utterance Referent 184 00:12:11 Eggsy’s Mom “Got any whistler’s

paper?” Cigarette

x. The policeman

Foxes here are not known as animal but the slang language represents the

policemen chasing Eggsy and his friends in a high speed as fast as foxes chase its

prey.

No Minutes Speaker Utterance Referent 257 00:15:43 Eggsy “Foxes are vermin, cuz.” The

policeman


41

xi. Disturber

Vermin here is not denotatively known as a crop vermin, but it represents an

annoying people like the policemen who chased Eggsy and his friends.

No Minutes Speaker Utterance Referent 258 00:15:43 Eggsy “Foxes are vermin, cuz.” Disturber

xii. The password of Kingsman’s SOS

After Eggsy mentioned the password (when he made a call to the number

given by Harry Hart), the operator surprisingly recognized the code of SOS which

is only known and understood by the Kingsman’s agent.

No Minutes Speaker Utterance Referent 290 00:17:17 Eggsy “Oxford’s not Brogue’s?” The password

of Kingsman’s SOS

xiii. A bad emotional condition

When Harry Hart uttered the statement, he just has had sensitive emotional

condition for his day, so he will be really easier to get angry when someone

disturbs him.


Hart “I have had a rather emotional day, so whatever your beef with Eggsy is and I’m sure it’s well founded…”

A bad emotional condition

xiv. A beer

A Guinness beer is an Irish dry stout produced by Diageo that originated in

the brewery of Arthur Guinness at St. James’ Gate, Dublin (guinness.com, 2016)


Hart “Until I finish this lovely pint of Guinness.”

A beer


42

xv. An old British philosophy

‘Manner maketh man’ is an old British philosophy firstly created by

William of Wykeham, and it is used as the motto of Winchester College and New

College in Oxford, UK (House, 2016). The philosophy means ‘having manners,

being considered, and treating people with respect are the things that define a

man.’


Hart “Manners maketh man.” An old

British philosophy

xvi. Australian famous singer

Iggy Azalea is a public figure well-known for her career as a singer. She is

also known as an Australian rapper, actress, songwriter, model and director

(jewelnight.com, 2016).


reporter “...Iggy Azalea, still missing three days after…”

Australian famous singer

The referents mentioned above are the referents that the information of the

referents do not appear in the speaker utterance, but shown from the story context,

speaker’s gestures or from the speaker’s body language.

B. The Inference Needed to Find the Referents of the Person Deixis Occur

in the Kingsman: The Secret Service Movie


Dewing, & Perini, 2012). The inference is the background knowledge that the


43

audience will need in order to understand what the characters are talking about.

Thus, the inference has something to do with the finding of the referents. By

having the certain inference, the audience can relate the referents that occur in the

movie. From the movie, the writer found five major fields that the audience

probably needs to identify the entity of the person deixis’ referents that occur in

the Kingsman: The Secret Service movie, they are:

1. Drugs Terms

Drug (noun) is something and often an illegal substance that causes addict

habituation, or a marked change in consciousness (Merriam Webster, 2008).

According to the definition, the following items are surely included as drugs

terms.

a. Synthetic Cathinone

Synthetic cathinone or human-made drugs chemically related to cathinone, a

stimulant found in the ‘khat’ plant. ‘Khat’ itself is a shrub grown in East Africa

and Southern Arabia and people sometimes chew its leaves for their mild

stimulant effects.

Synthetic cathinones are usually in form of a white or brown crystal-like

powder and are labeled “not for human consumption”, since it is chemically

similar to amphetamines, cocaine, and MDMA and may produce similar effects

on the brain (drugabuse.com, 2016). People who consume this kind of drugs

usually swallow, snort, smoke, or inject the drugs directly to their body. The

activity can cause nosebleeds, paranoia, and hallucinations. Other than that, the

consumption of synthetic cathinones can increase sociability, sex drive, and show


44

any panic attacks. This also can cause death since currently there is no

medications to treat the addiction to synthetic cathinone.

No Minutes Speaker Utterance Referent

135 00:10:10 Merlin “Uganda, 2012. Synthetic Cathinone.”

An amphetamine

2. Military Terms

Military (adjective) is of or relating to soldiers or the armed forces (such as

the army, navy, marines, and air forces) (Merriam Webster, 2008). The definition

shows that the following items are clearly included as military terms.

a. Zero One Alpha

‘Zero One Alpha’ is known as the name of the plane because every aircraft,

including military aircraft must have an aircraft registration (faa.gov, 2016). Thus,

in this movie, Zero One Alpha is defined as the aircraft registration name.

No Minutes Speaker Utterance Referent 1 00:01:40 Pilot “This is Zero One Alpha.” Pilot and co-

pilot

b. The Falcon

In this movie, by seeing the context of the utterance, the aircraft that is

operated by the enemy is called The Falcon. ‘The Falcon’ refers to a single-engine

supersonic multirole fighter aircraft that originally developed by General

Dynamics (currently known as Lockheed Martin), a global security and aerospace

company (Losinger, 2016).

No Minutes Speaker Utterance Referent 3

00:01:41 Pilot “We have secured the Falcon.” The enemy’s

aircraft


45

c. Mercenary

According to britannica.com, a mercenary is known as a hired professional

soldier who fights for any state or nation without regard to political interest or

issues.

No Minutes Speaker Utterance Referent 134 00:10:03 Arthur “Lancelot was investigating a

group of mercenaries who were experimenting with biological weaponry.”

A group of hired soldiers that serve merely for wage

d. The password of Kingsman’s SOS

After Eggsy mentioned the password (when he made a call to the number

given by Harry Hart), the operator surprisingly recognized the code of SOS which

is only known and understood by the Kingsman’s agent.

No Minutes Speaker Utterance Referent 290 00:17:17 Eggsy “Oxford’s not Brogue’s?” The password

of Kingsman’s SOS

3. Beverage Terms

Bevereage (noun) is something you can drink or a liquid for drinking

(Merriam Webster, 2008). From the definition, it is clear that the following item is

included as beverage term.

Guinness

A Guinness beer is an Irish dry stout produced by Diageo that originated in

the brewery of Arthur Guinness at St. James’ Gate, Dublin (guinness.com, 2016).


Hart “Until I finish this lovely pint of Guinness.”

A beer


46

4. British Proverb Terms

Proverb is a brief popular saying (such as “Too many cooks spoil the

broth”) that gives advice about how people should live or that expresses a belief

that is generally thought to be true (Merriam Webster, 2008). The previous

definition shows that the following item is assumed as an British proverb since it

expresses an event which is generally believed to be true.

Manners maketh man

‘Manner maketh man’ is an old British philosophy firstly created by

William of Wykeham, and it is used as the motto of Winchester College and New

College in Oxford, UK (House, 2016). The philosophy means ‘having manners,

being considered, and treating people with respect are the things that define a

man.’


Hart “Manners maketh man.” An old

British philosophy

5. Music Terms

Music is sounds that are sung by voices or played on musical instruments

(Merriam Webster, 2008). The following item is included as music term as it

relates to the one who sings the sounds.

Iggy Azalea

Iggy Azalea is a public figure well-known for her career as a singer. She is

also known as an Australian rapper, actress, songwriter, model and director

(jewelnight.com, 2016).


47


reporter “...Iggy Azalea, still missing three days after…”

Australian famous singer


48

CHAPTER V

CONCLUSION

The goal of this study was to analyze the person deixis occur in Kingsman:

The Secret Service movie. There were two formulated problems to be solved: (1)

What are the referents of person deixis occur in the Kingsman: The Secret Service

movie? and (2) What are the inferences needed to identify the referents of person

deixis occur in Kingsman: The Secret Service movie?

In answering the previous questions, the writer has to collect and analyze

the data needed for this study. The data was gathered from the Kingsman: The

Secret Service movie script from the internet. Before stepping further, the writer

validated the script by watching the movie. Then, due to the need and the focus of

this study, the writer limited the data into one act only, which is introduction part

of the movie.

After that, the writer specified the gathered data into the utterances that

include person deixis. From the specified data, the writer found 480 utterances

which involve person deixis in it. Then, the writer classified those 480 utterances’

references into three major categories: (1) anaphora, (2) cataphora, and (3)

exophora. The classification is done by giving a tick (√) into the destined table.

The last step of the study is finding the inference that is needed by the

audience in order to find its referent. In finding the inference, the writer looked up

the dictionary to define the items that included as inference that is needed by the

audience to help them understand more about the topic being spoken by the


49

characters in the movie. After that, the writer decided or classified the items (what

item included as what terms). The definition of each term helped the writer in the

classification of the items.

In this study, as the result of the analysis, the writer found twenty six

anaphoric references, nine cataphoric references, and sixteen exophoric

references. The writer also found that there are five (5) fields that are needed to

help the audience to understand what the characters are talking about: (1) Drugs

Terms, (2) Military Terms, (3) Beverage Terms, (4) British Proverb Terms, and

(5) Music Terms.

In conclusion, by having clear references, referents, and inferences, the

writer wants to prevent the audiences’ misunderstanding or misinterpreting of the

story line. The audiences are eased by the provided data and findings in the study.


50

BIBLIOGRAPHY

Asprey, Robert Brown. “Guerrilla Warfare.”. n.p. 2016. (www.britannica.com/topic/guerrilla-warfare). September 14, 2016.

Azar, Betty Schrampfer. Understanding and Using English Grammar. New York: Longman, 1999.

Britannica.com. Mercenary Soldier. 2016.(www.britannica.com/topic/mercenary). September 14, 2016.

Cutting, Joan. Pragmatics and Discourse: A resource book for students. Florence, KY, USA: Routledge, 2002.

Dewi, Silvia Kurnia. The Study of Person Deictic Shift from Dreamgirls Soundtrack Enttled It’s All Over. Yogyakarta: Sanata Dharma University, 2012.

Drugabuse.com. DrugFacts: Synthetic Cathinone (“Bath Salts”). 2016. (www.drugabuse.gov/publications/drugfacts/synthetic-cathinone-bathsalts). August 13, 2016.

Faa.gov. Aircraft Certification. 2016. (www.faa.gov). September 1, 2016.

Guinness.com. Our Craft: The Art of Brewing Guinness. 2016. (www.guinness.com/en-us/our-craft/art-of-brewing-guinness). August 13, 2016.

House, Light. ‘Manners Maketh Man’-Origin, Meaning, Expansion, Importance. 2016. (www.importantindia.com). September 5, 2016.

Imdb.com. Kingmsan: The Secret Service (2014) Awards. 2016. (www.imdb,com/title/tt2802144/awards). March 20, 2016.

Jewelnight.com. Iggyazalea. 2016. (www.jewelnightclub.com/artist/iggy-azalea/). September 14, 2016.

Kingsman: The Secret Service Quotes. Movie Quotes and More. (www.moviequotesandmore.com/kingmsan-the-secret-service-quotes-1/. February 16, 2016.

Kreidler. Introducing English Semantics. London: Routledge, 1998.

Leech, G. Principle of Pragmatics. Essex: Longman Group Limited, 1983.

Levinson, Stephen C. Pragmatics. Cambridge: Cambridge University Press, 1983


51

Losinger, John. “F-16 Fighting Falcon”. Lockheedmartin. n.p. n.d. September 4, 2016.

Lyons, John. Linguistics Semantic: An Introduction. Cambridge: Cambridge University Press, 1995.

Meliani, Agustina. The Study of Deixis in ten stories taken from the book of a 2nd Helping of Chicken Soup for The Soul. Surabaya: Petra Christian University, 2002.

Merriam-Webster’s Advanced Learner’s Dictionary. USA: Merriam-Webster, Inc, 2008.

Moura, Gabe. The Three-Act Structure. Element of Cinema. 2014. (www.element ofcinema.com/screenwriting/three-act-structure. September 13, 2016.

Rachmawati, Ike Endah. The Use of Person Deixis in Relation to Politeness Function. Semarang: Diponegoro University, 2007.

Silver, H.F, Dewing, T.R, Perini, M.J. Inference: Teaching Students to Develop Hypotheses, Evaluate Evidence,and Draw Logical Conclusions. Alexandria, VA: ASCD, 2012.

Yule, George. Pragmatics. New York: Oxford, 2007.


52

APPENDIX


No.

M

inu

tes

Spea

ker

U

tter

ance

R

efer

ence

R

efer

ent

En

dop

hor

a E

xo

An

a C

ata

1 00

:01:

40

Pilo

t “T

his

is Z

ero

On

e A

lph

a.”

√ T

he a

ircr

aft’

s co

de n

ame

2 00

:01:

41

Pilo

t “W

e ha

ve s

ecur

ed th

e F

alco

n.”

√ T

he p

ilot

and

the

co-p

ilot

3

00:0

1:41

P

ilot

“Weh

ave

secu

red

the

Fal

con

.”

√ T

he e

nem

y’s

airc

raft

4

00:0

1:42

P

ilot

“I s

ay a

gain

, we

have

sec

ured

the

Fal

con”

√

The

pil

ot

5 00

:01:

42

Pilo

t “I

say

aga

in, w

e ha

ve s

ecur

ed th

e F

alco

n.”

√ T

he p

ilot

and

the

co-p

ilot

6

00:0

1:42

P

ilot

“I s

ay a

gain

, weh

ave

secu

red

the

Fal

con

.”

√ T

he e

nem

y’s

airc

raft

7

00:0

1:49

H

arry

Har

t “I

will

cou

nt f

rom

one

to te

n.”

√

G

alah

ad

8 00

:01:

49

Har

ry H

art

“Wit

hin

that

you

’ll t

ell m

e w

hat I

wan

na

know

.”

√

The

terr

oris

t

9 00

:01:

49

Har

ry H

art

“Wit

hin

that

you

’ll t

ell m

e w

hat I

wan

na

know

.”

√

G

alah

ad

10

00:0

1:50

H

arry

Har

t “W

ithi

n th

at y

ou’l

l tel

l me

wha

t Iw

anna

kn

ow.”

√

Gal

ahad

11

00:0

1:52

H

arry

Har

t “O

ther

wis

e, th

e nu

mbe

r te

n is

the

last

thin

g yo

u’l

l hea

r.”

√ T

he te

rror

ist

12

00:0

2:12

E

ggsy

’s

fath

er

“Gre

nad

e. G

et b

ack.

”

√

An

expl

osiv

e w

eapo

n

13

00:0

2:22

H

arry

Har

t “F

ucki

ng m

isse

d it

.”

√

T

he g

rena

de

14

00:0

2:23

H

arry

Har

t “H

ow d

id I

fuc

king

mis

s it

.”

√

G

alah

ad

15

00:0

2:24

H

arry

Har

t “H

ow d

id I

fuc

king

mis

s it

.”

√

T

he g

rena

de

16

00:0

2:31

H

arry

Har

t “M

erlin

, I a

polo

gise

for

put

ting

you

in th

is

posi

tion

.”

√ M

erlin

17

00:0

2:31

H

arry

Har

t “M

erli

n, I

apo

logi

se f

or p

uttin

g yo

u in

this

√

Gal

ahad

53


posi

tion

.”

18

00:0

2:31

H

arry

Har

t “M

erli

n, I

apo

logi

se f

or p

utti

ng y

ou in

this

po

siti

on.”

√

Mer

lin

19

00:0

2:34

H

arry

Har

t “Y

ou tr

aine

d hi

m w

ell.”

√

Mer

lin

20

00:0

2:34

H

arry

Har

t “Y

ou tr

aine

d h

im w

ell.”

√

Egg

sy’s

Dad

21

00

:02:

42

Mer

lin

“Jam

es, y

our

trai

ning

is o

ver.

”

√

Jam

es

22

00:0

2:42

M

erlin

“J

ames

, you

r tr

aini

ng is

ove

r.”

√

Ja

mes

23

00

:02:

47

Har

ry H

art

“Wel

com

e to

Kin

gsm

an, L

ance

lot.

” √

Jam

es

24

00:0

2:48

Ja

mes

“S

ir.”

√

Gal

ahad

25

00

:02:

51

Har

ry H

art

“I’l

l dea

l wit

h th

is m

ess

pers

onal

ly.”

√

Gal

ahad

26

00

:03:

01

Har

ry H

art

“I v

ery

muc

h re

gret

that

you

r hu

sban

d’s

brav

ery

can’

t be

publ

icly

cel

ebra

ted.

”

√

Gal

ahad

27

00:0

3:01

H

arry

Har

t “I

ver

y m

uch

regr

et th

at y

our

husb

and

’s

brav

ery

can’

t be

publ

icly

cel

ebra

ted.

”

√

Egg

sy’s

Dad

28

00:0

3:04

H

arry

Har

t “I

hop

e yo

u un

ders

tand

.”

√

G

alah

ad

29

00:0

3:04

H

arry

Har

t “I

hop

e yo

u u

nder

stan

d.”

√

E

ggsy

’s M

om

30

00:0

3:06

M

om

“How

can

I u

nder

stan

d...”

√

Egg

sy’s

Mom

31

00

:03:

07

Mom

“…

ifyo

u w

on’t

tell

me

anyt

hing

?”

√

G

alah

ad

32

00:0

3:07

M

om

“… if

you

won

’t te

ll m

e an

ythi

ng?”

√

Egg

sy’s

Mom

33

00

:03:

10

Mom

“I

did

n’t e

ven

know

he

was

aw

ay w

ith h

is

squa

d.”

√

G

alah

ad

34

00:0

3:10

M

om

“I d

idn’

t eve

n kn

ow h

e w

as a

way

with

his

sq

uad.

”

√

Egg

sy’s

Dad

35

00:0

3:11

M

om

“I d

idn’

t eve

n kn

ow h

e w

as a

way

wit

h h

is

squa

d.”

√

E

ggsy

’s D

ad

36

00:0

3:13

H

arry

Har

t “I

’m s

o so

rry

I ca

n’t s

ay m

ore.

”

√

Gal

ahad

37

00

:03:

13

Har

ry H

art

“I’m

so

sorr

y I

can’

t say

mor

e.”

√

G

alah

ad

54


38

00:0

3:15

H

arry

Har

t “I

wou

ld li

ke to

pre

sent

you

wit

h th

is m

edal

of

val

or.”

√

Gal

ahad

39

00:0

3:15

H

arry

Har

t “I

wou

ld li

ke to

pre

sent

you

wit

h th

is m

edal

of

val

or.”

√

Egg

sy’s

Mom

40

00:0

3:19

H

arry

Har

t “I

f yo

u lo

ok c

lose

ly o

n th

e ba

ck, t

here

’s a

nu

mbe

r.”

√

E

ggsy

’s M

om

41

00:0

3:19

H

arry

Har

t “I

f yo

u lo

ok c

lose

ly o

n th

e ba

ck, t

here

’s

anu

mb

er.”

√

Kin

gsm

an’s

em

erge

ncy

num

ber

42

00:0

3:24

H

arry

Har

t “A

nd a

s a

mor

e co

ncre

te g

estu

re o

f ou

r gr

atit

ude,

we’

d lik

e to

off

er y

ou a

…”

√ K

ings

man

’s a

gent

s

43

00:0

3:24

H

arry

Har

t “A

nd a

s a

mor

e co

ncre

te g

estu

re o

f ou

r gr

atit

ude,

we’

d lik

e to

off

er y

ou a

…”

√ K

ings

man

’s a

gent

s

44

00:0

3:25

H

arry

Har

t “A

nd a

s a

mor

e co

ncre

te g

estu

re o

f ou

r gr

atit

ude,

we’

d lik

e to

off

er y

ou a

…”

√

E

ggsy

’s M

om

45

00:0

3:28

H

arry

Har

t “L

et’s

cal

l it

a fa

vor.

”

√

Som

ethi

ng o

ffer

ed b

y G

alah

ad

46

00:0

3:28

H

arry

Har

t “L

et’s

cal

l it a

fav

or.”

√

An

orde

r fr

om G

alah

ad

47

00:0

3:30

H

arry

Har

t “T

he n

atur

e of

it is

you

r ch

oice

.”

√ T

he G

alah

ad’s

com

man

d 48

00

:03:

30

Har

ry H

art

“The

nat

ure

of it

is y

our

choi

ce.”

√

Egg

sy’s

Mom

49

00

:03:

31

Har

ry H

art

“Jus

t tel

l th

e op

erat

or…

”

√

Kin

gsm

an’s

ope

rato

r 50

00

:03:

35

Har

ry H

art

“Oxf

ord

’s, n

ot B

rogu

e’s”

√

The

Kin

gsm

an’s

SO

S

pass

wor

d 51

00

:03:

36

Har

ry H

art

“And

then

I’l

l kno

w it

’s y

ou.”

√

Gal

ahad

52

00

:03:

36

Har

ry H

art

“And

then

I’l

l kno

w it

’s y

ou.”

√

The

SO

S c

alle

r 53

00

:03:

36

Har

ry H

art

“And

then

I’l

l kno

w it

’s y

ou.”

√

Egg

sy’s

Mom

54

00

:03:

38

Mom

“I

don

’t w

ant y

our

help

.”

√

E

ggsy

’s M

om

55

00:0

3:38

M

om

“I d

on’t

wan

t you

r he

lp.”

√

Gal

ahad

56

00

:03:

41

Mom

“I

wan

t my

husb

and

back

.”

√

E

ggsy

’s M

om

55


57

00:0

3:41

M

om

“I w

ant m

y hu

sban

d ba

ck.”

√

Egg

sy’s

Mom

58

00

:03:

52

Har

ry H

art

“Wha

t’s

you

r na

me,

you

ng m

an?”

√

Egg

sy

59

00:0

3:52

H

arry

Har

t “W

hat’

s yo

ur n

ame,

you

ng

man

?”

√

E

ggsy

60

00

:03:

53

Egg

sy

“Egg

sy.”

√

Egg

sy

61

00:0

3:54

H

arry

Har

t “H

ello

, Egg

sy.”

√

Egg

sy

62

00:0

3:56

H

arry

Har

t “C

an I

see

that

?”

√

G

alah

ad

63

00:0

4:05

H

arry

Har

t “Y

ou ta

ke c

are

of th

is, E

ggsy

.”

√

E

ggsy

64

00

:04:

05

Har

ry H

art

“You

take

car

e of

this

, Egg

sy.”

√

Egg

sy

65

00:0

4:13

H

arry

Har

t “A

nd ta

ke c

are

of y

our

mom

too.

” √

Egg

sy

66

00:0

4:56

K

idna

pper

“I

’m s

o so

rry,

Pro

fess

or A

rnol

d.”

√ T

he k

idna

pper

67

00

:04:

56

Kid

napp

er

“I’m

so

sorr

y, P

rofe

ssor

Arn

old

.”

√ P

rofe

ssor

Arm

old

68

00:0

4:59

P

rof.

Arn

old

“Oh

for

God

’s s

akes

, jus

t tak

e it

off

.”

√ T

he ta

pe

69

00:0

5:02

K

idna

pper

“I

am

und

er v

ery

stri

ct in

stru

ctio

ns n

ot to

hu

rt y

ou.”

√

The

kid

napp

er

70

00:0

5:02

K

idna

pper

“I

am

und

er v

ery

stri

ct in

stru

ctio

ns

not t

o hu

rt y

ou.”

√

The

inst

ruct

ions

not

to h

urt

Pro

f. A

rnol

d 71

00

:05:

04

Kid

napp

er

“I a

m u

nder

ver

y st

rict

inst

ruct

ions

not

to

hurt

you

.”

√

P

rof.

Arn

old

72

00:0

5:06

P

rof.

Arn

old

“Loo

k, y

ou’v

e m

ade

a m

ista

ke.”

√

The

kid

napp

er

73

00:0

5:06

P

rof.

Arn

old

“Loo

k, y

ou’v

e m

ade

a m

ista

ke.

”

√

Kid

napp

ing

Pro

f. A

rnol

d 74

00

:05:

09

Pro

f. A

rnol

d “I

am

uni

vers

ity le

ctur

er.”

√

Pro

f. A

rnol

d 75

00

:05:

09

Pro

f. A

rnol

d “I

am

un

iver

sity

lect

ure

r.”

√ T

he P

rof.

Arn

old’

s pr

ofes

sion

76

00

:05:

10

Pro

f. A

rnol

d “I

’ve

got n

o m

oney

.”

√

P

rof.

Arn

old

77

00:0

5:10

P

rof.

Arn

old

“I’v

e go

t no

mon

ey.”

√

No

mon

ey

78

00:0

5:11

K

idna

pper

“T

his

isn’

t abo

ut m

oney

.”

√ M

oney

79

00

:05:

13

Kid

napp

er

“Ou

r bo

ss ju

st w

ants

to ju

st ta

lk to

you

.”

√ T

he k

idna

pper

s

56


80

00:0

5:13

K

idna

pper

“O

ur b

oss

just

wan

ts to

just

talk

to y

ou.”

√

Pro

f. A

rnol

d 81

00

:05:

15

Pro

f. A

rnol

d “A

m I

mea

nt to

fin

d th

at r

eass

urin

g?”

√

P

rof.

Arn

old

82

00:0

5:17

K

idna

pper

“H

e’ll

be

here

soo

n.”

√

V

alen

tine

83

00

:05:

18

Kid

napp

er

“He’

ll e

xpla

in.”

√

Val

enti

ne

84

00:0

5:20

K

idna

pper

“D

o yo

u li

ke w

hisk

ey?”

√

Pro

f. A

rnol

d 85

00

:05:

23

Kid

napp

er

“Red

, get

a ’

62 D

alm

ore

Whi

skey

.”

√ R

ed

86

00:0

5:23

K

idna

pper

“R

ed, g

et a

’62

Dal

mor

e W

his

key

.”

√ A

’62

Dal

mor

e W

hisk

ey

87

00:0

5:55

Ja

mes

“I

sup

pose

ask

ing

to b

orro

w a

cup

of

suga

r is

a s

tep

too

far?

” √

Jam

es

88

00:0

6:17

Ja

mes

“P

rofe

ssor

Arn

old

, I’m

her

e to

take

you

ho

me.

” √

Pro

f. A

rnol

d

89

00:0

6:20

Ja

mes

“P

rofe

ssor

Arn

old,

I’m

her

e to

take

you

ho

me.

” √

Jam

es

90

00:0

6:20

Ja

mes

“P

rofe

ssor

Arn

old,

I’m

her

e to

take

you

ho

me.

” √

Pro

f. A

rnol

d

91

00:0

6:34

Ja

mes

“I

t wou

ld b

e a

sin

to s

pill

any.

”

√

A m

ista

ke

92

00:0

6:34

Ja

mes

“I

t wou

ld b

e a

sin

to s

pill

an

y.”

√ T

he w

hisk

ey

93

00:0

6:20

Ja

mes

“D

on’t

you

thin

k?”

√

P

rof.

Arn

old

94

00:0

7:18

G

azel

le

“Can

you

hol

d th

is?”

√

Pro

f. A

rnol

d 95

00

:07:

43

Gaz

elle

“E

very

thin

g is

cle

an.”

√

Eve

ryth

ing

in th

e ro

om

96

00:0

7:51

V

alen

tine

“My

kind

wel

com

e.”

√

V

alen

tine

57


No.

M

inu

tes

Spea

ker

Utt

eran

ce

Ref

eren

ce

Ref

eren

t

En

dop

hor

a E

xo

An

a C

ata

97

00:0

8:02

V

alen

tine

“I

mea

n, li

tera

lly.”

√

Val

enti

ne

98

00:0

8:02

V

alen

tine

“I

see

one

dro

p of

blo

od, t

hat i

s m

e… d

one.

”

√

Val

enti

ne

99

00:0

8:02

V

alen

tine

“I

see

one

dro

p of

blo

od, t

hat i

s m

e… d

one.

”

√

Val

enti

ne

100

00:0

8:08

V

alen

tine

“I

am

like

… p

roje

ctil

e.”

√

V

alen

tine

10

1 00

:08:

11

Val

enti

ne

“Lis

ten,

I’m

so

sorr

y yo

u ha

d to

wit

ness

all

of

this

unp

leas

antn

ess

due

to o

ur u

ninv

ited

gu

est.”

√

V

alen

tine

102

00:0

8:12

V

alen

tine

“L

iste

n, I

’m s

o so

rry

you

had

to w

itne

ss a

ll

of th

is u

nple

asan

tnes

s du

e to

our

uni

nvit

ed

gues

t.”

√

P

rof.

Arn

old

103

00:0

8:15

V

alen

tine

“L

iste

n, I

’m s

o so

rry

you

had

to w

itne

ss a

ll of

this

unp

leas

antn

ess

due

to o

ur

unin

vite

d gu

est.”

√

V

alen

tine

and

Pro

f. A

rnol

d

104

00:0

8:15

V

alen

tine

“L

iste

n, I

’m s

o so

rry

you

had

to w

itne

ss a

ll of

this

unp

leas

antn

ess

due

to o

ur u

nin

vite

d

gues

t.”

√

Ja

mes

105

00:0

8:17

V

alen

tine

“B

ut I

pro

mis

e yo

u”

√

V

alen

tine

10

6 00

:08:

17

Val

enti

ne

“But

I p

rom

ise

you

” √

Pro

f. A

rnol

d 10

7 00

:08:

20

Val

enti

ne

“By

the

tim

e I

find

out

who

he

wor

ks f

or…

”

√

Val

enti

ne

108

00:0

8:20

V

alen

tine

“B

y th

e ti

me

I fi

nd o

ut w

ho h

e w

orks

for

…”

√

Ja

mes

10

9 00

:08:

22

Val

enti

ne

“You

and

I w

ill b

e th

e be

st o

f fr

iend

s.”

√

P

rof.

Arn

old

110

00:0

8:22

V

alen

tine

“Y

ou a

nd I

will

be

the

best

of

frie

nds.

”

√

Val

enti

ne

111

00:0

8:59

H

arry

Har

t’

“Art

hu

r is

in th

e di

ning

roo

m, s

ir.”

√

Art

hur

58


Ass

ista

nt

112

00:0

8:59

H

arry

Har

t’

Ass

ista

nt

“Art

hur

is in

the

dini

ng r

oom

, sir

.”

√

G

alah

ad

113

00:0

9:10

H

arry

Har

t “A

rth

ur.

”

√

Art

hur

114

00:0

9:11

A

rthu

r “G

alah

ad.”

√

Gal

ahad

11

5 00

:09:

14

Har

ry H

art

“Th

e ot

her

s w

ere

begi

nnin

g to

won

der

if w

e w

ere

goin

g to

hav

e a

doub

le to

ast.”

√

All

of

Kin

gsm

an’s

age

nts

exce

pt G

alah

ad a

nd A

rthu

r 11

6 00

:09:

14

Har

ry H

art

“The

oth

ers

wer

e be

ginn

ing

to w

onde

r if

we

wer

e go

ing

to h

ave

a do

uble

toas

t.”

√

G

alah

ad a

nd A

rthu

r

117

00:0

9:21

A

rthu

r “G

entl

emen

, I a

m th

ankf

ul to

say

that

it’s

be

en 1

7 ye

ars…

sin

ce w

e la

st h

ad o

ccas

ion.

”

√

The

mem

bers

of

the

Kin

gsm

an m

eeti

ng

118

00:0

9:21

A

rthu

r “G

entl

emen

, I a

m th

ankf

ul to

say

that

it’s

be

en 1

7 ye

ars…

sin

ce w

e la

st h

ad o

ccas

ion.

” √

Art

hur

119

00:0

9:23

A

rthu

r “G

entl

emen

, I a

m th

ankf

ul to

say

that

it’s

be

en 1

7 ye

ars…

sin

ce w

e la

st h

ad o

ccas

ion.

”

√

The

last

tim

e th

e K

ings

man

’s a

gent

s ha

d oc

casi

on

120

00:0

9:24

A

rthu

r “G

entl

emen

, I a

m th

ankf

ul to

say

that

it’s

be

en 1

7 ye

ars…

sin

ce w

e la

st h

ad o

ccas

ion.

”

√

Art

hur

and

the

othe

r K

ings

man

’s a

gent

s 12

1 00

:09:

30

Art

hur

“Lan

celo

t w

as a

n ou

tsta

ndin

g ag

ent a

nd a

tr

ue K

ings

man

.”

√

Ja

mes

122

00:0

9:30

A

rthu

r “L

ance

lot w

as a

n o

uts

tan

din

g ag

ent

and

a tr

ue K

ings

man

.”

√ A

n ou

tsta

ndin

g K

ings

man

’s

agen

t 12

3 00

:09:

31

Art

hur

“Lan

celo

t was

an

outs

tand

ing

agen

t and

a

tru

e K

ings

man

.”

√ A

true

Kin

gsm

an’s

age

nt

124

00:0

9:32

A

rthu

r “H

e w

ill b

e so

rely

mis

sed.

” √

Jam

es

125

00:0

9:36

A

ll

“To

Lan

celo

t.”

√ Ja

mes

126

00:0

9:38

A

rthu

r “I

inte

nd to

sta

rt th

e se

lect

ion

proc

ess

for

Lan

celo

t’s

repl

acem

ent t

omor

row

.”

√

A

rthu

r

59


127

00:0

9:39

A

rthu

r “I

inte

nd to

sta

rt th

e se

lect

ion

proc

ess

for

Lan

celo

t’s

repl

acem

ent t

omor

row

.”

√ T

he J

ames

’s p

osit

ion

as a

L

ance

lot (

a kn

ight

) 12

8 00

:09:

48

Art

hur

“I w

ant e

ach

of y

ou to

pro

pose

a c

andi

date

an

d ha

ve th

em r

epor

t to

UK

HQ

no

late

r th

an 9

p.m

.”

√

A

rthu

r

129

00:0

9:48

A

rthu

r “I

wan

t eac

h of

you

to p

ropo

se a

can

dida

te

and

have

them

rep

ort t

o U

K H

Q n

o la

ter

than

9 p

.m.”

√ K

ings

man

’s a

gent

130

00:0

9:48

A

rthu

r “I

wan

t eac

h of

you

to p

ropo

se a

can

did

ate

and

have

them

rep

ort t

o U

K H

Q n

o la

ter

than

9 p

.m.”

√ A

can

dida

te o

f L

ance

lot’

s re

plac

emen

t

131

00:0

9:51

A

rthu

r “I

wan

t eac

h of

you

to p

ropo

se a

can

dida

te

and

have

th

em r

epor

t to

UK

HQ

no

late

r th

an 9

p.m

.”

√ T

he c

andi

date

s of

L

ance

lot’

s re

plac

emen

t

132

00:0

9:59

A

rthu

r “M

erlin

. Com

e in

.”

√ M

erlin

13

3 00

:10:

03

Art

hur

“Lan

celo

t w

as in

vest

igat

ing

a gr

oup

of

mer

cena

ries

who

wer

e ex

peri

men

ting

with

bi

olog

ical

wea

ponr

y.”

√

Ja

mes

134

00:1

0:03

A

rthu

r “L

ance

lot w

as in

vest

igat

ing

a gr

oup

of

mer

cen

arie

s w

ho w

ere

expe

rim

enti

ng w

ith

biol

ogic

al w

eapo

nry.

”

√ A

gro

up o

f hi

red

sold

iers

th

at s

erve

mer

ely

for

wag

es

135

00:1

0:03

A

rthu

r “L

ance

lot w

as in

vest

igat

ing

a gr

oup

of

mer

cena

ries

who

wer

e ex

peri

men

ting

with

b

iolo

gica

l wea

pon

ry.”

√ A

ny w

eapo

ns m

ade

of

natu

ral e

lem

ent

136

00:1

0:08

M

erli

n “G

lass

es, g

entl

emen

. Ple

ase.

”

√

A h

igh-

tech

gla

sses

for

pr

ojec

ting

the

holo

gram

s 13

7 00

:10:

08

Mer

lin

“Gla

sses

, gen

tlem

en. P

leas

e.”

√

G

alah

ad a

nd A

rthu

r 13

8 00

:10:

10

Mer

lin

“Uga

nd

a, 2

012.

Syn

thet

ic C

athi

none

.”

√ A

cou

ntry

loca

ted

in E

ast

60


Afr

ica,

nam

ed U

gand

a 13

9 00

:10:

10

Mer

lin

“Uga

nda,

201

2. S

ynth

etic

Cat

hin

one.

”

√

An

Am

phet

amin

e 14

0 00

:10:

16

Mer

lin

“You

put

it in

the

wat

er s

uppl

y of

a g

uerr

illa

arm

y ba

se.”

√

Gal

ahad

and

Art

hur

141

00:1

0:16

M

erli

n “Y

ou p

ut it

in th

e w

ater

sup

ply

of a

gue

rril

la

arm

y ba

se.”

√

The

syn

thet

ic c

athi

none

142

00:1

0:16

M

erli

n “Y

ou p

ut it

in th

e w

ater

sup

ply

of a

gu

erri

lla

arm

y b

ase.

”

√

A b

ase

of a

n in

depe

nden

t un

it of

sol

dier

s ca

rryi

ng o

ut

hara

ssm

ent a

nd s

abot

age

143

00:1

0:19

M

erli

n “R

age,

cann

ibal

ism

. Mul

tipl

e fa

tali

ties

. C

hech

nya

2013

.”

√ A

str

ong

feel

ing

of a

nger

di

ffic

ult t

o co

ntro

l 14

4 00

:10:

19

Mer

lin

“Rag

e, c

ann

ibal

ism

. Mul

tipl

e fa

talit

ies.

C

hech

nya

2013

.”

√ A

n ac

t of

eati

ng h

uman

fl

esh

by a

hum

an b

eing

14

5 00

:10:

20

Mer

lin

“Rag

e, c

anni

balis

m. M

ult

iple

fat

alit

ies.

C

hech

nya

2013

.”

√ T

he f

atal

itie

s ca

used

by

the

rage

and

the

cann

ibal

ism

14

6 00

:10:

20

Mer

lin

“Rag

e, c

anni

balis

m. M

ultip

le f

atal

itie

s.

Ch

ech

nya

201

3.”

√ A

cou

ntry

loca

ted

in th

e N

orth

Cau

casu

s, s

ituat

ed in

th

e so

uthe

rnm

ost p

art o

f E

aste

rn E

urop

e, n

amed

C

echn

ya

147

00:1

0:24

M

erli

n “I

nsu

rgen

ts tu

rned

on

one

anot

her.

”

√

A p

erso

n w

ho f

ight

s ag

ains

t an

est

abli

shed

gov

ernm

ent

or a

utho

rity

14

8 00

:10:

30

Mer

lin

“Ind

ispu

tabl

e, th

e w

ork

of o

ur

mer

cena

ries

bu

t no

trac

e of

any

che

mic

als

of a

ny k

ind.

” √

Kin

gsm

an’s

age

nts

149

00:1

0:32

H

arry

Har

t “S

o w

hat h

appe

ned

to L

ance

lot?

” √

Jam

es

150

00:1

0:34

M

erli

n “H

e tr

acke

d th

em to

this

pro

pert

y in

A

rgen

tina

.”

√

Ja

mes

61


151

00:1

0:34

M

erli

n “H

e tr

acke

d th

em to

this

pro

pert

y in

A

rgen

tina

.”

√

T

he g

roup

of

mer

cena

ries

152

00:1

0:38

M

erli

n “A

nd w

hile

he

had

them

und

er s

urve

illa

nce,

he

bec

ame

awar

e th

at th

ey h

ad e

ffec

ted

a ki

dnap

ping

.”

√

Ja

mes

153

00:1

0:38

M

erli

n “A

nd w

hile

he

had

them

und

er s

urve

illan

ce,

he b

ecam

e aw

are

that

they

had

eff

ecte

d a

kidn

appi

ng.”

√

T

he g

roup

of

mer

cena

ries

154

00:1

0:40

M

erli

n “A

nd w

hile

he

had

them

und

er s

urve

illan

ce,

he

beca

me

awar

e th

at th

ey h

ad e

ffec

ted

a ki

dnap

ping

.”

√

Ja

mes

155

00:1

0:40

M

erli

n “A

nd w

hile

he

had

them

und

er s

urve

illan

ce,

he b

ecam

e aw

are

that

th

ey h

ad e

ffec

ted

a ki

dnap

ping

.”

√

T

he g

roup

of

mer

cena

ries

156

00:1

0:42

M

erli

n “S

o h

e ex

ecut

ed a

sol

o re

scue

mis

sion

…

whi

ch f

aile

d.”

√

Ja

mes

157

00:1

0:42

M

erli

n “S

o he

exe

cute

d a

solo

res

cue

mis

sion

…

whi

ch f

aile

d.”

√ A

n in

depe

nden

t mis

sion

of

resc

uing

Pro

f. A

rnol

d 15

8 00

:10:

47

Mer

lin

“Thi

s is

his

last

tran

smis

sion

.”

√

Ja

mes

15

9 00

:10:

50

Har

ry H

art

“Who

is h

e?”

√ P

rof.

Arn

old

160

00:1

0:51

M

erli

n “S

ome

clim

ate

chan

ge d

oom

saye

r.”

√ P

rof.

Arn

old

161

00:1

0:58

M

erli

n “B

ut w

hat’

s cu

riou

s, is

he’

s no

t act

uall

y m

issi

ng.”

√

Pro

f. A

rnol

d

162

00:1

1:00

M

erli

n “T

his

is P

rofe

ssor

Arn

old

.”

√ P

rof.

Arn

old

163

00:1

1:06

A

rthu

r “I

t’s

all y

ours

.”

√ T

he c

ase

file

16

4 00

:11:

06

Art

hur

“It’

s al

l you

rs.”

√

Har

ry H

art

165

00:1

1:09

A

rthu

r “A

nd d

on’t

for

get y

our

mem

bers

hip

prop

osal

.”

√

H

arry

Har

t

62


166

00:1

1:11

A

rthu

r “T

ry p

icki

ng a

mor

e su

itab

le c

and

idat

e th

is

tim

e.”

√ A

bet

ter

pers

on to

rep

lace

th

e L

ance

lot

167

00:1

1:19

A

rthu

r “a

nd s

till

evo

lvin

g w

ith th

e ti

me

rem

ains

an

enti

rely

for

eign

con

cept

to y

ou.”

√

Har

ry H

art

168

00:1

1:20

A

rthu

r “Y

ou d

on’t

rem

ind

that

I w

ould

n’t b

e he

re if

it

wer

en’t

for

that

you

ng m

an.”

√

Har

ry H

art

169

00:1

1:21

A

rthu

r “Y

ou d

on’t

rem

ind

that

I w

ould

n’t b

e he

re if

it

wer

en’t

for

that

you

ng m

an.”

√

Art

hur

170

00:1

1:22

A

rthu

r “Y

ou d

on’t

rem

ind

that

I w

ould

n’t b

e he

re if

it

wer

en’t

for

that

you

ng m

an.”

√

The

Har

ry H

art’

s ch

oice

of

the

cand

idat

e 17

1 00

:11:

25

Art

hur

“He

was

as

muc

h K

ings

man

mat

eria

l as

any

of th

em.”

√

Egg

sy

172

00:1

1:25

A

rthu

r “H

e w

as a

s m

uch

Kin

gsm

an m

ater

ial a

s an

y of

them

.”

√ T

he m

inim

um r

equi

rem

ents

of

bei

ng a

Kin

gsm

an’s

ag

ent

173

00:1

1:25

A

rthu

r “H

e w

as a

s m

uch

Kin

gsm

an m

ater

ial a

s an

y of

th

em.”

√

The

can

dida

tes

of L

ance

lot

174

00:1

1:28

A

rthu

r “B

ut h

e w

asn’

t exa

ctly

one

of

us, w

as h

e?”

√ E

ggsy

17

5 00

:11:

28

Art

hur

“But

he

was

n’t e

xact

ly o

ne o

f u

s, w

as h

e?”

√ K

ings

man

’s a

gent

s 17

6 00

:11:

28

Art

hur

“But

he

was

n’t e

xact

ly o

ne o

f us

, was

he?

”

√

Egg

sy

177

00:1

1:31

A

rthu

r “L

et’s

fac

e it

, Gal

ahad

.”

√ T

he G

alah

ad’s

litt

le

expe

rim

ent f

ailu

re

178

00:1

1:31

A

rthu

r “L

et’s

fac

e it

, Gal

ahad

.”

√

G

alah

ad

179

00:1

1:32

A

rthu

r “Y

our

litt

le e

xper

imen

t fai

led.

” √

Gal

ahad

18

0 00

:11:

37

Har

ry H

art

“Wit

h re

spec

t Art

hu

r, y

ou’r

e a

snob

.”

√

A

rthu

r 18

1 00

:11:

37

Har

ry H

art

“Wit

h re

spec

t Art

hur,

you

’re

a sn

ob.”

√

Art

hur

182

00:1

2:06

E

ggsy

’s

Mom

“E

ggsy

?”

√ E

ggsy

63


183

00:1

2:09

E

ggsy

’s

Mom

“E

ggsy

, com

e he

re.”

√

Egg

sy

184

00:1

2:11

E

ggsy

’s

Mom

“G

ot a

ny

wh

istl

er’s

pap

ers?

”

√

Som

e ci

gare

ttes

185

00:1

2:16

D

ean

“Why

don

’t y

ou d

o yo

ur M

omm

a’sf

avor

?”

√

E

ggsy

18

6 00

:12:

16

Dea

n “W

hy d

on’t

you

do

you

r M

omm

a’sf

avor

?”

√

E

ggsy

18

7 00

:12:

16

Dea

n “W

hy d

on’t

you

do

your

Mom

ma’

sfav

or?”

√

The

Egg

sy’s

Mom

’s d

esir

e to

hav

e so

me

whi

stle

r’s

pape

rs18

8 00

:12:

19

Egg

sy

“Get

em

you

rsel

f!”

√

T

he w

hist

ler’

s pa

pers

18

9 00

:12:

21

Mom

“W

hat’

d I

say

to y

ou a

bout

spe

akin

g to

D

ean

like

that

?”

√

E

ggsy

’s M

om

190

00:1

2:21

M

om

“Wha

t’d

I sa

y to

you

abo

ut s

peak

ing

to

Dea

n lik

e th

at?”

√

Egg

sy

191

00:1

2:21

M

om

“Wha

t’d

I sa

y to

you

abo

ut s

peak

ing

to

Dea

n li

ke th

at?”

√

Dea

n

192

00:1

2:24

E

ggsy

“W

hy d

on’t

Dea

n’s

poo

dle

go?”

√

Dea

n 19

3 00

:12:

27

Dea

n “I

’ll s

ay y

ou w

hat?

” √

Dea

n 19

4 00

:12:

27

Dea

n “I

’ll s

ay y

ou w

hat?

” √

Egg

sy

195

00:1

2:28

D

ean

“Why

don

’t y

ou ta

ke th

is a

nd g

et th

e st

uff

and

get y

ours

elf

som

e sw

eets

?”

√

E

ggsy

196

00:1

2:28

D

ean

“Why

don

’t y

ou ta

ke th

is a

nd g

et t

he

stuf

f an

d ge

t you

rsel

f so

me

swee

ts?”

√

The

whi

stle

r’s

pape

rs

197

00:1

2:29

D

ean

“Why

don

’t y

ou ta

ke th

is a

nd g

et th

e st

uff

and

get y

ours

elf

som

e sw

eets

?”

√

E

ggsy

198

00:1

2:29

D

ean

“Why

don

’t y

ou ta

ke th

is a

nd g

et th

e st

uff

and

get y

ours

elf

som

e sw

eets

?”

√ C

andi

es

199

00:1

2:31

D

ean

“And

whi

le y

ou’r

e go

ne, w

e’ll

show

you

r √

Egg

sy

64


mot

her

if w

e ca

n be

a g

ood

fam

ily.

” 20

0 00

:12:

32

Dea

n “A

nd w

hile

you

’re

gone

, we’

ll s

how

you

r m

othe

r if

we

can

be a

goo

d fa

mil

y.”

√

D

ean

and

Egg

sy

201

00:1

2:32

D

ean

“And

whi

le y

ou’r

e go

ne, w

e’ll

show

you

r M

othe

r if

we

can

be a

goo

d fa

mil

y.”

√

E

ggsy

202

00:1

2:34

D

ean

“And

whi

le y

ou’r

e go

ne, w

e’ll

show

you

r m

othe

r if

we

can

be a

goo

d fa

mil

y.”

√

D

ean,

Egg

sy, a

nd E

ggsy

’s

Mom

20

3 00

:12:

39

Mom

“T

hank

s b

abe.

Her

e w

e go

.”

√

D

ean

204

00:1

3:08

E

ggsy

’s

frie

nd 1

“I

f h

e tr

eats

you

r M

om s

o ba

d, w

hy d

oesn

’t

she

leav

e hi

m?”

√

Dea

n

205

00:1

3:08

E

ggsy

’s

frie

nd 1

“I

f he

trea

ts y

ourM

om s

o ba

d, w

hy d

oesn

’t

she

leav

e hi

m?”

√

Egg

sy

206

00:1

3:08

E

ggsy

’s

frie

nd 1

“I

f he

trea

ts y

our

Mom

so

bad,

why

doe

sn’t

sh

e le

ave

him

?”

√

E

ggsy

’s M

om

207

00:1

3:08

E

ggsy

’s

frie

nd 1

“I

f he

trea

ts y

our

Mom

so

bad,

why

doe

sn’t

sh

e le

ave

him

?”

√

D

ean

208

00:1

3:09

E

ggsy

’s

frie

nd 2

“T

hat’

s h

er p

robl

em.”

√

Egg

sy’s

Mom

209

00:1

3:10

E

ggsy

’s

frie

nd 1

“F

uck

off,

why

wou

ld s

he h

ave

low

sel

f-es

teem

?”

√

E

ggsy

’s M

om

210

00:1

3:13

E

ggsy

’s

frie

nd 1

“N

ote

his

Mom

’s a

wol

fie.

” √

Egg

sy

211

00:1

3:15

E

ggsy

’s

frie

nd 1

“N

o of

fens

e, p

al.”

√

Egg

sy

212

00:1

3:18

E

ggsy

“O

ne o

f th

is d

ays

I’m

gon

na s

mas

h hi

s fa

ce

in.”

√

Egg

sy

213

00:1

3:18

E

ggsy

“O

ne o

f th

is d

ays

I’m

gon

na s

mas

h h

is f

ace

in.”

√

Dea

n

65


214

00:1

3:20

E

ggsy

’s

frie

nd 2

“A

re y

ou m

enta

l, cu

z?”

√

E

ggsy

215

00:1

3:20

E

ggsy

’s

frie

nd 2

“A

re y

ou m

enta

l, cu

z?”

√

E

ggsy

216

00:1

3:22

E

ggsy

’s

frie

nd 2

“H

e’ll

just

get

that

lot t

o yo

u an

d th

en

pret

end

he k

new

not

hing

abo

ut it

.”

√ D

ean’

s ai

de

217

00:1

3:24

E

ggsy

’s

frie

nd 2

“H

e’ll

just

get

that

lot t

oyou

and

then

pr

eten

d he

kne

w n

othi

ng a

bout

it.”

√

Egg

sy

218

00:1

3:26

E

ggsy

’s

frie

nd 2

“H

e’ll

just

get

that

lot t

o yo

u an

d th

en

pret

end

he

knew

not

hing

abo

ut it

.”

√ D

ean’

s ai

de

219

00:1

3:26

E

ggsy

’s

frie

nd 2

“H

e’ll

just

get

that

lot t

o yo

u an

d th

en

pret

end

he k

new

not

hing

abo

ut it

.”

√ T

he D

ean’

s ba

d tr

eat t

o E

ggsy

’s M

om

220

00:1

3:28

R

ott

“Oy,

you

thin

k yo

u ca

n ch

at s

hit a

bout

us

and

we’

ll d

o no

thin

g ju

st b

ecau

se o

ur g

uy’s

ba

ngin

’ E

ggsy

’s M

om?”

√ E

ggsy

and

Egg

sy’s

fri

ends

221

00:1

3:28

R

ott

“Oy,

you

thin

k yo

u c

an c

hat s

hit a

bout

us

and

we’

ll d

o no

thin

g ju

st b

ecau

se o

ur g

uy’s

ba

ngin

’ E

ggsy

’sM

om?”

√ E

ggsy

and

Egg

sy’s

fri

ends

222

00:1

3:29

R

ott

“Oy,

you

thin

k yo

u ca

n ch

at s

hit a

bout

us

and

we’

ll d

o no

thin

g ju

st b

ecau

se o

ur g

uy’s

ba

ngin

’ E

ggsy

’sM

om?”

√ D

ean’

s al

lies

223

00:1

3:29

R

ott

“Oy,

you

thin

k yo

u ca

n ch

at s

hit a

bout

us

and

we’

ll d

o no

thin

g ju

st b

ecau

se o

ur g

uy’s

ba

ngin

’ E

ggsy

’sM

om?”

√ D

ean’

s al

lies

224

00:1

3:30

R

ott

“Oy,

you

thin

k yo

u ca

n ch

at s

hit a

bout

us

and

we’

ll d

o no

thin

g ju

st b

ecau

se o

ur

guy’

s ba

ngin

’ E

ggsy

’sM

om?”

√ D

ean’

s al

lies

225

00:1

3:31

R

ott

“Oy,

you

thin

k yo

u ca

n ch

at s

hit a

bout

us

√

E

ggsy

66


and

we’

ll d

o no

thin

g ju

st b

ecau

se o

ur g

uy’s

ba

ngin

’ E

ggsy

’sM

om?”

22

6 00

:13:

36

Egg

sy’s

fr

iend

2

“Lea

ve it

, let

’s g

o, m

an.”

√

Egg

sy

227

00:1

3:37

E

ggsy

’s

frie

nd 2

“I

t’s

not w

orth

it.”

√

Fig

htin

g ag

ains

t Dea

n’s

alli

es

228

00:1

3:39

R

ott

“You

boy

s ha

ve o

vers

taye

d yo

ur w

elco

me.

”

√

Egg

sy a

nd E

ggsy

’s f

rien

ds

229

00:1

3:39

R

ott

“You

boy

s ha

ve o

vers

taye

d yo

ur

wel

com

e.”

√ E

ggsy

and

Egg

sy’s

fri

ends

23

0 00

:13:

52

Rot

t “Y

eah…

mu

ck.”

√

Egg

sy a

nd E

ggsy

’s f

rien

ds

231

00:1

3:57

E

ggsy

’s

frie

nd 1

“T

hey

are

not

fuc

king

wor

th it

, Boy

s.”

√ D

ean’

s al

lies

232

00:1

3:57

E

ggsy

’s

frie

nd 1

“T

hey

are

not f

ucki

ng w

orth

it, B

oys.

”

√

Egg

sy a

nd E

ggsy

’s f

rien

ds

233

00:1

4:00

E

ggsy

“W

hy a

re w

e w

alki

ng?”

√

Egg

sy a

nd E

ggsy

’s f

rien

ds

234

00:1

4:02

E

ggsy

’s

frie

nd 2

“Y

ou ja

cked

his

fuc

king

car

key

s, b

ruh?

” √

Egg

sy

235

00:1

4:02

E

ggsy

’s

frie

nd 2

“Y

ou ja

cked

his

fuc

king

car

key

s, b

ruh?

”

√

Dea

n’s

aide

236

00:1

4:02

E

ggsy

’s

frie

nd 2

“Y

ou ja

cked

his

fuc

king

car

key

s, b

ruh

?”

√

E

ggsy

237

00:1

4:05

E

ggsy

“Y

eah,

now

we’

re g

onna

nic

k hi

s ca

r.”

√ E

ggsy

and

Egg

sy’s

fri

ends

23

8 00

:14:

05

Egg

sy

“Yea

h, n

ow w

e’re

gon

na n

ick

his

car

.”

√ D

ean’

s ai

de

239

00:1

4:14

R

ott

“Hol

d on

, boy

s.”

√ D

ean’

s al

lies

24

0 00

:14:

20

Rot

t “T

hat’

s m

y fu

ckin

g ca

r.”

√ D

ean’

s ai

de

241

00:1

4:23

R

ott

“I s

wea

r, y

ou’r

e in

fuc

king

trou

ble.

”

√

Dea

n’s

aide

24

2 00

:14:

23

Rot

t “I

sw

ear,

you

’re

in f

ucki

ng tr

oubl

e.”

√

E

ggsy

24

3 00

:14:

26

Rot

t “F

loor

it, E

ggsy

.”

√ D

ean’

s ai

de’s

car

24

4 00

:14:

26

Rot

t “F

loor

it, E

ggsy

.”

√

E

ggsy

67


245

00:1

4:44

R

ott

“Hey

yea

h D

ean

, loo

kit’

s m

e.”

√

D

ean

246

00:1

4:44

R

ott

“Hey

yea

h D

ean,

look

it’s

me.

”

√

Dea

n’s

aide

24

7 00

:14:

45

Rot

t “E

ggsy

just

sto

le m

y fu

ckin

g ca

r.”

√

E

ggsy

24

8 00

:14:

45

Rot

t “E

ggsy

just

sto

le m

y fu

ckin

g ca

r.”

√ D

ean’

s ai

de

249

00:1

4:48

R

ott

“I’v

e co

me

out o

f th

e pu

b; h

e’s

done

15

abou

t don

uts

on m

y fu

ckin

g fa

ce…

”

√

Dea

n’s

aide

250

00:1

4:49

R

ott

“I’v

e co

me

out o

f th

e pu

b; h

e’s

done

15

abou

t don

uts

on m

y fu

ckin

g fa

ce…

” √

Egg

sy

251

00:1

4:50

R

ott

“I’v

e co

me

out o

f th

e pu

b;he

’s d

one

15

abou

t don

uts

on m

y fu

ckin

g fa

ce…

”

√

Dea

n’s

Aid

e

252

00:1

4:50

R

ott

“…an

d th

en h

e’s

drov

e of

f.”

√

E

ggsy

25

3 00

:14:

53

Rot

t “H

e’s

disr

espe

ctin

g m

e.”

√

E

ggsy

25

4 00

:14:

53

Rot

t “H

e’s

disr

espe

ctin

g m

e.”

√ D

ean’

s ai

de

255

00:1

4:55

R

ott

“and

so

he’

s di

sres

pect

ing

you.

” √

Egg

sy

256

00:1

4:55

R

ott

“and

so

he’s

dis

resp

ecti

ng y

ou.”

√

Dea

n 25

7 00

:15:

43

Egg

sy’s

fr

iend

2

“Fox

es a

re v

erm

in, c

uz.”

√

The

pol

icem

en c

hasi

ng

Egg

sy a

nd E

ggsy

’s f

rien

d 25

8 00

:15:

43

Egg

sy’s

fr

iend

2

“Fox

es a

re v

erm

in, c

uz.”

√

Dis

turb

er

259

00:1

5:43

E

gssy

’s

frie

nd

“Fox

es a

re v

erm

in, c

uz.

”

√

Egg

sy a

nd E

ggsy

’s f

rien

d

260

00:1

5:45

E

ggsy

’s

frie

nd 2

“Y

ou s

houl

d’ve

dri

ven

it ov

er.”

√

Egg

sy

261

00:1

5:45

E

ggsy

’s

frie

nd 2

“Y

ou s

houl

d’ve

dri

ven

it o

ver.

”

√

Dea

n’s

aide

’s c

ar

262

00:1

5:47

E

ggsy

“I

sho

uld’

ve d

one

a lo

t of

thin

gs.”

√

Egg

sy

263

00:1

5:49

E

ggsy

“I

’ll s

ort t

his,

get

out

of

the

car.

” √

Egg

sy

264

00:1

6:02

P

olic

eman

“E

ggsy

, the

re is

no

such

thin

g as

√

Egg

sy

68


hono

ram

ong

thie

ves.

” 26

5 00

:16:

02

Pol

icem

an

“Egg

sy, t

here

is n

o su

ch th

ing

as h

onor

am

ong

thie

ves.

”

√

Cri

min

als

in c

ase

of

stea

ling

som

eone

els

e’s

belo

ngin

g 26

6 00

:16:

06

Pol

icem

an

“Now

you

can

sta

rt g

ivin

g m

e so

me

nam

es

of th

e bo

ys y

ou w

ere

wit

h...”

√

Egg

sy

267

00:1

6:07

P

olic

eman

“N

ow y

ou c

an s

tart

giv

ing

me

som

e na

mes

of

the

boys

you

wer

e w

ith.

..”

√ P

olic

eman

268

00:1

6:07

P

olic

eman

“N

ow y

ou c

an s

tart

giv

ing

me

som

e na

mes

of

th

e b

oys

you

wer

e w

ith

...”

√ E

ggsy

’s f

rien

ds

269

00:1

6:10

P

olic

eman

“…

or y

ou g

o do

wn.

” √

Egg

sy

270

00:1

6:12

P

olic

eman

“I

t’s

up to

you

.”

√

E

ggsy

27

1 00

:16:

15

Egg

sy

“I w

ant t

o ex

erci

se m

y ri

ght t

o a

phon

e ca

ll.”

√

E

ggsy

27

2 00

:16:

15

Egg

sy

“I w

ant t

o ex

erci

se m

y ri

ght t

o a

phon

e ca

ll.”

√

E

ggsy

27

3 00

:16:

18

Pol

icem

an

“Wel

l, I

hope

it’s

to y

our

mom

…”

√ P

olic

eman

27

4 00

:16:

18

Pol

icem

an

“Wel

l, I

hope

it’s

to y

our

mom

…”

√ E

ggsy

’s p

hone

cal

l 27

5 00

:16:

19

Pol

icem

an

“Wel

l, I

hope

it’s

to y

our

mom

…”

√

E

ggsy

27

6 00

:16:

23

Pol

icem

an

“To

tell

her

that

you

’re

goin

g to

be…

” √

Egg

sy’s

Mom

27

7 00

:16:

23

Pol

icem

an

“To

tell

her

that

you

’re

goin

g to

be…

” √

Egg

sy

278

00:1

6:26

O

pera

tor

“How

may

I h

elp

you?

”

√

Kin

gsm

an’s

ope

rato

r 27

9 00

:16:

26

Ope

rato

r “H

ow m

ay I

hel

p yo

u?”

√

The

pho

ne c

alle

r 28

0 00

:16:

28

Egg

sy

“My

nam

e is

Egg

syU

nwin

.”

√

E

ggsy

28

1 00

:16:

28

Egg

sy

“My

nam

e is

Egg

syU

nw

in.”

√

Egg

sy

282

00:1

6:30

E

ggsy

“S

orry

, Gar

y U

nw

inn

.”

√

E

ggsy

28

3 00

:17:

05

Egg

sy

“And

I’m

up

shit

cre

ek.”

√

Egg

sy

284

00:1

7:07

E

ggsy

“I

’m in

an

urba

n po

lice

sta

tion

and

my

mom

sa

id to

cal

l thi

s nu

mbe

r if

eve

r I

need

ed

√

E

ggsy

69


help

…”

285

00:1

7:08

E

ggsy

“I

’m in

an

urba

n po

lice

stat

ion

and

my

mom

sa

id to

cal

l thi

s nu

mbe

r if

eve

r I

need

ed

help

…”

√

E

ggsy

286

00:1

7:09

E

ggsy

“I

’m in

an

urba

n po

lice

stat

ion

and

my

mom

sa

id to

cal

l thi

s nu

mbe

r if

eve

r I

need

ed

help

…”

√

E

ggsy

287

00:1

7:10

O

pera

tor

“I’m

sor

ry, S

ir. W

rong

num

ber.

”

√

Kin

gsm

an’s

ope

rato

r 28

8 00

:17:

10

Ope

rato

r “I

’m s

orry

, Sir

. Wro

ng n

umbe

r.”

√

The

pho

ne c

alle

r28

9 00

:17:

10

Ope

rato

r “I

’m s

orry

, Sir

. Wro

ng

nu

mb

er.”

√

A w

rong

pas

swor

d 29

0 00

:17:

17

Egg

sy

“Oxf

ord

’s n

ot B

rogu

e’s?

”

√

The

pas

swor

d of

K

ings

man

’s S

OS

29

1 00

:17:

20

Ope

rato

r “Y

our

com

plai

nt h

as b

een

duly

not

ed, a

nd

we

hope

that

we’

ve n

ot lo

st y

ou a

s a

loya

l cu

stom

er.”

√ K

ings

man

’s m

embe

r

292

00:1

7:21

O

pera

tor

“You

r co

mpl

aint

has

bee

n du

ly n

oted

, and

w

e ho

pe th

at w

e’ve

not

lost

you

as

a lo

yal

cust

omer

.”

√ K

ings

man

’s a

utho

ritie

s

293

00:1

7:22

O

pera

tor

“You

r co

mpl

aint

has

bee

n du

ly n

oted

, and

w

e ho

pe th

at w

e’ve

not

lost

you

as

a lo

yal

cust

omer

.”

√ K

ings

man

’s a

utho

ritie

s

294

00:1

7:22

O

pera

tor

“You

r co

mpl

aint

has

bee

n du

ly n

oted

, and

w

e ho

pe th

at w

e’ve

not

lost

you

as

a lo

yal

cust

omer

.”

√ K

ings

man

’s m

embe

r

295

00:1

7:22

O

pera

tor

“You

r co

mpl

aint

has

bee

n du

ly n

oted

, and

w

e ho

pe th

at w

e’ve

not

lost

you

as

a lo

yal

cust

omer

.”

√ K

ings

man

’s m

embe

r

296

00:1

7:44

P

olic

eman

“Y

es, I

tota

lly

unde

rsta

nd."

√

Pol

icem

an

70


297

00:1

8:09

H

arry

Har

t “E

ggsy

.”

√

E

ggsy

29

8 00

:18:

09

Har

ry H

art

“Wou

ld y

ou li

ke a

lift

hom

e?”

√

E

ggsy

29

9 00

:18:

11

Egg

sy

“Who

are

you

?”

√

H

arry

Har

t 30

0 00

:18:

13

Har

ry H

art

“Th

e m

an w

ho

got

you

rel

ease

d.”

√

Har

ry H

art

301

00:1

8:18

H

arry

Har

t “M

y na

me

is H

arry

Har

t.”

√

H

arry

Har

t 30

2 00

:18:

18

Har

ry H

art

“My

nam

e is

Har

ry H

art.

”

√

Har

ry H

art

303

00:1

8:21

H

arry

Har

t “A

nd I

gav

e yo

u th

at m

edal

.”

√

H

arry

Har

t 30

4 00

:18:

21

Har

ry H

art

“And

I g

ave

you

that

med

al.”

√

Egg

sy

305

00:1

8:23

H

arry

Har

t “Y

our

fath

er s

aved

my

life.

” √

Egg

sy

306

00:1

8:23

H

arry

Har

t “Y

our

fath

er s

aved

my

life

.”

√

H

arry

Har

t 30

7 00

:18:

28

Egg

sy

“So

befo

re y

ou w

as a

tailo

r, w

as y

ou in

the

arm

y”

√

H

arry

Har

t

308

00:1

8:28

E

ggsy

“S

o be

fore

you

was

a t

ailo

r, w

as y

ou in

the

arm

y?”

√ A

man

who

se o

ccup

atio

n is

m

akin

g or

alt

erin

g ou

ter

garm

ents

30

9 00

:18:

29

Egg

sy

“So

befo

re y

ou w

as a

tail

or, w

as y

ou in

the

arm

y?”

√

H

arry

Har

t

310

00:1

8:31

E

ggsy

“L

ike

an o

ffic

er?”

√

A p

erso

n w

ho h

as a

po

sitio

n of

aut

hori

ty o

r co

mm

and

in th

e m

ilit

ary

311

00:1

8:35

E

ggsy

“S

o w

here

was

you

pos

ted,

Ira

q or

so

met

hing

?”

√

H

arry

Har

t

312

00:1

8:35

E

ggsy

“S

o w

here

was

you

pos

ted,

Ira

q o

r so

met

hing

?”

√ A

cou

ntry

in W

este

rn A

sia,

na

med

Ira

q 31

3 00

:18:

39

Har

ry H

art

“Sor

ry, E

ggsy

. Cla

ssif

ied.

” √

Egg

sy

314

00:1

8:40

E

ggsy

“B

ut m

y da

d sa

ved

your

life

, yea

h?”

√

E

ggsy

31

5 00

:18:

40

Egg

sy

“But

my

dad

save

d yo

ur

life,

yea

h?”

√

H

arry

Har

t 31

6 00

:18:

42

Har

ry H

art

“The

day

you

r fa

ther

die

d, I

mis

sed

√

E

ggsy

71


som

ethi

ng.”

31

7 00

:18:

44

Har

ry H

art

“The

day

you

r fa

ther

die

d, I

mis

sed

som

ethi

ng.”

√

Har

ry H

art

318

00:1

8:44

H

arry

Har

t “T

he d

ay y

our

fath

er d

ied,

I m

isse

d so

met

hin

g.”

√

T

he g

rena

de

319

00:1

8:47

H

arry

Har

t “A

nd if

it w

eren

’t f

or h

is c

oura

ge, m

y m

ista

ke w

ould

hav

e co

st th

e liv

es o

f ev

ery

man

pre

sent

.”

√ H

arry

Har

t’s

Gra

titud

e

320

00:1

8:47

H

arry

Har

t “A

nd if

it w

eren

’t f

or h

is c

oura

ge, m

y m

ista

ke w

ould

hav

e co

st th

e liv

es o

f ev

ery

man

pre

sent

.”

√

E

ggsy

’s F

athe

r

321

00:1

8:48

H

arry

Har

t “A

nd if

it w

eren

’t f

or h

is c

oura

ge, m

y m

ista

ke w

ould

hav

e co

st th

e liv

es o

f ev

ery

man

pre

sent

.”

√

H

arry

Har

t

322

00:1

8:52

H

arry

Har

t “A

nd if

it w

eren

’t f

or h

is c

oura

ge, m

y m

ista

ke w

ould

hav

e co

st t

he

lives

of

ever

y m

an p

rese

nt.

”

√ P

eopl

e’s

lives

323

00:1

8:52

H

arry

Har

t “S

o, I

ow

e hi

m.”

√

Har

ry H

art

324

00:1

8:52

H

arry

Har

t “S

o, I

ow

e hi

m.”

√

Egg

sy’s

Fat

her

325

00:1

8:55

H

arry

Har

t “Y

our

fath

er is

a b

rave

man

.”

√

E

ggsy

32

6 00

:19:

00

Har

ry H

art

“And

hav

ing

read

you

rfil

es, I

’d th

ink

he’d

be

bitt

erly

dis

appo

inte

d in

the

choi

ces

you’

ve m

ade.

”

√

E

ggsy

327

00:1

9:00

H

arry

Har

t “A

nd h

avin

g re

ad y

our

file

s, I

’d th

ink

he’d

be

bitt

erly

dis

appo

inte

d in

the

choi

ces

you’

ve m

ade.

”

√

H

arry

Har

t

328

00:1

9:00

H

arry

Har

t “A

nd h

avin

g re

ad y

our

file

s, I

’d th

ink

he’

d be

bitt

erly

dis

appo

inte

d in

the

choi

ces

√

E

ggsy

’s f

athe

r

72


you’

ve m

ade.

” 32

9 00

:19:

03

Har

ry H

art

“And

hav

ing

read

you

r fi

les,

I’d

thin

k he

’d

be b

itter

ly d

isap

poin

ted

in th

e ch

oice

s yo

u’v

e m

ade.

”

√

E

ggsy

330

00:1

9:04

E

ggsy

“Y

ou c

an’t

talk

to m

e lik

e th

at.”

√

Har

ry H

art

331

00:1

9:04

E

ggsy

“Y

ou c

an’t

talk

to m

e lik

e th

at.”

√

Egg

sy

332

00:1

9:07

H

arry

Har

t “H

uge

IQ

, gre

at p

erfo

rman

ce in

pri

mar

y sc

hool

.”

√ H

ow h

igh

Egg

sy’s

IQ

is

333

00:1

9:07

H

arry

Har

t “H

uge

IQ, g

reat

per

form

ance

in p

rim

ary

scho

ol.”

√

How

cle

ver

Egg

sy’s

whe

n he

was

in p

rim

ary

scho

ol

was

33

4 00

:19:

09

Har

ry H

art

“And

it a

ll w

ent t

its

up.”

√

Egg

sy’s

Hug

e IQ

and

gre

at

perf

orm

ance

33

5 00

:19:

11

Har

ry H

art

“Dru

gs, p

etty

cri

me,

nev

er h

ad a

job.

”

√

Nar

coti

c an

d ps

ycho

trop

ic

drug

s 33

6 00

:19:

11

Har

ry H

art

“Dru

gs, p

etty

cri

me,

nev

er h

ad a

job.

”

√

Not

a s

erio

us c

rim

e 33

7 00

:19:

11

Har

ry H

art

“Dru

gs, p

etty

cri

me,

nev

er h

ad a

job

.”

√ A

n oc

cupa

tion

33

8 00

:19:

13

Egg

sy

“Do

you

thin

k th

ere’

s a

lot o

f jo

bs g

oing

ar

ound

her

e?”

√

H

arry

Har

t

339

00:1

9:17

H

arry

Har

t “D

oesn

’t e

xpla

in w

hy y

ou g

ave

up y

our

hobb

ies.

” √

Egg

sy

340

00:1

9:17

H

arry

Har

t “D

oesn

’t e

xpla

in w

hy y

ou g

ave

up y

our

hobb

ies.

” √

Egg

sy

341

00:1

9:21

H

arry

Har

t “Y

our

coac

h ha

d ha

d yo

u pe

gged

as

Oly

mpi

c te

am m

ater

ial.”

√

Egg

sy

342

00:1

9:21

H

arry

Har

t “Y

our

coac

h ha

d ha

d yo

u p

egge

d as

O

lym

pic

team

mat

eria

l.”

√

E

ggsy

343

00:1

9:21

H

arry

Har

t “Y

our

coac

h ha

d ha

d yo

u pe

gged

as

√ O

lym

pic

athl

ete’

s bo

dy

73


Oly

mp

ic t

eam

mat

eria

l.”

alik

e 34

4 00

:19:

23

Egg

sy

“Yea

h an

d w

hen

you

gro

w u

p ar

ound

so

meo

ne li

ke m

y st

epda

d, y

ou p

ick

up n

ew

hobb

ies

pret

ty q

uick

.”

√

H

arry

Har

t

345

00:1

9:23

E

ggsy

“Y

eah

and

whe

n yo

u gr

ow u

p ar

ound

so

meo

ne li

ke m

y st

epda

d, y

ou p

ick

up n

ew

hobb

ies

pret

ty q

uick

.”

√

E

ggsy

346

00:1

9:23

E

ggsy

“Y

eah

and

whe

n yo

u gr

ow u

p ar

ound

so

meo

ne li

ke m

y st

epda

d, y

ou p

ick

up n

ew

hobb

ies

pret

ty q

uick

.”

√

E

ggsy

347

00:1

9:23

E

ggsy

“Y

eah

and

whe

n yo

u gr

ow u

p ar

ound

so

meo

ne li

ke m

y st

epda

d, y

ou p

ick

up n

ew

hob

bie

s pr

etty

qui

ck.”

√ B

ad h

abits

348

00:1

9:30

H

arry

Har

t “A

lway

s so

meo

ne

else

’s f

ault.

”

√

Som

eone

els

e 34

9 00

:19:

31

Har

ry H

art

“And

who

’s to

bla

me

you

for

qui

ttin

g th

e M

arin

es?”

√

Egg

sy

350

00:1

9:31

H

arry

Har

t “A

nd w

ho’s

to b

lam

e yo

u fo

r qu

ittin

g th

e M

arin

es?”

√

One

of

clas

s of

arm

ed

serv

ices

per

sonn

el s

ervi

ng

on s

hipb

oard

35

1 00

:19:

32

Har

ry H

art

“You

wer

e ha

lfw

ay th

roug

h tr

aini

ng.”

√

Egg

sy

352

00:1

9:34

H

arry

Har

t “D

oing

bri

llia

ntly

, but

you

gav

e up

.”

√

E

ggsy

35

3 00

:19:

35

Egg

sy

“Bec

ause

my

mum

wen

t men

tal.”

√

Egg

sy

354

00:1

9:37

E

ggsy

“B

angi

ng o

n ab

out l

osin

g m

e as

wel

l as

my

dad.

” √

Egg

sy

355

00:1

9:37

E

ggsy

“B

angi

ng o

n ab

out l

osin

g m

e as

wel

l as

my

dad.

” √

Egg

sy

356

00:1

9:40

E

ggsy

“T

hen

we

wou

ldn’

t be

cann

on f

odde

r fo

r sn

obs

like

you,

judg

ing

peop

le li

ke m

e fr

om

√ P

eopl

e in

sam

e cl

ass

wit

h E

ggsy

74


your

ivor

y to

wer

s.”

357

00:1

9:40

E

ggsy

“T

hen

we

wou

ldn’

t be

cann

on f

odde

r fo

r sn

obs

like

you,

judg

ing

peop

le li

ke m

e fr

om

your

ivor

y to

wer

s.”

√ O

ne w

ho te

nds

to ig

nore

th

ose

rega

rded

as

infe

rior

358

00:1

9:42

E

ggsy

“T

hen

we

wou

ldn’

t be

cann

on f

odde

r fo

r sn

obs

like

you

, jud

ging

peo

ple

like

me

from

yo

ur iv

ory

tow

ers.

”

√

H

arry

Har

t

359

00:1

9:43

E

ggsy

“T

hen

we

wou

ldn’

t be

cann

on f

odde

r fo

r sn

obs

like

you,

judg

ing

peo

ple

lik

e m

e fr

om

your

ivor

y to

wer

s.”

√ P

eopl

e in

sam

e cl

ass

wit

h E

ggsy

360

00:1

9:43

E

ggsy

“T

hen

we

wou

ldn’

t be

cann

on f

odde

r fo

r sn

obs

like

you,

judg

ing

peop

le m

e fr

om

you

r iv

ory

tow

ers.

”

√

H

arry

Har

t

361

00:1

9:43

E

ggsy

“W

ith

no th

ough

t abo

ut w

hy w

e do

wha

t we

do.”

√

Peo

ple

in s

ame

clas

s w

ith

Egg

sy

362

00:1

9:43

E

ggsy

“W

ith

no th

ough

t abo

ut w

hy w

e do

wha

t we

do.”

√

Peo

ple

in s

ame

clas

s w

ith

Egg

sy

363

00:1

9:48

E

ggsy

“W

eain

’t g

ot m

uch

choi

ce, y

ou g

et m

e?"

√ P

eopl

e in

sam

e cl

ass

wit

h E

ggsy

36

4 00

:19:

49

Egg

sy

“We

ain’

t got

muc

h ch

oice

, you

get

me?

" √

Har

ry H

art

365

00:1

9:49

E

ggsy

“W

e ai

n’t g

ot m

uch

choi

ce, y

ou g

et m

e?"

√

E

ggsy

36

6 00

:19:

50

Egg

sy

“And

if w

ewas

bor

n w

ith th

e sa

me

silv

er

spoo

n up

our

ars

es…

”

√

Peo

ple

in s

ame

clas

s w

ith

Egg

sy

367

00:1

9:50

E

ggsy

“A

nd if

we

was

bor

n w

ith th

e sa

me

silv

er

spoo

n up

ou

r ar

ses…

”

√

Peo

ple

in s

ame

clas

s w

ith

Egg

sy

368

00:1

9:52

E

ggsy

“W

e w

ould

do

just

as

wel

l as

you,

if n

ot

bett

er.”

√

Peo

ple

in s

ame

clas

s w

ith

Egg

sy

369

00:1

9:52

E

ggsy

“W

e w

ould

do

just

as

wel

l as

you

, if

not

√

H

arry

Har

t

75


bett

er.”

37

0 00

:19:

57

Rot

t “W

hat t

he f

uck

you

doi

ng h

ere?

” √

Egg

sy

371

00:1

9:58

R

ott

“You

taki

ng a

pis

s?”

√

E

ggsy

37

2 00

:20:

00

Har

ry H

art

“Som

e m

ore

exam

ple

s of

you

ng

men

wh

o si

mp

ly n

eed

a s

ilve

r su

pp

osit

ory.

”

√

Som

e di

sres

pect

ful y

oung

m

en w

ho n

eed

a le

sson

37

3 00

:20:

04

Egg

sy

“Ya,

th

ey a

re e

xcep

tion

s. C

ome

on.”

√

Dea

n’s

alli

es

374

00:2

0:06

H

arry

Har

t “N

onse

nse,

we

have

n’t f

inis

hed

our

drin

ks.”

√

Har

ry H

art a

nd E

ggsy

37

5 00

:20:

06

Har

ry H

art

“Non

sens

e, w

e ha

ven’

t fin

ishe

d ou

r dr

inks

.”

√

H

arry

Har

t and

Egg

sy

376

00:2

0:08

P

oodl

e “A

fter

you

nic

ked

his

car,

Dea

n sa

ys y

ou’r

e a

fair

guy

I d

on’t

giv

e a

shit

wha

t you

r m

um

says

.”

√

E

ggsy

377

00:2

0:08

P

oodl

e “A

fter

you

nic

ked

his

car

, Dea

n sa

ys y

ou’r

e a

fair

guy

I d

on’t

giv

e a

shit

wha

t you

r m

um

says

.”

√ D

ean’

s ai

de

378

00:2

0:08

P

oodl

e “A

fter

you

nic

ked

his

car,

Dea

n s

ays

you’

re

a fa

ir g

uy I

don

’t g

ive

a sh

it w

hat y

our

mum

sa

ys.”

√

D

ean

379

00:2

0:09

P

oodl

e “A

fter

you

nic

ked

his

car,

Dea

n sa

ys y

ou’r

e a

fair

guy

I d

on’t

giv

e a

shit

wha

t you

r m

um

says

.”

√

E

ggsy

380

00:2

0:09

P

oodl

e “A

fter

you

nic

ked

his

car,

Dea

n sa

ys y

ou’r

e a

fair

gu

y I

don’

t giv

e a

shit

wha

t you

r m

um

says

.”

√ A

goo

d gu

y

381

00:2

0:10

P

oodl

e “A

fter

you

nic

ked

his

car,

Dea

n sa

ys y

ou’r

e a

fair

guy

I d

on’t

giv

e a

shit

wha

t you

r m

um

says

.”

√

D

ean’

s po

odle

382

00:2

0:09

P

oodl

e “A

fter

you

nic

ked

his

car,

Dea

n sa

ys y

ou’r

e a

fair

guy

I d

on’t

giv

e a

shit

wha

t you

r m

um

√ A

trus

t

76


says

.”

383

00:2

0:11

P

oodl

e “A

fter

you

nic

ked

his

car,

Dea

n sa

ys y

ou’r

e a

fair

guy

I d

on’t

giv

e a

shit

wha

t you

r m

um

says

.”

√

E

ggsy

384

00:2

0:13

H

arry

Har

t “U

mm

.. L

iste

n, b

oys.

”

√

Dea

n’s

alli

es

385

00:2

0:14

H

arry

Har

t “I

hav

e ha

d a

rath

er e

mot

iona

l day

, so

wha

teve

r yo

ur b

eef

wit

h E

ggsy

is a

nd I

’m

sure

it’s

wel

l fou

nded

…”

√

H

arry

Har

t

386

00:2

0:14

H

arry

Har

t “I

hav

e ha

d a

rath

er e

mot

ion

al d

ay, s

o w

hate

ver

your

bee

f w

ith

Egg

sy is

and

I’m

su

re it

’s w

ell f

ound

ed…

”

√ A

bad

em

otio

nal c

ondi

tion

387

00:2

0:17

H

arry

Har

t “I

hav

e ha

d a

rath

er e

mot

iona

l day

, so

wha

teve

r yo

ur

beef

wit

h E

ggsy

is a

nd I

’m

sure

it’s

wel

l fou

nded

…”

√ D

ean’

s al

lies

388

00:2

0:17

H

arry

Har

t “I

hav

e ha

d a

rath

er e

mot

iona

l day

, so

wha

teve

r yo

ur b

eef

wit

h E

ggsy

is a

nd I

’m

sure

it’s

wel

l fou

nded

…”

√

E

ggsy

389

00:2

0:19

H

arry

Har

t “I

hav

e ha

d a

rath

er e

mot

iona

l day

, so

wha

teve

r yo

ur b

eef

wit

h E

ggsy

is a

nd I

’m

sure

it’s

wel

l fou

nded

…”

√

H

arry

Har

t

390

00:2

0:20

H

arry

Har

t “I

hav

e ha

d a

rath

er e

mot

iona

l day

, so

wha

teve

r yo

ur b

eef

wit

h E

ggsy

is a

nd I

’m

sure

it’s

wel

l fou

nded

…”

√ T

he D

ean’

s al

lies

’s b

eef

with

Egg

sy

391

00:2

0:21

H

arry

Har

t “I

wou

ld a

ppre

ciat

e it

eno

rmou

sly

if y

ou

coul

d ju

st le

ave

us in

pea

ce.”

√

Har

ry H

art

392

00:2

0:21

H

arry

Har

t “I

wou

ld a

ppre

ciat

e it

eno

rmou

sly

if y

ou

coul

d ju

st le

ave

us in

pea

ce.”

√

The

Dea

n’s

alli

es’s

bee

f w

ith E

ggsy

39

3 00

:20:

23

Har

ry H

art

“I w

ould

app

reci

ate

it e

norm

ousl

y if

√

Dea

n’s

alli

es

77


you

coul

d ju

st le

ave

us in

pea

ce.”

39

4 00

:20:

23

Har

ry H

art

“I w

ould

app

reci

ate

it e

norm

ousl

y if

you

co

uld

just

leav

e u

s in

pea

ce.”

√

Har

ry H

art a

nd E

ggsy

395

00:2

0:25

H

arry

Har

t “U

ntil

I fi

nish

this

love

ly p

int o

f G

uinn

ess.

” √

Har

ry H

art

396

00:2

0:25

H

arry

Har

t “U

ntil

I fi

nish

this

love

ly p

int o

f G

uin

nes

s.”

√ A

bee

r 39

7 00

:20:

31

Rot

t “Y

ou s

houl

d ge

t out

of

the

way

, Gra

ndda

dy,

or y

ou’l

l get

hur

t a lo

t.”

√

H

arry

Har

t

398

00:2

0:31

R

ott

“You

sho

uld

get o

ut o

f th

e w

ay,

Gra

nd

dad

y, o

r yo

u’ll

get h

urt a

lot.”

√

Har

ry H

art

399

00:2

0:33

R

ott

“You

sho

uld

get o

ut o

f th

e w

ay, G

rand

dady

, or

you

’ll g

et h

urt a

lot.”

√

Har

ry H

art

400

00:2

0:34

E

ggsy

“H

eain

’t jo

king

, you

sho

uld

go.”

√

Dea

n’s

aide

40

1 00

:20:

34

Egg

sy

“He

ain’

t jok

ing,

you

sho

uld

go.”

√

Har

ry H

art

402

00:2

0:45

P

oodl

e “I

f yo

u’r

e lo

okin

g fo

r an

othe

r re

nt b

oy,

they

’re

on th

e co

rner

of

Sm

ith’

s S

tree

t.”

√

H

arry

Har

t

403

00:2

0:45

P

oodl

e “I

f yo

u’re

look

ing

for

anot

her

ren

t b

oy,

they

’re

on th

e co

rner

of

Sm

ith’

s S

tree

t.”

√ A

noth

er m

ale

pros

titut

e

404

00:2

0:46

P

oodl

e “I

f yo

u’re

look

ing

for

anot

her

rent

boy

, th

ey’r

e on

the

corn

er o

f S

mit

h’s

Str

eet.”

√

Ano

ther

ren

t boy

405

00:2

1:06

H

arry

Har

t “M

ann

ers

mak

eth

man

.”

√ A

n ol

d B

riti

sh p

ilos

ophy

40

6 00

:21:

09

Har

ry H

art

“Do

you

kno

w w

hat t

hat m

eans

?”

√ D

ean’

s al

lies

40

7 00

:21:

13

Har

ry H

art

“The

n le

t me

teac

h yo

u a

less

on.”

√

Har

ry H

art

408

00:2

1:13

H

arry

Har

t “T

hen

let m

e te

ach

you

a le

sson

.”

√ D

ean’

s al

lies

40

9 00

:21:

13

Har

ry H

art

“The

n le

t me

teac

h yo

ua le

sson

.”

√ A

mor

al le

sson

41

0 00

:21:

23

Har

ry H

art

“Are

we

goin

g to

sta

nd a

roun

d he

re a

ll da

y,

or a

re w

e go

ing

to f

ight

?”

√ H

arry

Har

t and

Dea

n’s

alli

es

411

00:2

1:26

H

arry

Har

t “A

re w

e go

ing

to s

tand

aro

und

here

all

day,

or

are

we

goin

g to

fig

ht?”

√

Har

ry H

art a

nd D

ean’

s al

lies

78


412

00:2

3:00

H

arry

Har

t “Y

este

rday

a f

rien

d o

f m

ine

died

.”

√

Ja

mes

41

3 00

:23:

04

Har

ry H

art

“He

knew

you

r fa

ther

too,

act

uall

y.”

√

Ja

mes

41

4 00

:23:

04

Har

ry H

art

“He

knew

you

r fa

ther

too,

act

uall

y.”

√

E

ggsy

41

5 00

:23:

09

Har

ry H

art

“I d

o ap

olog

ise,

Egg

sy.”

√

Har

ry H

art

416

00:2

3:09

H

arry

Har

t “I

do

apol

ogis

e, E

ggsy

.”

√

E

ggsy

41

7 00

:23:

10

Har

ry H

art

“I s

houl

d no

t hav

e do

ne th

is in

fro

nt o

f yo

u.”

√

H

arry

Har

t 41

8 00

:23:

12

Har

ry H

art

“I s

houl

d no

t hav

e do

ne th

is in

fro

nt o

f yo

u.”

√

E

ggsy

41

9 00

:23:

13

Egg

sy

“Iw

ont s

ay n

othi

ng, I

sw

ear.

” √

Egg

sy

420

00:2

3:14

E

ggsy

“I

won

t say

not

hing

, I s

wea

r.”

√

E

ggsy

42

1 00

:23:

15

Egg

sy

“If

ther

e is

one

thin

g I

can

do, i

t’s

keep

my

mou

th s

hut.”

√

Egg

sy

422

00:2

3:15

E

ggsy

“I

f th

ere

is o

ne th

ing

I ca

n do

, it’

s ke

ep m

y m

outh

shu

t.”

√

O

ne th

ing

Egg

sy c

an d

o

423

00:2

3:16

E

ggsy

“I

f th

ere

is o

ne th

ing

I ca

n do

, it’

s ke

ep m

y m

outh

shu

t.”

√

E

ggsy

424

00:2

3:17

H

arry

Har

t “Y

ou w

on’t

tell

a so

ul?”

√

Egg

sy

425

00:2

3:19

E

ggsy

“O

n ou

r li

ves,

I’v

e ne

ver

cros

sed

anyo

ne

out.”

√

Egg

sy

426

00:2

3:19

E

ggsy

“O

n ou

r li

ves,

I’v

e ne

ver

cros

sed

anyo

ne

out.”

√

Any

one

427

00:2

3:20

E

ggsy

“O

n m

y lif

e.”

√

E

ggsy

42

8 00

:23:

26

Har

ry H

art

“Muc

h ap

prec

iate

d, E

ggsy

.”

√

E

ggsy

42

9 00

:23:

28

Har

ry H

art

“You

’re

righ

t abo

ut th

e sn

obs.

” √

Egg

sy

430

00:2

3:28

H

arry

Har

t “Y

ou’r

e ri

ght a

bout

th

esn

obs.

”

√

Peo

ple

who

tend

to ig

nore

th

ose

rega

rded

as

infe

rior

43

1 00

:23:

30

Har

ry H

art

“But

ther

e to

o, th

ere

are

exce

pti

ons.

”

√

Peo

ple

who

are

not

like

the

snob

s

79


432

00:2

3:32

N

ews

Rep

orte

r “I

n ce

lebr

ity n

ews,

Th

e R

ich

mon

d

Val

enti

ne

mov

ie p

rem

iere

d in

Hol

lyw

ood,

la

st n

ight

.”

√ T

he V

alen

tine

’s m

ovie

433

00:2

3:35

N

ews

Rep

orte

r “T

he

stor

y of

inte

rnet

bill

iona

ire’

s ri

se to

po

wer

is e

xpec

ted

to b

e th

is a

war

d se

ason

’s

hot t

icke

t.”

√ T

he s

tory

of

Val

enti

ne’s

m

ovie

434

00:2

3:35

N

ews

Rep

orte

r “T

he s

tory

of

inte

rnet

bil

lion

aire

’s r

ise

to

pow

er is

exp

ecte

d to

be

this

aw

ard

seas

on’s

ho

t tic

ket.”

√

V

alen

tine

435

00:2

3:46

N

ews

Rep

orte

r “.

..Igg

y A

zale

a, s

till m

issi

ng th

ree

days

af

ter…

”

√

An

inte

rnat

iona

l sin

ger,

na

med

Igg

y A

zale

a 43

6 00

:24:

08

Egg

sy’s

Mo

m

“Egg

sy, j

ust g

o. H

e’sg

onna

…”

√

E

ggsy

437

00:2

4:08

E

ggsy

’s

Mom

“E

ggsy

, jus

t go.

He’

sgon

na…

” √

Dea

n

438

00:2

4:12

E

ggsy

’s

Mom

“D

on’t

hur

t him

.”

√

E

ggsy

439

00:2

4:16

D

ean

“Who

was

with

you

in th

at f

ucki

ng p

ub?”

√

Egg

sy

440

00:2

4:18

D

ean

“I w

ant t

o kn

ow th

e na

me

of th

e ca

ses

you

was

with

.”

√

D

ean

441

00:2

4:18

D

ean

“I w

ant t

o kn

ow t

he

nam

e of

th

e ca

se w

as

wit

h.”

√

The

nam

e of

pec

ulia

r pe

rson

who

m E

ggsy

was

w

ith

442

00:2

4:22

E

ggsy

“I

was

not

wit

h an

yone

.”

√

E

ggsy

44

3 00

:24:

22

Egg

sy

“I w

as n

ot w

ith a

nyo

ne.

”

√

Any

one

444

00:2

4:25

E

ggsy

“I

don

’t k

now

wha

t you

’re

talk

ing

abou

t.”

√

E

ggsy

44

5 00

:24:

25

Egg

sy

“I d

on’t

kno

w w

hat y

ou’r

e ta

lkin

g ab

out.”

√

Dea

n 44

6 00

:24:

26

Dea

n “F

ucki

ng te

ll m

e hi

s na

me.

” √

Dea

n

80


447

00:2

4:26

D

ean

“Fuc

king

tell

me

his

nam

e.”

√

H

arry

Har

t 44

8 00

:24:

30

Egg

sy

“I d

on’t

kno

w w

hat y

ou’r

e fu

ckin

g on

ab

out.”

√

Egg

sy

449

00:2

4:30

E

ggsy

“I

don

’t k

now

wha

t you

’re

fuck

ing

on

abou

t.”

√

D

ean

450

00:2

4:34

D

ean

“I w

ant t

o kn

ow w

ho y

ou w

asw

ith in

that

pu

b.

√

D

ean

451

00:2

4:34

D

ean

“I w

ant t

o kn

ow w

ho y

ouw

asw

ith in

that

pu

b.√

Egg

sy

452

00:2

4:37

D

ean

“I w

ant t

o kn

ow h

is f

ucki

ng n

ame.

” √

Dea

n 45

3 00

:24:

37

Dea

n “I

wan

t to

know

his

fuc

king

nam

e.”

√

H

arry

Har

t 45

4 00

:24:

48

Dea

n “I

cou

ld k

ill y

ou r

ight

now

and

I w

ould

in

the

old

wor

ld, y

ou k

now

it.”

√

Dea

n

455

00:2

4:48

D

ean

“I c

ould

kil

l you

rig

ht n

ow a

nd I

wou

ld in

th

e ol

d w

orld

, you

kno

w it

.”

√

E

ggsy

456

00:2

4:48

D

ean

“I c

ould

kil

l you

rig

ht n

ow a

nd I

wou

ld in

th

e ol

d w

orld

, you

kno

w it

.”

√

D

ean

457

00:2

4:51

D

ean

“I c

ould

kil

l you

rig

ht n

ow a

nd I

wou

ld in

th

e ol

d w

orld

, you

kno

w it

.”

√

E

ggsy

458

00:2

4:51

D

ean

“I c

ould

kil

l you

rig

ht n

ow a

nd I

wou

ld in

th

e ol

d w

orld

, you

kno

w it

.”

√

D

ean’

s ca

pabi

lity

to k

ill

Egg

sy

459

00:2

4:52

H

arry

Har

t “B

ut I

wou

ldn’

t.”

√

H

arry

Har

t 46

0 00

:24:

54

Har

ry H

art

“I h

ave

enou

gh e

vide

nce

on y

our

acti

viti

es

to h

ave

you

lock

ed u

p fo

r th

e re

st o

f yo

ur

life.

”

√

H

arry

Har

t

461

00:2

4:54

H

arry

Har

t “I

hav

e en

ough

evi

den

ce o

n yo

ur a

ctiv

ities

to

hav

e yo

u lo

cked

up

for

the

rest

of

your

lif

e.”

√ E

noug

h ev

iden

ce o

f D

ean’

s cr

ime

81


462

00:2

4:55

H

arry

Har

t “I

hav

e en

ough

evi

denc

e on

you

r ac

tivi

ties

to h

ave

you

lock

ed u

p fo

r th

e re

st o

f yo

ur

life.

”

√

D

ean

463

00:2

4:56

H

arry

Har

t “I

hav

e en

ough

evi

denc

e on

you

r ac

tivit

ies

to h

ave

you

lock

ed u

p fo

r th

e re

st o

f yo

ur

life.

”

√

D

ean

464

00:2

4:58

H

arry

Har

t “I

hav

e en

ough

evi

denc

e on

you

r ac

tivit

ies

to h

ave

you

lock

ed u

p fo

r th

e re

st o

f yo

ur

life.

”

√

D

ean

465

00:2

4:59

H

arry

Har

t “M

iste

r D

ean

Ant

hon

y B

aker

.”

√

D

ean

466

00:2

5:01

H

arry

Har

t “S

o I

sugg

est y

ou le

ave

the

boy

alon

e.”

√

H

arry

Har

t 46

7 00

:25:

01

Har

ry H

art

“So

I su

gges

t you

leav

e th

e bo

y al

one.

” √

Dea

n 46

8 00

:25:

01

Har

ry H

art

“So

I su

gges

t you

leav

e th

e b

oy a

lone

.”

√

E

ggsy

46

9 00

:25:

02

Har

ry H

art

“Or

I sh

all b

e fo

rced

to d

eliv

er it

to th

e ap

prop

riat

e au

thor

itie

s.”

√

H

arry

Har

t

470

00:2

5:02

H

arry

Har

t “O

r I

shal

l be

forc

ed to

del

iver

it to

the

appr

opri

ate

auth

orit

ies.

” √

Cri

min

al e

vide

nces

of

Dea

n

471

00:2

5:07

H

arry

Har

t “E

ggsy

, mee

t me

at th

e ta

ilor’

s I

told

you

ab

out.”

√

Egg

sy

472

00:2

5:07

H

arry

Har

t “E

ggsy

, mee

t me

at th

e ta

ilor

’s I

told

you

ab

out.”

√

Har

ry H

art

473

00:2

5:07

H

arry

Har

t “E

ggsy

, mee

t me

at th

e ta

ilor

’s I

told

you

ab

out.”

√

Har

ry H

art’

s ba

se

474

00:2

5:07

H

arry

Har

t “E

ggsy

, mee

t me

at th

e ta

ilor

’s I

told

you

ab

out.”

√

Har

ry H

art

475

00:2

5:07

H

arry

Har

t “E

ggsy

, mee

t me

at th

e ta

ilor

’s I

told

you

ab

out.”

√

Egg

sy

476

00:2

5:15

R

ott

“Let

’s s

ee h

ow y

ou f

ucki

ng m

ake

it.”

√

E

ggsy

82


477

00:2

5:15

R

ott

“Let

’s s

ee h

ow y

ou f

ucki

ng m

ake

it.”

√

Esc

ape

from

Dea

n’s

alli

es

478

00:2

5:34

R

ott

“You

wan

ker!

” √

Egg

sy

479

00:2

5:38

R

ott

“I’l

l hav

e yo

u so

on.”

√

Dea

n’s

aide

48

0 00

:25:

38

Rot

t “I

’ll h

ave

you

soo

n.”

√

E

ggsy

83


the inferences in finding referents of person deixis in kingsman

Documents

Transcript of the inferences in finding referents of person deixis in kingsman