POLITENESS STRATEGIES IN IMPERATIVE SENTENCES AS FOUND IN TANGLED
MOVIE
A THESIS
BY
SANTRI ANNURI MAQDISA
REG. NO. 130705119
DEPARTMENT OF ENGLISH
FACULTY OF CULTURAL STUDIES
UNIVERSITY OF SUMATERA UTARA
MEDAN 2017
Universitas Sumatera Utara
Universitas Sumatera Utara
Universitas Sumatera Utara
Universitas Sumatera Utara AUTHOR’S DECLARATION
I,SANTRI ANNURI MAQDISA DECLARE THAT I AM THE SOLE AUTHOR OF THIS
THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS.
THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR
EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE
QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S
WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENTS IN THE MAIN
TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE
AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.
Signed :
Date : November 22nd, 2017
Universitas Sumatera Utara COPYRIGHT DECLARATION
NAME : SANTRI ANNURI MAQDISA
REG. NUMBER : 130705119
TITLE OF THESIS : POLITENESS STRATEGIES IN IMPERATIVE
SENTENCE AS FOUND IN TANGLED MOVIE
QUALIFICATION : S-1/ SARJANA SASTRA
DEPARTMENT : ENGLISH
I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR
REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT
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Signed :
Date : August 22nd, 2017
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ACKNOWLEDGMENTS
Bismillahirrahmanirrahim,
Alhamdulillah, all praise be to Allah SWT, the Almighty, the Most Gracious and the
Most Merciful who always gives everything I need not everything I want in my life including
finishing this thesis to partial fulfillment of the requirement for scholar degree (S1) in English
Literature department. In accomplishing this thesis, I owe to many people for their support,
assistance, guidance and help.
My greatest gratitude goes to the Dean of Faculty of Cultural Studies Dr. Budi Agustono,
M.S, the Head of English Department, Dr. Deliana, M.Hum, the Secretary of English
Department, Rahmadsyah Rangkuti, M.A, Ph.D who is very familiar and kind in teaching with
many support, spirit, advice, and guidance in finishing this thesis. Special thank also to Prof. Dr.
Drs. Syahron Lubis, M.A.,BA as my supervisor who always gives me the best thing, not only
knowledge but also suggestion, kindness, and guidance in completing this thesis. I also want to
thank to my co-supervisor Dr. Deliana, M.Hum who has read and check this thesis so that it is
better and better. I also want to thank to all the lecturers who have taught me and all of my
friends in English Department.
On this special occasion, I would also like to express my sincerest gratitude and appreciation to my father H. Khairuddin Malik Pane and my mother Hj. Arbaniah for their endless moral support, prayer, and love. I dedicated this thesis special for both of you to make you happy and proud of me. Special thank also to my dearest brother, Hendri Pratama Yandhi,
SE and my dearest sister, Dwi Corry Parateja Sari, Amd who always pray for me, give suggestion and support for me and also protect me. Beside that, I also want to thank to my sister
Universitas Sumatera Utara in law Dia Silopa, SE and my brother in law Fachrizal, SH and also my cutest nephews Xavier
Multazam AlMalik, Wildan Rizieq AlMalik, Orico Arkana Arrasyid and my cutest niece
Arsyana Yumna Khairani who always cheer me up.
My greatest thanks are also addressed to all of my friends: Azalia, Melika, Suriyani,
Farah, Zaza, Devi, Kiki, Vina, Liya, Dian, Mutia, Valanda, Puteri, Ulfa, and all of my friend that
I cannot name it one by one, I want to thank for their support and helps during the days towards my thesis examination.
Last but not least, I also thank those whom I cannot mention one by one for the support and prayer for me in accomplishing this thesis. Finally, I realize that this thesis is far from being perfect. Therefore, I would be glad to get comments, feedbacks, and suggestions for the betterment of this thesis. Hopefully, this thesis will give a contribution to everyone.
Medan, 22nd November 2017
Santri Annuri Maqdisa
Reg. No. 130705119
Universitas Sumatera Utara
ABSTRAK
Skripsi yang berjudul “Politeness Strategies in Imperative Sentences as Found in Tangled Movie” merupakan suatu kajian linguistik yang membahas tentang tipe-tipe strategi kesantunan di kalimat imperatif beserta mekanismenya pada film Tangled. Teori yang digunakan untuk mengidentifikasi dan mengklasifikasi tipe-tipe strategi kesantunan di kalimat imperatif beserta mekanismenya adalah teori Brown dan Levinson. Metode penelitian yang digunakan dalam penelitian ini adalah metode deskriptif kualitatif. Hasil dari penelitian ini menunjukkan bahwa tipe strategi di kalimat imperatif yang ditemukan pada film Tangled adalah (1) Secara langsung (Bald on record), (2) Kesantunan positif (Positive politeness) dan (3) Kesantunan negatif (Negative politeness). Sedangkan tipe strategi kesantunan di kalimat imperatif yang di temukan pada film Tangled adalah secara langsung (Bald on record) sebagai persentasi terbesar dengan 82,1%.
Kata Kunci: Pragmatik, Strategi Kesantunan, Kalimat Imperatif, Film Tangled
Universitas Sumatera Utara
ABSTRACT
The thesis entitled “Politeness Strategies in Imperative Sentences as Found in Tangled Movie” is a linguistic study which discusses the types of politeness strategies in imperative sentences and its mechanism found in Tangled movie. The theory used to identify and to classify the types of politeness strategies in imperative sentences and its mechanism is Brown and Levinson’s theory. The method used in this research is descriptive qualitative method. The results of this study indicate that the types of politeness strategies in imperative sentences as found in Tangled movie are (1) Bald on record, (2) Positive politeness and (3) Negative politeness. While the types of politeness strategies in imperative sentences as found in Tangled movie that dominant is bald on record as the biggest percentage with 82,1%.
Key words : Pragmatics, Politeness Strategies, Imperative Sentences, Tangled Movie.
Universitas Sumatera Utara
TABLE OF CONTENTS
AUTHOR’S DECLARATION ...... v COPYRIGHT DECLARATION ...... vi ACKNOWLEDGEMENT ...... vii ABSTRACT ...... ix ABSTRAK ...... x TABLE OF CONTENTS ...... xi
CHAPTER I INTRODUCTION 1.1 Background of the Study ...... 1 1.2 Problems of the Study ...... 5 1.3 Objectives of the Study ...... 5 1.4 Scope of the Study ...... 5 1.5 Significance of the Study ...... 5
CHAPTER II REVIEW OF LITERATURE 2.1 Pragmatics ...... 7 2.2 Politeness ...... 8 2.2.1 Definition ...... 8 2.2.2 Brown and Levinson Theory of Politeness ...... 8 2.2.2.1 Face ...... 8 2.2.2.2 Face Threatening Act (FTA) ...... 8 2.2.3 Brown and Levinson Politeness Strategies ...... 9 2.2.3.1 Bald on record ...... 9 2.2.3.2 Positive politeness ...... 13
Universitas Sumatera Utara 2.2.3.3 Negative politeness ...... 14 2.3 Imperative Sentence ...... 15 2.3.1 Function of Imperative Sentence ...... 16 2.4 Relevant Studies ...... 20 CHAPTER III METHOD OF RESEARCH 3.1 Research Design ...... 23 3.2 Sources of Data ...... 23 3.3 Data Collection Procedures ...... 24 3.4 Data Analysis Methods ...... 24
CHAPTER IV ANALYSIS AND FINDING 4.1 Analysis ...... 26 4.2 Findings...... 56
CHAPTER V CONCLUSION AND SUGGESTION 5.1 Conclusion ...... 58 5.2 Suggestion ...... 58
REFERENCES ...... 60 APPENDIX ...... xiii
Universitas Sumatera Utara CHAPTER I
INTRODUCTION
1.1 Background of the Study
Learning pragmatics is considered to be important in daily communication. It might be because pragmatics is closely related to human’s interaction. In human’s interaction, everyone tries to understand the intended meaning of the word said by partner of speech and relates it with context situation.
Yule (1998: 3) defines pragmatic as the study of meaning as communicate by a speaker (or writer) and interpreted by a listener (or reader). It is concerned with analyzing what speakers mean with their utterance and involves the interpretation of what people said in a particular context so they can decide the appropriate way and language to convey messages.
One of the central concepts in pragmatics is politeness. Ide (1989: 225) states that politeness
is “language usage associated with smooth communication” achieved through the speaker’s use
of intentional strategies and of expression conforming to prescribed norms. Using politeness in
communication also often uses the praise and compatibility of language usage that is accurate to
the listener. Politeness in communicating does not use words that can degrade or vilify the other
persons in order to create a communication that conducive. Scollon and Scollon (1981) define
that positive and negative politeness are sufficiently different kinds of things that their placement
on the same hierarchy is conceptually awkward, if not incoherent, and claim that “while positive
Universitas Sumatera Utara politeness is directed more to the general nature of the relationship between interactants, negative
politeness is direct to the specific act of imposition”.
Holmes (1992: 226) states that one of the factors influencing an interaction is relationship to
someone, especially solidarity. It means being linguistically polite involves speaking to people
appropriately in the light of their relationship to others. Inappropriate linguistic choices may be
considered rude. Positive politeness is solidarity oriented. It is emphasized shared attitudes and
values. On the other hand, negative politeness pays people respect and avoids intruding on them.
Negative politeness involves expressing oneself appropriately in terms of social distance and
respecting status difference. While, bald-on record is commonly found in people who know each other very well, and who are very comfortable in their environments, such as a close friend and family. To reveal politeness, people need certain strategies and usually each people have their own different strategies.
Politeness strategies have significances for some groups of society. These contribute for everyone in all conditions that using language as their tools in daily conversation in order to make a good social interaction with other people in their life. In this matter, politeness becomes the basic rules in the language which is used by the participants.
Politeness is not something the person brings from birth, but it is learned by someone in social life. In communicating we will use politeness based on social status between the speaker and the listener. This is related to age, gender and socio cultural background. If the speaker is younger than the listener, as a rule, the speaker will use the words that are more polite and accurate. Furthermore, women usual speak more politely than men, so gender also determines politeness in speaking, according to the literature, gender differences in patterns of language use
Universitas Sumatera Utara can be explained by the fact that girls and boys experience different patterns of socialization into different cultures (Tannen, 1987). Holmes (1995: 7) defines as they grow up, girls and boys learn appropriate ways of interacting from their same sex peers, including appropriate ways of interacting verbally.
The socio cultural background also determines the politeness in communicate on because someone who has a good job, position in the social status or good education will communicate with higher politeness.
The form of politeness related in uses of imperative speech, in this case can be seen from the short or length of speech, sequence of speech, intonation of speech and the uses of politeness marker, it can be determines of politeness in imperative.
Cowan (2008: 110) defines imperative are used to convey commands, order, instructions, and requests. Unconsciously, we are often uses imperative sentences in our daily lives, even orally or writing. Cowan (2008: 115) also states imperative sentences (or rather, such characteristic features as imperative verb inflection, negative marking and imperative particles such as
“please”) are linked to representations of potentiality and desirability. However, the aim of the imperative pragmatic meaning is not always accurate with the form of the construction, but it determines the context of speech situation based on scope and background.
The writer chooses Tangled movie because some characters in this movie used imperative sentences that have the elements of politeness strategies. The example of the imperative sentence in this movie when Gothel said to Rapunzel as below:
Universitas Sumatera Utara Gothel : Okay, Rapunzel, please, stop with the mumbling.
Gothel uses imperative request that have purpose to order. She hates the mumble so she orders to
Rapunzel to stop her mumbled.
The writer also chooses imperative sentences because some of characters in this movie used imperative sentences to communicate with each other. Imperative sentences itself can be the object to analyze about politeness strategies. The example of politeness strategies in imperative in this movie can be seen from the sentence below:
Gothel : Rapunzel, mother’s feeling a little run down. Would you sing for me, dear?
That’ll do.
Gothel employs a bald on record because she orders directly to Rapunzel, she wants to hear
Rapunzel sing for her and Gothel also uses request as the mechanism that she have purpose to order and she used imperative request.
We can found some of types and function in imperative sentences in this movie. This research aims to analyze how politeness strategies in imperative sentences in Tangled movie.
The readers will see what the types of politeness strategies in imperative sentences in Tangled movie and the dominantly types of politeness in imperative sentences in Tangled movie.
The explanation above, the writer assumes that a research about politeness in imperative sentences as found in Tangled movie is very interesting and can be useful for readers.
Universitas Sumatera Utara 1.2 Problem of the Study
1. What types of politeness strategies in imperative sentences are used in Tangled movie?
2. What type of politeness strategies in imperative sentences is dominantly used?
1.3 Objectives of the Study
In relation to the formulation of the problems, the objectives of the analysis are:
1. To find out the types of politeness strategies used in imperative sentences as function in
Tangled movie.
2. To find out the dominant types of politeness strategies used in imperative sentences as
function in the movie.
1.4 Scope of the Study
This analysis was focused on the politeness strategies in imperative sentences which are
found in Tangled movie and duration of the movie for 100 minutes.
1.5 Significance of the Study
Theoretically, this research is aim at find out the types of politeness strategies in
imperative sentences used in Tangled movie, the research is useful to know the types of politeness strategies in imperative sentences and the dominant types of politeness strategies in imperative sentences that used in Tangled movie.
Practically, this research is expected to be useful for the readers in order to enrich their understanding about politeness strategies in imperative sentences and how the imperative
Universitas Sumatera Utara sentences are used in the children movie such as Tangled movie. The writer will conduct a further study related to politeness strategies in imperative sentences as found in Tangled movie to answer the problem of the study and help the readers to know about the imperative sentence.
Universitas Sumatera Utara CHAPTER II
REVIEW OF LITERATURE
2.1 Pragmatics
Pragmatics is a branch of linguistics, which is the study of language that focuses on the meaning and communication process. Pragmatics studies how words can be interpreted in different ways based on the situation. Searle, Kiefer & Bierwich (1980) define pragmatics has as its topic those aspect of the meaning of utterances which cannot be accounted for by straightforward reference to the truth conditions of sentences uttered.
In pragmatics, the speaker conveys the purpose through communication that fit in the context. Yule (1998: 3) states pragmatics as the study that concerns with the meaning communicated by speaker (or writer) and interpreted by a listener (reader).
People spend much of their time to talking and interacting with other people in their daily life. These interactions involving utterances can be analyzed by pragmatic analysis to find out the speaker’s intended meanings, the listener’s assumptions or receptions regard with some aspects such as who the speaker and the listener are, what relationship they have, and in what context they interact. (Cutting, 2002:1) defines the role of the language user leads the scope of pragmatics to the context of the language itself. In addition, the study of pragmatics covers several subfields or domains, such as deixis, speech acts, presupposition, implicature and politeness.
Universitas Sumatera Utara 2.2 Politeness
2.2.1 Definition
Politeness is the key to all of our relationship and plays a fundamental part in the person’s way to communicate with each other. Politeness has to be studied in terms of the relationship
between language use and behavior. Thomas (1995:150) defines politeness as a genuine desire to
be pleasant to others, or as the underlying motivation for an individual’s linguistic behavior,”
adding that there is no access to addresser’s motivation to be more or less polite than others,
starting that there is access only to what addressers actually say and how their addressee(s) react.
2.2.2 Brown and Levinson Theory of Politeness
2.2.2.1 Face
Brown and Levinson (1978:61) state face is the public self-image that every member wants to claim for himself, consisting in two related aspects:
(a) Negative face: the basic claim to territories, personal preserves, rights to non distraction,
to freedom of action and freedom from imposition
(b) Positive face: the positive consistent self-image or personality crucially including the
desire that this self image be appreciated and approved of claimed by interactans.
2.2.2.2 Face threatening act (FTA)
Brown and Levinson (1978: 65-67) define there are some actions that might threat either positive face or negative face of somebody else. Those kinds of actions are called face threatening act (FTA). The actions that threats negative face include request, order, reminding,
Universitas Sumatera Utara advice, suggestion and warning. Then, the actions that might threat positive face are expression
of disapproval, criticism, contradiction, disagreement and also bringing bad news of hearer.
A face threatening act is an act that inherently damages the face of the addressee or the
speaker by acting in opposition to the wants and desires of the other. Most of these act are verbal,
however, they can also be conveyed in the characteristics of speech such as tone, intonation,
etc)or in non-verbal forms of communication.
2.2.3 Brown and Levinson Politeness Strategies
There are several ways to convey FTA, it can be conveyed directly, more politely or
indirectly, these ways are called politeness strategies. Brown and Levinson sum up human
politeness behavior in the strategies: bald-on record, positive politeness, negative politeness.
2.2.3.1 Bald-on record
Bald on record strategy is to the point concept. It means that the speaker tells or does
explicitly and directly what speaker wants towards hearer. Brown and Levinson (1978:94) state
bald on record deals with Grice’s Maxims (1975) which reveals that to get the maximum
advantage in communication, people should consider the quality (speak the truth, be sincere),
quantity , relevance (be relevant) and also manner (be perspicuous; avoid ambiguity and
obscurity). The prime reason for bald-on record usage may be stated simply: in general,
whenever speaker wants to do the FTA with maximum efficiency more than he wants to satisfy
hearer’s face, even to any degree, he will choose the bald-on record strategy. There are, however, different kinds of bald-on record usage in different circumstances, because speaker can have
Universitas Sumatera Utara different motives for his want to do the FTA with maximum efficiency. Direct imperatives stand
out as clear examples of bald-on-record usage, and we concentrate on them in the examples that
follow. The mechanisms of strategy include:
1) Give suggestion/advice
In this case where non-minimization is likely occurs where doing the FTA is primarily in
hearer’s interest. Then in doing the FTA, speaker conveys that he does care about hearer (and
therefore about hearer’s positive face), so that no redress is required. Thus sympathetic advice, suggestion or warnings may be baldly on record.
For example,
1. Careful! He’s a dangerous man.
2. Your slip is showing.
(Brown and Levinson, 1978:98)
These usages (of imperatives for actions directly in hearer’s interest) give rise to a host of cliche farewell formula, as in the English ‘advice’ delivered to those departing on a trip
For example,
1. Take care of yourself, be good, have fun.
2. Don’t take any wooden nickels.
(Brown and Levinson, 1978:98)
Universitas Sumatera Utara 2) Request
This strategy has purpose to orders and entreaties or begging in imperatives. In this case also such task-orientation probably accounts for the paradigmatic form of instructions and recipes. In another case, this strategy used where non-redress occurs is where speaker wants to satisfy hearer’s face is small, either because speaker is powerful and does not fear retaliation or non- cooperation from hearer.
For example,
1. Forgive me.
2. Accept my thanks.
3. Add three cups of flour and stir vigorously.
4. Bring me wine, Jeeves.
5. In future, you must add the soda after the whisky.
(Brown and Levinson, 1978:96-97)
3) Warning, Threatening
In cases of great urgency or desperation, redress would actually decrease the communicated urgency and also equivalent urgent imperatives.
For example,
1. Help!
2. Watch out!
3. Your pants are on fire!
4. Don’t burn your hand!
Universitas Sumatera Utara (Brown and Levinson, 1978:96)
4) Use imperative form
Speaker communicates essentially ‘Feel free to get on with your business and don’t worry about offending me’. It is aimed at forestalling hearer’s reluctance to impinge on speaker’s negative face.
For example,
1. Don’t worry about me.
2. Don’t let me keep you.
3. Don’t mind the mess.
(Brown and Levinson, 1978: 101)
Moreover, this strategy used to greetings and farewells, and in general rituals of beginning or terminating encounters, often contains such bald-on record imperatives commands and offers.
For examples,
1. Come!
2. Sit down!
3. Don’t bother, I’ll clean it up.
4. Leave it to me.
5. Wash your hands.
(Brown and Levinson, 1978:100)
Universitas Sumatera Utara 2.2.3.2 Positive Politeness
The positive politeness shows that the speaker recognizes the hearer has desire to be
respected. Brown and Levinson (1978: 101-129) define positive politeness is oriented to satisfy
hearer’s positive face. It means that speaker kindly shows his appreciation, approval, interest and
also familiarity with hearer. This strategy is used to make the speaker feel good about himself,
his interest or possession, and is most usually used in situations where the hearer knows each
other fairly well. The mechanisms of strategy include:
1) Use in-group identity markers (forms, jargons, dialects or ellipses)
This strategy concerns with the use of address form, in-group language or dialect, jargon,
forms and ellipsis. Address form used by both speaker and hearer shows their relationship
whether it is close or not.
For example,
1. Come here, mate!
2. Bring me your dirty clothes to wash, darling.
(Brown and Levinson, 1978:108)
2) Be optimistic
In conducting this strategy, speaker assumes that hearer wants to fulfill his wants. In addition,
both speaker and hearer have to cooperate each other because it will represent their mutual interest and approval.
Universitas Sumatera Utara For example,
1. Wait a minute, you haven’t brush your hair!
2. Look, I’m sure you won’t mind if I borrow your typewriter,
(Brown and Levinson, 1978:126)
3) Include both speaker and hearer in the activity
This strategy is generally conducted by asserting inclusive “we” form. Noting that let’s in
English is an inclusive ‘we’ form.
For example,
1. Let’s have a cookie, then!
2. Give us a break
(Brown and Levinson, 1978:127)
2.2.3.3 Negative Politeness
The negative politeness admits that the speaker is in some way imposing on the hearer.
Brown and Levinson (1978:129-211) state negative politeness is a kind of politeness which deals with satisfying hearer’s negative. These strategies presume that the speaker will be imposing on the hearer and there is a higher potential for awkwardness or embarrassment than in positive politeness strategy. As it recognize the addressee’s face wants, negative politeness is more polite than positive politeness based on the amount of face redress. The mechanism of strategy include:
Universitas Sumatera Utara 1) Impersonalize speaker and hearer
The basic concept of this strategy is avoiding reference to the person that involves in FTA.
Speaker should void inclusive “I” and “you” in the conversation because it may indicate a little
imposition. In the direct expression (imperative) of one of the most intrinsically face, threatening speech acts, commanding, most languages omit the “you” of the subject of the complement of the performative. In English is marked as aggressively rude.
For example,
1. You take that out!
2. You give it!
(Brown and Levinson, 1978: 191)
2.3 Imperative Sentence
Imperative sentence may contain command, requests, prohibition and so on, it depends on the purpose of the speaker. Azar (1985:70) defines imperative sentences are used to give commands, make polite request and give direction.
For example,
1. Look at me!
2. Do not use it!
3. Hurry up!
Universitas Sumatera Utara 2.3.1 Function of Imperative Sentence
a) The Imperative Sentence as Command
The command is given when there is a power different between speaker and listener, the
speaker has an authority to command the listener to do something. Cowan (2008:116) states the
speaker expects the persons addressed to do what he or she has said.
For example,
1. Put the gun down!
2. Come over here! b) The Imperative Sentence as Request
Actually imperative sentence as a request is quite the same as the command but it is more polite. Cowan (2008:124) defines requests imply varying degrees of politeness. A request is an intention of the speaker, so that the listener does something. Searle (1979:36) states politeness is the most prominent motivation for indirectness in request, particularly those indirect forms that are conventionalized for use as requests.
In request, the hortatory words (please, do) or question tags (will you?, won’t you?, would you?, could you?, can you?, etc) or “modal + you” (can you, will you, would you, and would you mind) are often used. Cowan (2008:124) denotes expression beginning with modals are at the high end of the politeness continuum, while basic imperatives are presented as the least polite option.
For example,
Universitas Sumatera Utara 1. Do you mind standing over there!
2. Would you please pass me that wrench?
3. Drive the car carefully, please! c) The Imperative Sentence as Invitation
In invitation, the use of question tags “won’t you” commonly used to invite the listener.
Cowan (2008:117) says the speaker invites the person addressed to do something.
For example,
1. Have a cup of tea, won’ you? Or
Won’t you have a cup of tea?
Furthermore, “would you like” commonly is also used as invitation:
1. Would you like + to-infinitive
Would you like to come to my brother’s wedding party?
2. Would you like + noun
Would you like a cup of tea?
The response to an invitation varies greatly, especially in the case of acceptance such as:
• Yes, thank you
• Yes, please
• Yes, I would
• No, thank
For example,
Universitas Sumatera Utara 1. A : Would you like a yogurt?
B : No, thanks d) The Imperative Sentence as Suggestion
In suggestion “let us” indicates that the speaker is making a suggestion that includes himself and people he is addressing. We may notice “don’t”, “let’s” instead of “let’s not”.
Cowan (2008:113) states the use of let’s as a polite way of framing a command occurs in many different settings. For example, in sentence “it looks like we may have gone too far, so let’s take the next exit and turn around”, here a passenger uses a “let’s” imperative to politely tell the driver to exit the freeway and turn around. However, “let’s” imperative are negated by placing not after “let’s”.
For example,
1. Let’s eat lunch.
2. Let’s not discuss it anymore, shall we?
Moreover, “you had better” and “why don’t you”, can be used as the suggestion.
For example,
1. You had better visit your lecturer.
2. Why don’t you discuss it to your mom?
Universitas Sumatera Utara e) The Imperative Sentence as Advice
An advice is an idea, opinion or a plan given to somebody about what the speaker should
to do. Cowan (2008:117) defines the speaker directs the attention of the person addressed to
something that is for his or her benefit.
For example,
1. Be wise!
2. Don’t be sad!
f) The Imperative Sentence as Prohibition.
In prohibition, the speaker forbids the listener to do something. It is concerned with
negative imperative. Drummand (1972:23) states it is always signaled by the marker’s don’t or
don’t be before an imperative sentence.
For example,
1. Don’t be jealous!
2. Don’t sleep!
Usually, the prohibition is often indicated by means of brief announcement with “no + gerund”.
For example,
1. No smoking!
2. No parking!
Universitas Sumatera Utara 2.4 Relevant Studies
• Penelope Brown and Stephen C. Levinson (1987) in their book entitled: “Politeness some
universals in language usage” analyzed that Brown and Levinson wished to account for the
pan-cultural interpretability of politeness phenomena, broadly defined. They argued that this
interpretability derives from the universal mutual-knowledge assumptions of interacting
individuals: that humans are “rational” and they have “face”. On these lines we constructed
an overall theory of politeness, integrating notions of polite friendliness and polite formality
in a single scheme. From abstract ends, our two ‘face wants’, repeated application of rational
means-ends reasoning will bring us down to the choice of linguistic and kinesic detail, to the
minutiae of message construction. Only at the most abstract level, then, do we need to resort
to concepts like ‘ethological primitives’, ‘innate dispositions’, and so on concepts that
notoriously block inquiry. Nor, interestingly, do norms play a central role in the analysis.
• Ron Cowan (2008) in his book entitled: “The Teacher’s Grammar of English a Course Book
and Reference Guide” analyzed that he feel competent, professional teachers should
command, as well as information about discourse structuring principles that affect the
occurrence of grammatical structures. In this book helps the writer to enrich knowledge
about imperative sentence in chapter 6 in this book. This books explains about formed and
explore how various types of English imperative sentence is used to convey command,
orders, instructions and requests. Several sentence structures fall within the general category
of imperatives. Certain imperative forms are more appropriate than others, depending upon
the meaning that the speaker wishes to convey.
• A. S. Hornby (1976) in his book entitled: “Guide to Patterns and Usage in English Second
Edition” analyzed that Hornby wants to provide help and guidance for advanced students of
Universitas Sumatera Utara English as a foreign or second language. The traditional grammar book provides information
on accidence and syntax. It sets out and describes the various parts of speech. This book also
helps the writer to enrich knowledge about imperative in part 5 in this book. In this part,
Hornby explains that there are some various ways that may be expressed. The verbs
commands, order, request, suggest, prohibit and etc., their corresponding nouns may be
used.
• Wuri Pangestu (2015) in her thesis entitled: “Politeness Strategies Used by Deddy Corbuzier
in Interviewing entertainer and Non-Entertainer in Hitam Putih Talk Show” analyzed that
politeness strategies are the ways that some people used to send the purpose of speech more
polite. This research has purpose to explains the types of politeness strategies that used in
Deddy Corbuzier when interview the guest (artist and non-artist) and this research also
explains the differences of politeness strategies and the reason why that strategy has chosen.
• Mifta Hasmi (2013) in his thesis entitled: “A Pragmatic Analysis of Politeness Strategies
Reflected in Nanny Mcphee Movie” analyzed uses descriptive qualitative approach. The key
instrument of the research was the researcher herself. The data source was Nanny McPhee
movie script. The research is a pragmatic study on politeness strategies employed by the
main characters in Nanny McPhee movie in the context of family discourse. The objectives
of this research (1) to identify the types of politeness strategies employed by the main
characters in Nanny McPhee movie and (2) to describe the way politeness strategies are
realized in the utterances employed by the main characters in Nanny McPhee movie. The
results of the research show to important points. First, there are four types of politeness
strategies employed by the main characters in Nanny McPhee movie when having
conversation with the children: Bald-on record strategy (31 out of 104), Positive politeness
Universitas Sumatera Utara strategy (46), Negative politeness strategy (15) and Off record strategy (12). Second, in realizing those politeness strategies, the main characters utilize their own sub-strategies.
Among all sub-strategies, claiming ground is the most frequent strategy as the main characters need to share common ground with the children.
Universitas Sumatera Utara CHAPTER III
METHOD OF RESEARCH
3.1 Research Design
The type of research that used is qualitative descriptive method. Qualitative descriptive is research that produces descriptive data in the form of written or oral words from people and behavior that can be observed. Data is the result of evidence that has been collected to secure the writing that will be done. Qualitative data is a type of data expressed in the form of descriptions even the type of data can be short stories.
The data that have been obtained during the course of the research will be easy to understand if processed, analyzed and submitted systematically. Qualitative data analysis itself has a purpose to generate meaning or concept and develop a new theory. Therefore, make the research design is needed in doing the proposal stage. Miles and Huberman (2014) state that pre- structured qualitative designs depends on the time available, how much already is known about the phenomena under study, the instrument already available and the analysis that will be made.
3.2 Sources of Data
The data of the research are the imperative sentences in the movie that contains politeness strategies as found in the Tangled movie. Meanwhile, the sources of the data is the script of
Tangled movie which is retrieve from https://imeldasanders123.wordpress.com/disney-tangled-
script/
Universitas Sumatera Utara 3.3 Data Collection Procedures
A variety of collecting data techniques is used by qualitative descriptive method to
answer the research questions. In this research, the data were collected by conducting several
steps. These are the steps applied in doing the research:
1. The movie was watched carefully and comprehensively in order to find the
appropriate information needed for answering the research objectives.
2. While the movie was watched, the script was also read to re-check the accuracy of
the script.
3. The dialogues consisting politeness strategies in imperative sentences in the
Tangled movie.
4. The data then were all described.
3.4 Data Analysis Method
The data that have been obtained from various sources then were processed by taking the following steps:
1. The data containing politeness strategies in imperative sentences in the Tangled
movie were identified.
2. The data were classified based on types of politeness strategies in imperative
sentences in the movie and the relation about the politeness strategies and imperative
sentences.
3. The data were tabulated.
Universitas Sumatera Utara 4. The percentage of type of politeness strategies in imperative sentences found in
Tangled movie was shown.
x 100% = N 𝑥𝑥 𝑦𝑦 X : number of the obtained items
Y : number of all data
N : The percentage from all types
(Butler, 1985:25)
5. The most dominant type of politeness strategies used in imperative sentences in
Tangled movie was found.
Universitas Sumatera Utara CHAPTER IV
ANALYSIS AND FINDING
4.1 Analysis
In this section, the writer provides the explanation of the data. Imperative sentences in
Tangled movie that contain politeness strategies are presented as data to be analyzed in the table.
The form of the table is as follows:
Table I : Types of politeness strategies in imperative sentences in Tangled Movie
No. Data Imperative Type Mechanism sentence
1. You must stay here, Command Negative Gothel employs a where you safe. Politeness negative politeness because she is imposed Rapunzel to stay in the tower, she uses impersonalize speaker and hearer as the mechanism that “you” was the emphasis of aggressively rude.
(You must stay here).
2. Oh come on Pascal, it’s Advice Bald-on Rapunzel employs not so bad in there… record a bald on record where she gives advice explicitly and directly to
Universitas Sumatera Utara Pascal because Pascal wants to go outside. Rapunzel uses give advice/suggestion as the mechanism that Rapunzel care about Pascal that bored and she gives sympathetic advice.
(Oh come on Pascal).
3. Rider! C’mon! Command Bald on Stabbington record Brothers employ a bald on record because they gives command explicitly to Rider who impressed the castle, Stabbington Brothers uses using imperative form as the mechanism that the sentence is imperative command.
(Rider! C’mon!)
4. Hold on. Yup. I’m used to Command Bald on Flynn employs a it. Guys I want a castle. record bald on record because gives command directly and explicitly to Stabbington Brother that asked him to go. Flynn uses imperative
Universitas Sumatera Utara form as the mechanism that the sentence was imperative command.
(Hold on.)
5. Hey wait! Hey wait! Command Bald on Guard employs a record bald on record because he realized that the crown was stolen by Flynn and he gives command explicitly to Flyyn. Guard uses imperative form as the mechanism that the sentence was imperative command.
(Hey wait! Hey wait!)
6. Let down your hair! Command Bald on Gothel employs a record bald on record because she wants to go up the tower so she asked Rapunzel directly. Gothel uses imperative form as the mechanism that she used imperative command.
(Let down your hair!)
Universitas Sumatera Utara 7. It’s time. I know, I know, Suggestion Bald on Rapunzel employs come on, don’t let her see record a bald on record you. because she gives suggestion directly to Pascal and she asked him to hid from Gothel. Rapunzel uses give suggestion as the mechanism that Rapunzel gives warning to Pascal.
(Come on, don’t let her see you)
8. Rapunzel, mother’s Request Bald on Gothel employs a feeling a little run down. record bald on record Would you sing for me, because she orders dear? That’ll do. directly to Rapunzel, she wants Rapunzel to sing for her. Gothel uses request as the mechanism, she have purpose to order.
(Would you sing for me, dear?)
Universitas Sumatera Utara 9. -Wait!- Command Bald on Gothel employs record bald on record because she wants Rapunzel to stop to sing and she asked Rapunzel explicitly. Gothel uses imperative form as the mechanism that she used imperative command.
(-Wait!-)
10. -Wait!- Command Bald on Gothel employs record bald on record because she wants Rapunzel to stop to sing and she asked Rapunzel explicitly. Gothel uses imperative form as the mechanism she used imperative command.
(-Wait!-)
11. Okay, Rapunzel, please, Request Bald on Gothel employs a stop with the mumbling. record bald on record You know how I feel because she asked about the mumbling- Rapunzel to stop blah-blah-blah-blah, it’s her mumble very annoying,I’m just directly. Gothel teasing, you’re adorable, uses request as the I love you so much, mechanism that darling. Agh. she used imperative request
Universitas Sumatera Utara marker “please”.
(Please, stop with the mumbling)
12. Shh! Trust me, pet Advice Positive Gothel employs a politeness positive politeness, Mother knows best she shows how close she was with Rapunzel. She uses in group identity marker as the mechanism that she calls Rapunzel “pet”.
(Trust me, pet)
13. Don’t ever ask to leave Prohibition Bald on Gothel employs a this tower again. record bald on record because she did not give Rapunzel permission to go outside explicitly. Gothel uses warning, threatening as the mechanism that she gives a warning to Rapunzel.
(Don’t ever ask to leave this tower again)
14. I love you most. Advice Bald on Gothel employs a record bald on record, she Don’t forget it, you’ll reminds Rapunzel regret it to remember her Mother knows best! warning. Gothel uses give advice s the mechanism that
Universitas Sumatera Utara Rapunzel would regret if she breaks a warning from Gothel.
(Don’t forget it, you’ll regret it)
15. Give us the satchel first. Command Positive Stubbington politeness Brother employ a positive politeness because they minimize the distance with Flynn when they gave Flynn an offer. They uses include both speaker and hearer in the activity as the mechanism that they applied “we” form.
(Give us the satchel first)
16. Now help us up, pretty Command Positive Stubbington boy. politeness Brother employ a positive politeness, they have claims to reflexivity of their wants. Stabbington brother uses two mechanisms, they used include both speaker and hearer in the activity, they applied “we” form and they also used in group identity marker, they calls
Universitas Sumatera Utara Flynn “pretty boy”.
(Now help us up, pretty boy)
17. Retrieve that satchel at Command Bald on Captain employs a any cost! record positive politeness, he chases Flynn and Stubbington brother was who stolen the crown. Captain uses be optimistic as the mechanism he trust that the guards would fulfill his instruction.
(Retrieve that satchel at any cost!)
18. Ugh! Come on, fleabag, Command Positive Flynn employs a forward! politeness positive politeness, he wants to show that he was close with Maximus and he could give instruction to Maximus. Flynn uses in group identity marker as the mechanism that he calls Maximus “Fleabag”.
(Come on, fleabag, forward!)
19. No! Stop it, stop it! Give Command Bald on Flynn employs a it to me-give me that! record bald on record, he gives instruction explicitly to
Universitas Sumatera Utara Maximus, he tried to grab the satchel from Maximus. Flynn uses warning, threatening as the mechanism that they have great urgency because the satchel almost fall down to the ravine.
(No! Stop it, stop it! Give it to me- give me that!)
20. Let down your hair! Command Bald on Gothel employs a record bald on record because she wants to go up the tower so she asked Rapunzel directly. Gothel uses imperative form as the mechanism that she used imperative command.
(Let down your hair!)
21. Trust me- Request Bald on Rapunzel employs record a bald on record when Gothel did not want to hear her desire to go outside so Rapunzel tried to begging directly to Gothel. Rapunzel
Universitas Sumatera Utara uses request as te mechanism that she have purpose to order.
(Trust me-)
22. Oh, come on- Request Bald on Rapunzel employs record a bald on record, she still tried to get the permission from Gothel, she still begging directly. Rapunzel uses request as the mechanism that she have purpose to order that she wants to go outside.
(Oh come on-)
23. Enough of the lights, Prohibition Negative Gothel employs a Rapunzel! You are not politeness negative leaving this tower! politeness, she imposed Rapunzel Ever! to stay in the tower forever. Gothel uses impersonalize speaker and hearer as the mechanism that “you” in the sentence as the aggressively rude.
(You are not leaving this tower!
Ever! )
24. Er, uh. Huh? Yike! Request Bald on Flynn employs a bald on record,
Universitas Sumatera Utara Would you stop that? record when Pascal’s tongue stuck in his ear, he orders to Pascal to stop do it explicitly. Flynn uses request as the mechanism that he have purpose to order.
(Would you stop that?)
25. Look this way. Command Bald on Rapunzel employs record a bald on record, she wants to make a deal with Flynn and she wants to show her paint directly. Rapunzel uses imperative form as the mechanism that she used imperative command.
(Look this way.)
26. But trust me when I tell Command Bald on Rapunzel employs you this. record a bald on record, she wants Flynn could trust what her said explicitly. Rapunzel uses imperative form as the mechanism that she used imperative command.
(But trust me)
Universitas Sumatera Utara 27. Stay calm. It can Advice Bald on Flynn employs a probably smell fear. record bald on record, he wants to make Rapunzel who was fear to calm down directly. Flynn uses give advice as the mechanism that Rapunzel did not need to fear because it was only Rabbit.
(Stay calm.)
28. Oh don’t you worry. Suggestion Bald on Flynn employs a You’ll know it when you record bald on record, he smell it. invites Rapunzel directly to go to a great place to lunch. Flynn uses give suggestion as the mechanism that Rapunzel would gets a good meals to lunch.
(Don’t you worry, you’ll know it when you smell it)
29. Let down your hair! Command Bald on Gothel employs a record bald on record because she wants to go up the tower so she rush to ask Rapunzel explicitly because she was fear that Rapunzel was found by Guards. Gothel uses imperative
Universitas Sumatera Utara form as the mechanism that she used imperative command.
(Let down your hair!)
30. Garcon, your finest table Request Bald on Flynn employs a please! record bald on record, e orders to Garcon the finest table for Rapunzel and him directly. Flynn uses request as the mechanism that he used imperative request marker “please” and he have purpose to order the table.
(Your finest table please!)
31. You smell that? Take a Advice Bald on Flynn employs a deep breath through the record bald on record, he nose. Really let that seep asked Rapunzel t in. calm down directly although he was only pretend. Flynn uses give advice as the mechanism that he wants to make Rapunzel did not fear with everyone in the room.
(Take a deep breath through the
Universitas Sumatera Utara nose. Really let that seep in.)
32. She’s growing it out. Is Command Positive Flynn employs a that blood in your politeness positive politeness, moustache? Goldie, look he feels very close at this. Look the blood in with Rapunzel so his moustache. he used a marker to calls Rapunzel. Flynn uses in group identity marker as the mechanism that he calls Rapunzel “Goldie”.
(Goldie, look at this. Look the blood in his moustache.)
33. Ho, ho, it’s him alright. Command Bald on Hook employs a Greno, go find some record bald on record, he guards! That reward’s asked explicitly to going to buy me a new Greno because he hook. feels suspicious that Flynn was a targeted kingdom’s guards. Hook uses imperative form as the mechanism that he used imperative command.
(Greno, go find some guards!)
34. Please, stop! Request Bald on Rapunzel employs record a bald on record, she orders to everyone to let Flynn go directly
Universitas Sumatera Utara although she was fear with them. Rapunzel uses request as the mechanism that she used imperative request marker “please”.
(Please, stop!)
35. Please, leave him alone! Request Bald on Rapunzel employs record a bald on record, she still tried to orders to everyone to let Flynn go directly. Rapunzel uses request as the mechanism that she used imperative request marker “please”.
(Please, leave him alone!)
36. Gentlemen, please! Request Bald on Flynn employs a record bald on record, he orders to everyone to let him go directly. Flynn uses request as the mechanism that he used imperative request marker “please”.
(Gentlemen, please!)
37. Give me back my guard! Command Bald on Rapunzel employs record a bald on record, she asked to
Universitas Sumatera Utara everyone explicitly so they wants to give Flynn back to her. Rapunzel uses imperative form as the mechanism that she used imperative command.
(Give me back my guard!)
38. Put him down! Command Bald on Rapunzel employs record a bald on record, she asked to everyone to bring Flynn back to her explicitly. Rapunzel uses imperative form as the mechanism that she used imperative form.
(Put him down!)
39. Where’s Rider? Where is Command Positive Captain employs a he? I know he’s in here politeness positive politeness, somewhere. Find him, he looked for turn the place upside Flynn together down if you have to! with some guards and they made a team. Captain uses be optimistic as the mechanism that he was sure that the guards would fulfill his instruction.
(Find him, turn
Universitas Sumatera Utara the place upside down if you have to!)
40. Go, live your dream. Advice Bald on Hook employs a record bald on record, he helps Rapunzel and Flynn to escape from the Guards. Hook uses give advice as the mechanism that he wants Rapunzel to creates her dream.
(Go, live your dream)
41. A passage. C’mon men, Suggestion Positive Captain employs a let’s go! Conli, make politeness positive politeness, sure those boys don’t get he still looked for away! Flynn with his team. Captain uses two mechanisms that he used include both speaker and hearer in the activity, he applied “we” form and he also used be optimistic because he was sure that Conli would fulfill his desire.
(C’mon men, let’s go! Conli, make sure those boys don’t get away!)
42. Play it safe. We’ll go get Command Bald on Stubbington the crown. Mmm. record brother employ a
Universitas Sumatera Utara bald on record, they wants to escape from Conli so one of them released the handcuffs and he told to his brother to be careful directly. Stubbington brother uses imperative form as the mechanism that they used imperative command.
(Play it safe.)
43. Oh, stop it you big lug. Command Positive Gothel employs a A-ha-ha-ha-ha. Where’s politeness positive politeness, that tunnel led out? she wants to show she was close with Shorty although she did not. Gothel uses in group identity marker as the mechanism that she call Shorty “Big lug”.
(Stop it you big lug.)
44. Run! Command Bald on Flynn employs a record bald on record, he gives instruction to Rapunzel explicitly. Flynn uses warning, threatening as the mechanism that
Universitas Sumatera Utara they have a great urgency, they were pursued by the guards and Stubbington Brother.
(Run!)
45. Let’s just assume for the Suggestion Positive Flynn employs a moment that everyone in politeness positive politeness, here doesn’t like me! he feels the situation is very complicated and he asked to Rapunzel to stop give the question directly. Flynn uses include both speaker and hearer in the activity as the mechanism that he applied “we” form.
(Let’s just assume for the moment that everyone in here doesn’t like me!)
46. Here! Command Bald on Rapunzel employs record a bald on record, she gives instruction explicitly to hold her frying pan to Flynn. Rapunzel uses imperative form as the mechanism that she used imperative
Universitas Sumatera Utara command.
(Here!)
47. Flynn, look out! Command Bald on Rapunzel employs record a bald on record, she gives instruction explicitly to Flynn because Flynn almost stabbed by Stubbington Brother. Rapunzel uses warning, threatening as the mechanism that they have great urgency, they were pursued by the guards and Stubbington Brother.
(Flynn, look out!)
48. Come on, blondie. Command Positive Flynn employs a politeness positive politeness, Jump. he escaped together with Rapunzel and in this situation they were team up. Flynn uses in group identity marker as the mechanism that he calls Rapunzel “blondie”.
(Come on, blondie, jump.)
Universitas Sumatera Utara 49. I’ll kill “im. I’ll kill that Command Bald on Stubbington Rider! record Brother employ a bald on record, one We’ll cut him off at the of them invites kingdom, and get back another explicitly the crown. C’mon! to looked fo Flynn. Stubbington Brother uses imperative form as the mechanism that they used imperative command.
(We’ll cut him off at the kingdom, and get back the crown. C’mon!)
50. Oh-ho, please, there’s no Request Bald on Gothel employs a need for that. record bald on record, she orders directly to Stubbington Brother that they did not need to draw their swords. Gothel uses request as the mechanism that she have purpose to order and she used imperative request marker “please”.
(Please, there’s no need for that)
51. Sorry. Just don’t… Don’t Prohibition Bald on Rapunzel employs freak out. record a bald on record, she orders directly to Flynn that he
Universitas Sumatera Utara should be calm down when looked her magic hair. Rapunzel uses request as the mechanism that she have purpose to order to Flynn.
(Just don’t… Don’t freak out)
52. Please don’t freak out! Request Bald on Rapunzel employs record a bald on record, she orders directly to Flynn that he should be calm down when looked her magic hair. Rapunzel uses request as the mechanism that she used imperative request marker “please”.
(Please don’t freak out!)
53. Why would you he like Advice Bald on Gothel employs a you? Come on now, record bald on record, she really. wants to make Rapunzel realized Look at you! You think that Flynn did not that he’s impressed? like her so she said Don’t be a dummy, come explicitly to with mummy. Rapunzel. Gothel uses give advice as the mechanism that she wants Rapunzel to follows her than
Universitas Sumatera Utara stay with Flynn and she wants to make Rapunzel see that Flynn was a bad guy.
(Come on now, really.
Look at you!
Don’t be a dummy, come with mummy)
54. Fine, if you’re so sure Suggestion Bald on Gothel employs a now record bald on record, she wants Rapunzel to Go ahead, then give him give the satchel to this! Flynn and she asked Rapunzel explicitly. Gothel uses give suggestion as the mechanism that Rapunzel should tried to prove if Flynn was a bad guy.
(Go ahead, then give him this!)
55. This is why he’s here! Advice Bald on Gothel employs a record bald on record, she Don’t let him deceive tried to make you! Rapunzel understand and gives Rapunzel a warning explicitly. Gothel uses give advice as the mechanism that
Universitas Sumatera Utara she wants to make Rapunzel trust her that Flynn have purpose to deceive Rapunzel.
(Don’t let him deceive you)
56. Give it to him, watch, Suggestion Bald on Gothel employs a you’ll see! record bald on record, she gives the crown to Rapunzel and she asked Rapunzel explicitly to give that to Flynn. Gothel uses give suggestion as the mechanism that Rapunzel would see that Flynn only wants to get the crown and he did not like Rapunzel.
(Give it to him, watch, you’ll see!)
57. Trust me, my dear Advice Positive Gothel employs a politeness positive politeness, That’s how fast he’ll she shows how leave you close she was with Rapunzel. Gothel uses in group identity marker as the mechanism that she calls Rapunzel “my dear”.
(Trust me, my dear)
Universitas Sumatera Utara 58. So if he’s such a Suggestion Bald on Gothel employs a dreamboat record bald on record, she gives the crown to Go and put him to the Rapunzel and she test asked Rapunzel explicitly to give that to Flynn. Gothel uses give suggestion as the mechanism that Rapunzel should gives a test to Flynn and Rapunzel would see that Flynn only wants to get the crown.
(Go and put him to the test)
59. If he’s lying, don’t come Prohibition Bald on Gothel employs a crying, record bald on record, she told to Rapunzel Mother knows best! explicitly and she gives a warning that Rapunzel did not come to her if she was right. Gothel uses warning threatening as the mechanism that Rapunzel did not come and cries to her if Flynn lies.
(If he’s lying, don’t come crying)
60. No, no, no, put me down! Command Bald on Flynn employs a bald on record, he
Universitas Sumatera Utara Let me go! Let-me-go! record gives instruction explicitly to Maximus to put him down. Flynn uses imperative form as the mechanism that he used imperative command.
(Put me down! Let me go! Let- me-go!)
61. Release-him- Command Bald on Rapunzel employs record a bald on record, she gives instruction explicitly to Maximus that Maximus should let Flynn go. Rapunzel uses imperative command as the mechanism that she gives instruction to Maximus used imperative command.
(Release-him-)
62. Whoa, whoa whoa whoa Command Bald on Rapunzel employs whoa whoa! Whoa! record a bald on record, Whoa! Easy, boy, easy! she wants to make Settle down! Whoa, Maximus settle whoa! Easy, by, easy. down and she asked to him directly. Rapunzel uses imperative
Universitas Sumatera Utara form as the mechanism that she gives instruction used imperative command.
(Easy, boy, easy! Settle down!)
63. Now sit! Command Bald on Rapunzel employs record a bald on record, she gives instruction to Maximus explicitly to sit down. Rapunzel uses imperative form as the mechanism that she gives instruction used imperative command.
(Now sit!)
64. Sit! Command Bald on Rapunzel employs record a bald on record, she gives instruction to Maximus explicitly to sit down. Rapunzel uses imperative form as the mechanism that she gives instruction used imperative command.
(Sit!)
Universitas Sumatera Utara 65. Now drop the boot. Command Bald on Rapunzel employs record a bald on record, she gives instruction to Maximus explicitly to drop the boot. Rapunzel uses imperative form as the mechanism that she gives instruction used imperative command.
(Drop the boot.)
66. Drop it! Command Bald on Rapunzel employs record a bald on record, she gives instruction to Maximus explicitly to drop the boot. Rapunzel uses imperative form as the mechanism that she gives instruction used imperative command.
(Drop it!)
67. To the boats! Command Bald on Citizen employs a record bald on record, he gives an instruction directly and explicitly to everyone. Citizen uses imperative form as the mechanism that he gives an
Universitas Sumatera Utara instruction used imperative command.
(To the boats!)
68. See for yourself. Command Bald on Stubbington record Brother employ a bald on record, they asked directly to Rapunzel to see that Flynn was left her alone. Stubbington Brother uses imperative form as the mechanism that they used imperative command.
(See for yourself)
69. No, please-no! No! Request Bald on Rapunzel employs record a bald on record, she orders directly to Stubbington Brother did not chase her. Rapunzel uses request as the mechanism that she provides to begging in imperative and she used imperative request marker “please”.
(No, please-no! No!)
Universitas Sumatera Utara 70. I was so worried about Suggestion Positive Gothel employs a you dear. So I followed politeness positive politeness, you. And I saw them she comes to help attack you and –oh my, Rapunzel and they let’s go, let’s go before wants to escape they come too. together from Stubbington Brother. Gothel uses include both speaker and hearer in the activity as the mechanism that Gothel applied “we” form.
(Let’s go, let’s go before they come too.)
71. Look! Command Bald on Guard employs record bald on record, he The crown. gives instruction directly to another guards that Flynn brings the crown. Guard uses imperative form as the mechanism that he used imperative command.
(Look!)
72. Rapunzel. Rapunzel! Request Bald on Flynn employs record bald on record, he No, no, no, no, wait, orders explicitly to wait, wait, guys, guys! some guards and he tried to make guards hear his explanation. Flynn
Universitas Sumatera Utara uses request as the mechanism that he provides to begging in imperative to some guards.
(No, no, no, no, wait, wait, wait, guys, guys!)
73. Let’s get this over with, Suggestion Positive Captain employs a Rider! politeness positive politeness, he implicit claims the reciprocity to Flynn who always escape from captain and guards. Captain uses include both speaker and hearer in the activity as the mechanism that he applied “we” form.
(Let’s get this over with, Rider!)
74. There. It never happened. Command Bald on Gothel employs a Now, wash up for dinner. record bald on record, she I’m making hazelnut wants Rapunzel to soup. wash up and she asked to Rapunzel directly. Gothel uses imperative form as the mechansim that she used imperative command.
Universitas Sumatera Utara (Now, wash up for dinner.)
75. How did you know about Command Bald on Flynn employs a her? Tell me, now! record bald on record, he asked explicitly to Stubbington Brother how they know that Rapunzel was a princess. Flynn uses imperative form as the mechanism that he used imperative command.
(Tell me, now!)
76. Old lady… Command Bald on Flynn employs a record bald on record, she Agh! Wait! No! Wait! asked explicitly to You don’t understand, guards to let him she’s in trouble! Wait! go and he tried to explain that Rapunzel was in trouble. Flynn uses imperative form as the mechanism that he used imperative command.
(Agh! Wait! No! Wait! You don’t understand, she’s in trouble! Wait!)
77. Oh, please speak up Request Bald on Gothel employs a Rapunzel. You know how record bald on record, she I hate the mumbling. orders directly to Rapunzel to stop the mumble.
Universitas Sumatera Utara Gothel uses request as the mechanism that she have purpose to order and she also used imperative request marker “please”.
(Please speak up Rapunzel.)
78. Now, Now. It’s all right. Advice Bald on Gothel employs a Listen to me. Everything record bald on record, she is as it should be. tried to give explanation directly to Rapunzel. Gothel uses give advice as the mechanism that she tried to make Rapunzel understand that everything was as it should be.
(Listen to me. Everything is as it should be.)
79. What’s this? Open up! Command Bald on Captain employs a record bald on record, he gives instruction explicitly to guards to open the door. Captain uses imperative form as the mechanism that he used imperative command.
(Open up!)
Universitas Sumatera Utara 80. Open this door! Command Bald on Captain employs a record bald on record, he still gives instruction explicitly to guards to open the door. Captain uses imperative form as the mechanism that he used imperative command.
(Open this door!)
81. Head down. Command Bald on Hook employs a record bald on record, he gives instruction directly to Flynn to head down. Hook uses imperative form as the mechanism that he used imperative command.
(Head down.)
82. Head down. Command Bald on Flynn employs a record bald on record, he gives instruction directly to himself to head down. Flynn uses imperative form as the mechanism that he used imperative command.
(Head down.)
83. Arms in. Command Bald on Hook employs a record bald on record, he gives instruction
Universitas Sumatera Utara directly to Flynn to arms in. Hook uses imperative form as the mechanism that he used imperative command.
(Arms in.)
84. Arms in. Command Bald on Flynn employs a record bald on record, he gives instruction directly to himself to arms in. Flynn uses imperative form as the realization that he used imperative command.
(Arms in.)
85. Knees apart. Command Bald on Hook employs a record bald on record, he gives instruction directly to Flynn to knees apart. Hook uses imperative form as the mechanism that he used imperative command.
(Knees apart.)
86. Knees apart. Knees Command Bald on Flynn employs a apart? record bald on record, he gives instruction directly to himself to make knees apart. Flynn uses imperative form as the mechanism that
Universitas Sumatera Utara he used imperative command.
(Knees apart.)
87. Okay Max, let’s see how Suggestion Positive Flynn employs a fast you can run. politeness positive politeness, he had presupposition to shared what he wants to Maximus that escape from guards. Flynn uses include both speaker and hearer in the activity as the mechanism that he applied “we” form.
(Let’s see how fast you can run.)
88. Rapunzel? Rapunzel, let Command Bald on Flynn employs a down your hair! record bald on record, he wants to go up the tower so he asked Rapunzel directly. Flynn uses imperative form as the mechanism that he used imperative command.
(Let down your hair!)
89. Now look what you’ve Command Bald on Gothel employs a done, Rapunzel. record bald on record, she asked explicitly to Rapunzel to see that she has stabbed Flynn.
Universitas Sumatera Utara Gothel uses warning, threatening as the mechanism that she had remind Rapunzel to obedient with her and she wants to make Rapunzel regret.
(Now look what you’ve done, Rapunzel.)
90. Oh, don’t you worry, Advice Positive Gothel employs a dear. Our secret will die politeness positive politeness, with him. she implicit claims the reciprocity that their secret would safe. Gothel uses in group identity marker as the mechanism that she calls Rapunzel “dear”.
(Don’t you worry, dear. Our secret will die with him.)
91. Rapunzel really! Enough Command Bald on Gothel employs a already! Stop fighting record bald on record, she me! asked explicitly to Rapunzel to stop rebel and she drags Rapunzel. Gothel uses imperative form as the mechanism that she used imperative
Universitas Sumatera Utara command.
(Rapunzel really! Enough already! Stop fighting me!)
92. Just like you want. Request Bald on Rapunzel employs record a bald on record, Just let me heal him. she orders directly and explicitly to Gothel, she wants to rescue Flynn. Rapunzel uses request as the mechanism that she have purpose to order and she provides to entreaties to Gothel.
(Just let me heal him.)
93. Come on. Just breathe. Request Bald on Rapunzel employs record a bald on record, she orders directly to Flynn to keep breathe. Rapunzel uses request as the mechanism that she provides to begging in imperative request.
(Come on. Just breathe.)
94. Rapunzel, wait… Command Bald on Flynn employs a record bald on record, he asked Rapunzel directly to stop try to save him and he
Universitas Sumatera Utara cuts Rapunzel’s hair. Flynn uses imperative form as the mechanism that he used imperative command.
(Wait…)
95. Oh. Look at me, look at Request Bald on Rapunzel employs me, I’m right here, don’t record a bald on record, go, stay with me, Eugene she orders directly to Flynn to keep breathe and stay alive. Rapunzel uses request as the mechanism that she provides to begging in imperative request.
(Look at me, look at me, I’m right here, don’t go, stay with me, Eugene)
4.2 Findings
Universitas Sumatera Utara Based on the data above the writer find the types of politeness strategies in imperative sentences in Tangled movie:
No. Type Imperative Data
Sentence
1. Bald on record 78 2,3,4,5,6,7,8,9,10,11,13,14,17,19,
20,21,22,24,25,26,27,28,29,30,31,
33,34,35,36,37,38,40,42,44,46,47,
49,50,51,52,53,54,55,56,58,59,60,
61,62,63,64,65,66,67,68,69,71,72,
74,75,76,77,78,79,80,81,82,83,84,
85,86,88,89,91,92,93,94,95.
2. Positive politeness 15 12,15,16,18,32,39,41,43,45,48,57,
70,73,87,90.
3. Negative politeness 2 1,23.
.
The Dominant Type of Politeness Strategies in Imperative Sentences in “Tangled” Movie
Politeness Strategies Total Percentage
Bald-on record strategy 78 82,1%
Positive politeness strategy 15 15,78%
Universitas Sumatera Utara Negative politeness strategy 2 2,1%
From the tables above and the data result by using Butler’s formula (1985:25) to calculate the percentage, it can be determined that Bald-on record strategy is the most dominant of politeness strategy in imperative sentence in Tangled movie.
Universitas Sumatera Utara
CHAPTER V
CONCLUSION AND SUGGESTION
5.1 Conclusion
Based on the analysis and findings of politeness strategies in imperative sentences as found
in Tangled movie in the previous chapter, the writer draws the conclusions, they are.
1. The first objective of this research is to describe the types of politeness strategies addressed
to imperative sentence in Tangled movie. From four types of politeness strategies, only three
types that found in this movie. They are bald on record, positive politeness and negative
politeness.
2. The second objective of this research is to find out the dominant type of politeness strategies
in imperative sentence as found in Tangled movie. In this research, bald-on record as the
types of politeness strategy in imperative function in Tangled movie as the biggest
percentage with 82,1%.
5.2 Suggestion
Based on the conclusions above, some suggestions are put forward.
Universitas Sumatera Utara 1. To Students of Linguistics
It is suggested that the students should learn more about pragmatics, especially politeness strategy. The writer hopes this research can gives more knowledge about politeness strategy to students of linguistics.
2. To Future Researchers
There are a lot of data which describe the phenomena of politeness especially in imperative sentences. Thus, future researchers who want to study politeness topic would better find another type of data source, e.g. other movies, novels, plays and short movies. In addition, there are many aspects of politeness which can be analyzed, not only in imperative sentences but also another type of sentences that use in daily life.
3. To Readers in General
This research gives information and knowledge about the types and mechanisms of politeness strategy and also the types and function of imperative sentences which are found in
Tangled movie. It is expected that the readers learn more about the aspect of politeness. When the readers know and understand politeness, they can use polite utterances and behavior in their daily life.
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Universitas Sumatera Utara APPENDIX
Script of Tangled
—Key—
R:Rapunzel, Mandy Moore small drop of sun, grew a magic, golden flower. It had the ability to heal the sick and F:Eugene Fitzherbert/Flynn Rider, Zachary injured. Levi Oh, you see that old woman over there? You G:Mother Gothel, Donna Murphy might want to remember her. She’s kind of Hook:Hook-Hand Thug, Brad Garrett important.
Big:Big Nose Thug, Jeffrey Tambor
St:The Stabbington Brothers, Ron Perlman Well, centuries passed, and a hop skip and a (only the speaking one; the one without the boat ride away there grew a kingdom. The eye-patch) kingdom was ruled by a beloved King and Queen. Vlad:Vladamir, Richard Kiel And the Queen, (well,) she was about to Shorty:Shorty Thug, Paul F. Tompkins have a baby. She got sick. Really, sick.
Young R:Young Rapunzel, Delaney Rose She was running out of time, and that’s Stein when people usually start to look for a miracle. Or in this case, a magic golden Capt:Captain of the Guard, M. C. Gainey flower.
—BEGIN— Ah, I told you she’d be important. You see, F: This is the story of how I died. instead of sharing the sun’s gift, this woman, Mother Gothel, hoarded its healing power Don’t worry, this is actually a very fun story and used it to keep herself young for and the truth is, it isn’t even mine. hundreds of years, and all she had to do was sing a special song. This is the story of a girl named Rapunzel and it starts with the sun. G: [ S O N G ]
Flower, gleam and glow
Now, once upon a time, a single drop of Let your power shine sunlight fell from the heavens and from this
Universitas Sumatera Utara Make the clock reverse (Change the fate’s design)
Bring back what once was mine Save what has been lost
What once was mine Bring back what once was mine
F: All right, you get the gist. She sings to it, What once was mine she turns young, creepy, right? F: Gothel had found her new magic flower, Guards: We’ve found it! but this time she was determined to keep it hidden.
Young R: Why can’t I go outside? F: The magic of the golden flower healed the queen. G: The outside world is a dangerous place, filled with horrible, selfish people. You must A healthy baby girl, a princess was born, stay here, where you’re safe. Do you with beautiful golden hair. understand, flower?
I’ll give you a hint: that’s Rapunzel. Young R:Yes mommy.
To celebrate her birth, the King and Queen launched a flying lantern into the sky. And for that one moment, everything was perfect. F: But the walls of that tower could not hide everything.
Each year, on her birthday, the King and And then that moment ended. Queen released thousands of lanterns into G: Flower, gleam and glow the sky, in hope that one day, their lost princess would return. Let your power shine
Make the clock re- [gasps at cut hair] — F: Gothel broke into the castle, stole the child and just like that gone.
[Pascal flees window to hide]
The kingdom searched and searched but R: Ha! they could not find the princess. For deep Hmm. Well, I guess Pascal’s not hiding out within the forest, in a hidden tower, Gothel here… raised the child as her own. [Pascal sniggers. R finds it] Young R:(Heal what has been hurt) R: Gotcha!
Universitas Sumatera Utara That’s twenty-two for me. How about Pottery and ventriloquy, candle-making twenty-three out of forty-five? Then I’ll stretch, maybe sketch, take a [Pascal frowns] climb, sew a dress!
R: Okay, well, what do you wanna do? And I’ll re-read the books if I have time to spare [Pascal motions to go outside] I’ll paint the walls some more, I’m sure R: Yeah, I don’t think so. I like it in here there’s room somewhere and so do you. And then I’ll brush and brush and brush and [Pascal sticks out tongue] brush my hair
R: Oh come on Pascal, it’s not so bad in Stuck in the same place I’ve always been there… And I’ll keep wondering and wondering and [leaves window] [ S O N G ] wondering and wondering
Seven a.m., the usual morning lineup When will my life begin?
Start up the chores and sweep till the floor’s [back to window] all clean Tomorrow night, the lights will appear Polish and wax, do laundry, and mop and shine up Just like they do on my birthday each year
Sweep again, and by then it’s, like, seven- What is it like out there where they glow? fifteen Now that I’m older, Mother might just let And so I’ll read a book or maybe two or me go… three — I’ll add a few new paintings to my gallery F: Wow! I could get used to a view like this. I’ll play guitar and knit and cook and basically St: Rider! C’mon!
Just wonder when will my life begin? F: Hold on. Yup. I’m used to it. Guys I want a castle. [paints lights] St: We do this job. You can buy your own Then after lunch it’s puzzles and darts and castle. baking [St lower F to steal crown. A guard sneezes] Papier-mache, a bit of ballet and chess F: Oh. Hay fever?
Universitas Sumatera Utara Guard: Yea. G: Rapunzel, look in that mirror. You know what I see? I see a strong, confident, [realizes there has been intruder] Huh? beautiful young lady.
Hey, wait. Hey, wait! Oh look, you’re here too. Er-ha-ha-ha-ha, F: Can’t you picture me in a castle of my I’m just teasing! Stop taking everything so own? Coz I certainly can. All the things seriously, agh. we’ve seen and it’s only eight in the R: Okay, so mother, as I was saying, morning (0800). Gentlemen this is a very tomorrow– big day! G: Rapunzel, mother’s feeling a little run- — down. Would you sing for me, dear? That’ll R: This is it. This is a very big day, Pascal. do. Hmm-mm. I’m finally gonna do it. I’m R: Oh! Of course, mother. [setup] gonna ask her. [ S O N G ] [speedily] Flower, gleam and G: [distant] Rapunzel! glow
[R gasps] Let your power shine
G: Let down your hair! Make the clock reverse
R: It’s time. [Pascal straightens up] I know, I G: –Wait!– know, come on, don’t let her see you. R: Bring back what once was mine G: [distant] Rapunzel, I’m not getting any younger down here. G: –Wait!–
R: Coming, mother! [pulls up G] R: Heal what has been hurt
Hi. Welcome home, mother. Change the fate’s design
G: Uh, Rapunzel! How you manage to do [G brushes hair as quickly as possible] that every single day without fail! It looks absolutely exhausting, darling. R: Save what has been lost
R: Oh, it’s nothing. Bring back what once was mine
G: Then I don’t know why it takes so long! G: Rapunzel! Ergh, ho-ho-ho-ho, darling, I’m just teasing. R: So, mother, earlier I was saying R: Hmm, he-he-he. Alright, so, mother, as tomorrow’s a pretty big day and you didn’t you know, tomorrow is a very big day– really respond, so I’m just gonna tell you, it’s my birthday! Uh. Tada!
Universitas Sumatera Utara G: No, no, no, can’t be. I distinctly Still a little sapling, just a sprout remember: your birthday was last year. You know why we stay up in this tower R: That’s the funny thing about birthdays– they’re kind of an annual thing! Uh. R: I know but…
Mother, I’m turning eighteen, and I wanted G: That’s right, to keep you safe and sound, to ask, uh, what I really want for this dear birthday… Guess I always knew this day was coming
Actually what I really want for my birth– Knew that soon you’d want to leave the nest want for my birth– Soon, but not yet G: Okay, Rapunzel, please, stop with the mumbling. You know how I feel about the R: But– mumbling–blah-blah-blah-blah, it’s very G: Shh! Trust me, pet annoying, I’m just teasing, you’re adorable, I love you so much, darling. Agh. Mother knows best
[Pascal urges R] [Lights out]
R: Agh, I want to see the floating lights.
G: Uh-huh. What? G: Mother knows best
R: Oh. Well, I was hoping you would take Listen to your mother me to see the floating lights. R: Agh! G: Oo. You mean the stars. G: It’s a scary world out there R: That’s the thing. Mother knows best I’ve charted stars and they’re always constant–but these–they appear every year One way or another on my birthday, mother–ONLY on my Something will go wrong, I swear birthday. And I can’t help but feel like they’re… they’re meant for me. Ruffians, thugs, poison ivy, quicksand
I need to see them, mother, and not just from Cannibals and snakes… The plague! my window. In person. R: No! I have to know what they are. G: Yes! G: You want to go outside? Why, Rapunzel! R: But– Look at you, as fragile as a flower
Universitas Sumatera Utara G: Also large bugs G: Uh, I love you very much, dear.
R: Agh! R: I love you more.
G: [ S O N G ] G: I love you most. [kisses R’s forehead]
Men with pointy teeth, and stop, no more, Don’t forget it, you’ll regret it you’ll just upset me Mother knows best! Mother’s right here, mother will protect you
Darling here’s what I suggest G: Rapunzel! I’ll see you in a bit, my Skip the drama, stay with mama flower.
Mother knows best R: I’ll be here.
Ah, hahahaha… —
Mother knows best F: Uh, uh… Agh! Oh no. No no no no no no no no no no, this is bad, this is very very Take it from your mumsy bad, this is really bad… They just can’t get On your own, you won’t survive my nose right!
Sloppy, underdressed, immature, clumsy St: Who cares?
Please, they’ll eat you up alive F: Well it’s easy for you to say! You guys look amazing. Gullible, naive, positively grubby [Boxed in] Ditzy and a bit, well, hmm vague F: Uh, all right, okay, give me a boost, and Plus, I believe, gettin’ kinda chubby I’ll pull you up.
I’m just saying ’cause I wuv you St: Give us the satchel first.
Mother understands, mother’s here to help F: Uh? I just–I can’t believe that after all you we’ve been through together, you don’t trust me? Ouch. All I have is one request St: Now help us up, pretty boy. Rapunzel? F: Sorry, my hands are full. R: Yes? St: What? Rider! G: Don’t ever ask to leave this tower again. [chase] R: Yes, Mother.
Universitas Sumatera Utara Capt: Retrieve that satchel at any cost! [Pascal motions head]
Guards: Yes sir! [R moves F’s head.]
[Maximus neighs, the other brown horses [Pascal turns brown at pointy-teeth drawing] neigh in reply. F being chased] [R finds F’s teeth straight.] Capt: We got him now, Maximus! R: Oh. [Flicks F’s hair, uncovering his face. [chase, Capt knocked off, F rides on Approaches.] Maximus] F: Huh? F: Ya, haha! –Ooh! [R hits F with frying pan. R pants.] [Maximus comes to adrupt halt, grunts angrily]
F: Ugh! Come on, fleabag, forward! [After some unsuccessful attempts, R eventually hides F in closet, shutting it with [Maximus stares at satchel only, to snatch a chair] satchel] R: Okay, okay, okay, I’ve got a person in F: No! my closet.
[Maximus to snatch satchel] I’ve got a person in my closet.
F: No! Stop it, stop it! Give it to me–give I’ve got a person in my closet! Haha! Uh! me that!– Too weak to handle myself out there, huh, [chase. F gets hold of satchel] mother? Well… hmm-hmm…tell that to my frying pan–[accidentally hits herself with F: Ha! pan]
[branch breaks, both fall] [discovers satchel & crown] Huh?
F: Aghhhhh! [Maximus neighs in horror] [R takes out crown. R hangs on forearm, [Maximus searches for F, F hides & Pascal shakes head] discovers tower, Maximus neighs [R uses as magnifying lens, Pascal shakes in distance, climbs it] head]
F: [enters tower, pants.] Alone at last. [R wears crown, Pascal astonished before [hit by frying pan] disapproval]
R: Agh! [fearfully hides, approaches. F: no G: [distant] Rapunzel! response] R: [gasps] Oh!
Universitas Sumatera Utara G: [distant] Let down your hair! R: Trust me–
R: One moment, mother! G: Rapunzel–
G: [distant] I have a big surprise! R: I know what I’m saying–[puts hand on chair] R: Uh, I do too! G: Rapunzel– G: Oo, I bet my surprise is bigger! R: Oh, come on– R: I seriously doubt it. [pulls up mother] G: Enough of the lights, Rapunzel! You are G: I brought back parsnips. I’m going to not leaving this tower! make hazelnut soup for dinner, your favourite–surprise! Ever!
R: Well mother, there’s something I want to [R lifts her hand off the chair.] tell you. G: Ugh, great. Now I’m the bad guy. G: Oh Rapunzel, you know I hate leaving you after a fight especially when I’ve done [R sees her painting of the lights, then at her absolutely nothing wrong. closet.]
R: Okay, I’ve been thinking a lot about what R: All I was gonna say, mother, is that, I you’ve said earlier (and)… know what I want for my birthday now.
G: I hope you’re not still talking about the G: And what is that? stars. R: New paint. The paint made from the R: ‘Floating Lights’, and, yes, I’m leading white shells you once brought me. up to that, and… G: Well, that is a very long trip, Rapunzel. G: Because I really thought we dropped the Almost three days’ time. issue, sweetheart. R: I just thought it was a better idea than… R: No, mother, I’m just saying, you think stars. I’m not strong enough to G: Ugh.
handle myself out there. You’re sure you’ll be all right on your own?
G: Oh darling, I know you’re not strong R: I know I’m safe as long as I’m here. enough to handle yourself out there. G: [kisses R] R: But if you just– I’ll be back in three days’ time. G: Rapunzel, we’re done talking about this– I love you very much, dear.
Universitas Sumatera Utara R: I love you more. Who else knows my location, Flynn Rider?
G: I love you most. F: All right, blondie–
[As soon as G vanishes, R rushes back to her R: Rapunzel. closet] F: Gesundheit. Here’s the deal.
I was in a situation, gallivanting through the R: [deep breath] Okay. forest. I came across your tower and… ho, oh no… where is my satchel? [opens closet, F falls out] R: I’ve hidden it, somewhere you’ll never Uh? find it.
[examines F] F: It’s in that pot, isn’t it?
Hmm. [A bang by frying pan.]
[R pulls chair. Pascal wakes up F.] F: Er, uh. Huh? [realizes Pascal’s tongue F: Agh! Huh? Uh? [struggles] Is this hair? stuck in his ear]
R: Struggling… struggling is pointless. Yike! [shakes off Pascal] Would you stop that? F: Huh? R: Now it’s hidden where you’ll never find R: I know why you’re here, and I’m not it. afraid of you. So, what do you want with my hair? To cut F: What? it?
[R emerges] F: What?
R: Who are you? And how did you find me? R: Sell it?
F: Aha. F: No! Listen, the only thing I want to do with your hair is to get R: Who are you, and how did you find me? out of it. Literally. F: Mm-hm. I know not who you are, nor how I came to find you, but may R: Yi. Wait. You don’t want my hair?
I just say… F: Why on earth would I want your hair? Look, I was being chased, I Hi. How ya doin’? The name’s Flynn Rider. How’s your day goin’? Huh? saw a tower, I climbed it, end of story.
R: Ugh!
Universitas Sumatera Utara R: You’re… telling the truth? [Pascal: get tough. R pulls F up]
F: Yes. R: Something brought you here, Flynn Rider. Call it what you will: fate, destiny… [Pascal distrusts] F: A horse. R: I know, I need someone to take me. R: So I have made the decision to trust you. [Pascal motions] F: A horrible decision, really. R: I think he’s telling the truth, too. R: But trust me when I tell you this. [Pascal motions] [R tugs hair, F falls forward] R: (He) doesn’t have fangs, but what choice do I have? F: Ugh!
[F struggles] [R catches chair]
R: Huh. Okay, Flynn Rider, I’m prepared to R: You can tear this tower apart brick by offer you a deal. brick, but without my help, you will never find your precious satchel. F: Deal? F: Hmm-mm. Let me just get this straight. I R: Look this way. take you to see the lanterns, bring you back [F collapses with chair] home, and you’ll give me back my satchel?
R: Do you know what these are? R: I promise.
F: You mean the lantern thing they do for [F in disbelief] the princess? R: And when I promise something, I never R: Lanterns. I knew they weren’t stars. ever break that promise.
Well, tomorrow evening they will light the [F in disbelief] night sky with these lanterns. R: Ever.
You will act as my guide, take me to these [Pascal nods. F looking at Pascal, then looks lanterns, and return me home safely. Then, at R] and only then, will I return your satchel to you. That is my deal. F: All right, listen, I didn’t want to have to do this, but you leave me no choice. Here F: Yeah. No can do. Unfortunately, the comes the ‘smoulder’. kingdom and I aren’t exactly ‘simpatico’ at the moment. So I won’t be taking you [R & Pascal: stern look] anywhere.
Universitas Sumatera Utara This is kind of an off day for me. This That’s when my life begins! doesn’t normally happen. [birds chirping] … Fine, I’ll take you to see the lanterns! I can’t believe I did this. R: Really? *I can’t believe I did this.* Oops. I can’t believe I did this! Haha. F: You broke my ‘smoulder’. *Mother would be so furious.*
That’s okay! I mean, what she doesn’t know F: You comin’, blondie? won’t kill her, right?
[R on window edge] *Oh my gosh, this would kill her.*
[ S O N G ] This is so fun!
R: Look at the world so close, and I’m *I am a horrible daughter. I’m going back.* halfway to it! I am never going back! Woo-hoo! Look at it all so big, do I even dare? *I am a despicable human being.* Look at me, there at last! I just have to do it Woo-hoo! Best. Day. Ever! Should I? No. Here I go… [sobs] [lands on grass] F: Hmm-mm-m. Just smell the grass! The dirt! Just like I dreamed they’d be! You know, I can’t help but notice you seem a little at war with yourself here. Just feel that summer breeze, the way it’s calling me R: [sniff] What?
For like the first time ever, I’m completely F: Now, I’m only picking up bits and pieces, free! of course. Overprotective mother, forbidden road trip. I mean, this is serious stuff. But let I could go running, and racing, and dancing, me ease your conscience. and chasing This is part of growing up. A little rebellion, And leaping, and bounding, hair flying, a little adventure–that’s good, healthy even! heart pounding R: You think? And splashing, and reeling, and finally feeling F: I know. You’re way over-thinking this, trust me. Does your mother deserve it? No.
Universitas Sumatera Utara Would this break her heart and crush her F: Probably be best if we avoid ruffians and soul? Of course. But you just got to do it. thugs, though.
R: ‘Break her heart?’ R: Uh-huh, yeah, that’d probably be best.
F: In half. F: [pause] Are you hungry? I know a great place for lunch. R: ‘Crush her soul?’ R: Oh. F: [squeezes grape] Like a grape. Where? R: She would be heartbroken, you’re right. F: Oh don’t you worry. You’ll know it when F: I am, aren’t I? Oh bother. you smell it.
All right, I can’t believe I’m saying this, but — I’m letting you out of the deal. [Maximus searches for F, encounters G] R: What? G: Huh! F: That’s right. But don’t thank me. Let’s just turn around and get you home (/find [Maximus frustrated] your pan)–and your frog–I get back my satchel, you get back a mother-daughter G: Uh, a Palace horse. Where’s your rider? relationship based on mutual trust and voila! Rapunzel. We part ways as unlikely friends. RAPUNZEL!
R: No! I am seeing those lanterns– [Maximus puzzled, G runs to tower]
F: Oh come on! What is it going to take to G: Rapunzel, let down your hair! get my satchel back?########### [No response] R: I will use this. G: Rapunzel? [Ruffling sound in nearby thicket] [climbs hidden stairway to tower] R: [gasp] Is it ruffians? Thugs? Have they come for me? Rapunzel?
[A rabbit hops out] [searches the tower for R but failed]
F: Stay calm. It can probably smell fear. RAPUNZEL!
R: Oh, huh, sorry. Guess I’m just a little [finds satchel, crown, poster of F. Wields bit… jumpy. knife]
—
Universitas Sumatera Utara F: I know it’s around here, somewhere. Hey, you don’t look so good, blondie. Maybe we should get you a home. Call it a Ah, there it is, the Snuggly Duckling. day.
Don’t worry, very quaint place, perfect for Probably be better off. This is a five star you. Don’t want you scaring and giving up joint after all, and if you can’t handle this on this whole endeavour now do we? place, well, maybe you should be back in R: Well, I do like duckling. your tower.
F: YAY! [R gasps. Pub door shuts]
Vlad: Is this you?
[opens pub door] [F moves aside Vlad’s finger on poster]
F: Garcon, your finest table please! F: Aw. Now they’re just being mean.
[R gasps] Hook: Ho, ho, it’s him all right. Greno, go find some guards! That reward’s going to F: You smell that? Take a deep breath buy me a new hook. through the nose. Attila: I could use the money. [sniff] Really let that seep in. Vlad: What about me? I’m broke. R: Agh! [clamour] F: What are you getting? Because to me,… R: Please, stop! R: Agh! F: We can work this out. F: … that’s part man-smell, and the other part is really bad man-smell. I don’t know R: Please, leave him alone! why, but overall [Pascal hides] it just smells F: Gentlemen, please! like the color brown. Your thoughts? R: Give me back my guide! [R gasps, runs with hair] Ruffians! Thug: That’s a lot of hair. F: [struggles] Not the nose, not the nose, not F: She’s growing it out. Is that blood in your the nose! moustache? Goldie, look at this. Look at all the blood in his moustache. R: Put him down!
That, sir, that’s a lot of blood. [Silence. Hook turns to her]
Universitas Sumatera Utara R: Whoa! Okay, I don’t know where I am, Hook: See, I ain’t as cruel and vicious as I and I need him to take me to see the lanterns seem! because I’ve been dreaming about them my entire life! Find your humanity! Haven’t any Though I do like breaking femurs, you can of you ever had a dream? count me with the
[Hook approaches R threateningly, but stops dreamers just in front of her] Like everybody else, I’ve got a dream!
Hook: I had a dream… once.
[swings his axe over a boy, who then plays [G arrives] the accordion] Big: [ S O N G ] Hook: [ S O N G ] I’ve got scars and lumps and bruises I’m malicious, mean and scary Plus something here that oozes My sneer could curdle dairy And let’s not even mention my complexion And violence-wise, my hands are not the cleanest But despite my extra toes
But despite my evil look And my goiter and my nose
And my temper and my hook I really want to make a love connection
I’ve always yearned to be a concert pianist [in a boat with Shorty]
[climbs stage] Can’t you see me with a special little lady
Can’tcha see me on the stage performin’ Rowing in a rowboat down the stream? Mozart? Though I’m one disgusting blighter, I’m a Tickling the ivories ’til they gleam? lover, not a fighter
Yep, I’d rather be called deadly ‘Cause way down deep inside I’ve got a dream! For my killer show-tune medley [swings Shorty] –Thank you! I’ve got a dream! ‘Cause way down deep inside I’ve got a dream Thugs: He’s got a dream!
Thugs: He’s got a dream! He’s got a dream! Big: I’ve got a dream!
Thugs: He’s got a dream!
Universitas Sumatera Utara And I know one day romance will reign Thugs: She’s got a dream! supreme! R: I’ve got a dream! Though my face leaves people screaming Thugs: She’s got a dream! There’s a child behind it dreaming R: I just want to see the floating lanterns Like everybody else, I’ve got a dream gleam!
Thugs: Tor would like to quit and be a Thugs: Yeahh! florist R: And with every passing hour Gunther does interior design [G sees R] [ S O N G ] Ulf is into mime, Attila’s cupcakes are sublime R: I’m so glad I left my tower
Bruiser knits, Killer sews, Fang does little Like all you lovely folks, I’ve got a dream puppet shows Thugs: She’s got a dream! He’s got a dream!
Hook: And Vladimir collects ceramic They’ve got a dream! We’ve got a dream! unicorns So our diff’rences ain’t really that extreme– [to F] What about you? we’re one big team–
F: I’m sorry, me? Call us brutal, sick
Big: What’s your dream? Hook: Sadistic
F: No, no, no. Sorry boys, I don’t sing. Big: And grotesquely optimistic
[Swords point at F] Thugs: ‘Cause way down deep inside we’ve I have dreams, like you, no, really got a dream!
Just much less touchy-feely Hook: I’ve got a dream!
They mainly happen somewhere warm and Big: I’ve got a dream! sunny Thug Chorus: I’ve got a dream! I’ve got a On an island that I own, tanned and rested dream! I’ve got a dream! and alone R: I’ve got a dream!
Surrounded by enormous piles of money Thug: Whoo-hoo-hoo-hoo!
[Thugs throw F up in the air] All: Yes way down deep inside, I’ve got a R: I’ve got a dream! dream!
Universitas Sumatera Utara Yeahh! [cheer] Capt: A passage. C’mon men, let’s go! Conli, make sure those boys don’t get away!
[Guard points at St. St hits him to floor] Greno: I found the guards. St: Play it safe. We’ll go get the crown. [F pulls R away] Mmm.
Capt: Where’s Rider? Where is he?
I know he’s in here somewhere. Shorty: I got a dream, I got some dream, I… Find him, turn the place upside down if you Oooooh, somebody get me a glass, coz I just have to! found me a tall drink of water.
[F: on seeing his former accomplices, gasps. G: Oh, stop it you big lug. A-ha-ha-ha-ha. Hook takes F & R to hidden Where’s that tunnel led out? passage] Shorty: Knife!
Hook: Go, live your dream. —
F: I will. F: Well, I’ve got to say, didn’t know you had that in you back there. That was pretty Hook: Your dream stinks. I was talking to impressive. her. R: I know! I know. R: Thanks for everything. [kisses] So, Flynn, where’re you from?
F: Whoo-oo! Sorry, blondie, I don’t do Vlad: I believe this is the man you’re back-story. However I am becoming very looking for. interested in yours. Now I, I know I’m not supposed to mention the hair. Shorty: You got me. R: Nope. Guard: Sir, there’s no sign of Rider. F: Or the mother. [Neigh outside. Maximus opens pub door] R: Ah, ah. Capt: Maximus. F: Frankly I’m too scared to ask about the [Maximus sniffs, neighs at hidden tunnel] frog. Guard: What’s he doing? R: Chameleon. [Capt shakes head. Maximus frustrated, opens up passage]
Universitas Sumatera Utara F: Nuance. Here’s my question (though,): if F: You should know that this is the strangest you want to see the lanterns so badly, why thing I’ve ever done! haven’t you gone before? [Maximus flicks frying pan out of F’s R: Uh. Huh, well… uh, Flynn… Flynn… hands]
Capt: Rider! F: How ’bout two out of three?
F: Run! R: Flynn!
[F & R run, appearing at cliff at end of [R wraps hair around F’s hand, pulls him, tunnel. St appear.] Maximus astonished]
R: Who’s that? R: Flynn, look out!
F: They don’t like me. F: Whoa, whoa…
[The palace guards appear.] R: Ngth!
R: Who’s that? [St miss F]
F: They don’t like me either. F: Ha! You should see your faces because you look… [hits plank] ridiculous. [Maximus appears.] [Maximus hits plank on dam to get to R] R: Who’s that?! F: Come on, blondie. F: Let’s just assume for the moment that everyone in here doesn’t like me! Jump.
R: Here! [Just before Maximus could catch her hair, R reaches ground. F & R escape to cave] [R swings herself to nearby rock] R: [just before they were closed in the cave] Capt: I’ve waited a long time for this. Aghhhhh!
[F smacks all guards with frying pan] [F picks up frying pan. F & R run to higher F: Oh mama, I have got to get me one of ground in cave. F dives and surfaces several these! times]
[Maximus draws sword] F: It’s no use.
F: Ha! I can’t see anything.
[Maximus neighs, they duel] [R dives, F pulls her up]
Universitas Sumatera Utara F: Hey, there’s no point. It’s pitch-black F: Why does her hair glow? down there. R: Eugene! R: This is all my fault. She was right, I never should have done this. F: What?
[sobs] I’m so… I’m so sorry, Flynn. [sobs] R: It doesn’t just glow.
F: Eugene. F: Why is he [Pascal] smiling at me?
R: What? —
F: My real name is Eugene Fitzherbert. St: I’ll kill ‘im. I’ll kill that Rider!
Someone might as well know. We’ll cut him off at the kingdom, and get back the crown. C’mon! R: Hmm. G: Boys! I have magic hair that glows when I sing. [St turn to G] F: What? G: Perhaps you want to stop acting like wild R: I have magic hair that glows when I sing! dogs chasing their tails and think for a Flower gleam and glow, let your power moment. shine… [G holding satchel. St draw swords] F: [underwater, as R’s hair glows] Whoa! G: Oh-ho, please, there’s no need for that. [F & R swim to remove the rocks and they escape] [G tosses satchel at St. St find crown]
G: Well, if that’s all that you desire then be on your way. I was going to offer you [Both cough after surfacing] something worth one thousand crowns, would have made you rich beyond belief R: We made it. and that wasn’t even the best part, hoho, oh F: Her hair glows. well,
R: I’m alive. I’m alive! c’est la vie. Enjoy your crown.
F: I didn’t see that coming. St: What’s the best part?
R: Eugene. G: It comes with revenge on Flynn Rider.
F: Her hair actually glows. —
R: Eugene.
Universitas Sumatera Utara F: So you’re being strangely cryptic as you Mother says when I was a baby, people tried wrap your magic hair around my injured to cut it. They wanted to take it for hand. themselves. But, once it’s cut, it turns brown and loses its power. A gift like that, it has to Agh! be protected. That’s why mother never let R: Sorry. [sigh] Just don’t… don’t freak out. me… [sigh] That’s why I never left the… hmm. [sigh] F: … You never left that tower. Flower, gleam and glow [R puzzled] Let your power shine And you’re still gonna go back? Make the clock reverse R: No! Yes. Ugh! It’s complicated. Bring back what once was mine Hah. So, Eugene Fitzherbert, huh? [Pascal: Look at your hand] F: Uh, yeah. Well. I’ll spare you the sob Heal what has been hurt story of poor orphan Eugene Fitzherbert, it’s a little bit of a… that’s a little bit of a Change the fate’s design downer. Save what has been lost [R gets close to F: I want to know more.] Bring back what once was mine F: Huh. [Pascal: This is how it works.] There was this book, a book I used to read What once was mine every night to all the younger kids – ‘The Tales of Flynnigan Rider’. Swashbuckling F: [gasps in horror] rogue, richest man alive, not bad with the ladies, either. Not that he would to R: (Please) don’t freak out! brag about it, of course. [F mouth wide open, R: … please.] R: Hmm. Was he a thief too? F: Arrrr. I’m-not-freaking-out-are-you- F: Uh… well, no. Actually, he had enough freaking-out-no-I’m-just-very-interested-in- money to do anything that he wanted to do. your-hair-and-the-magical-qualities-that-it- He could go anywhere that he wanted to go. posesses-how long has And, and, and for a kid with nothing, I don’t it been doing that exactly? know, I… Just seemed like a better option.
R: Uh, forever, I guess. R: Hmm.
Universitas Sumatera Utara F: You can’t tell anyone about this, okay? It I even met someone. could ruin my whole reputation. G: Yes, the wanted thief, I’m so proud. R: Ah. We wouldn’t want that. Come on, Rapunzel.
F: Well, a fake reputation is all a man has. R: Mother, wait. I think…
R: Hmm, hmm, hmm– I think he likes me.
F: Huh. G: Likes you? Please, Rapunzel, that’s demented. R: Hmm hmm. R: But mother, I… F: Ahem. Well, I should, um… I, I should… I should get some more firewood. This is why you never should have left
R: Hey. [R sighs]
For the record, I like Eugene Fitzherbert Dear, this whole romance that you’ve much better than Flynn Rider. invented
F: Well, then you’d be the first… but thank Just proves you’re too naive to be here you. Why would he like you? Come on now, R: [smiles] Hmm. really.
G: Well! I thought he’d never leave! Look at you! You think that he’s impressed?
R: Mother! Don’t be a dummy, come with mummy
G: Hello dear. Mother…
R: But I, I, I, I don’t, uh… How did you find R: No! me? G: No?! Oh. I see how it is. G: Oh, it was easy really. I just listened to the sound of complete and utter betrayal and Rapunzel knows best followed that. Rapunzel’s so mature now
R: [sigh] Mother… Such a clever grown-up miss
G: We’re going home, Rapunzel. Now. Rapunzel knows best
R: You, you don’t understand. I’ve been on Fine, if you’re so sure now this incredible journey and I’ve seen and learned so much. Go ahead, then give him this! [satchel]
R: How did you…?
Universitas Sumatera Utara G: This [crown] is why he’s here! G: [to St] Patience boys. All good things to those who wait. Don’t let him deceive you! — Give it to him, watch, you’ll see!
R: I will! [Maximus locates F] G: Trust me, my dear F: Zzz. That’s how fast he’ll leave you [Sweat drops on F] I won’t say I told you so! F: Uh-uh? No, Rapunzel knows best! [Maximus angry] So if he’s such a dreamboat F: Well, I hope you’re here to apologize. Go and put him to the test Aghhhh…! R: Mother, wait– [Maximus drags F away] G: If he’s lying, don’t come crying, No, no, no, put me down! Let me go! Let– ‘Mother knows best’! [vanishes] me–go–!
[R looks at crown] R: Release–him–
F: So… [Maximus shakes F from side to side, R [R gasps] pulls F away, Maximus with F’s boot, runs to confront R] F: Hey uh… can I ask you something? Is there any chance that I’m gonna get super R: Whoa, whoa whoa whoa whoa whoa! strength in my hand because I’m not gonna Whoa! Whoa! Easy, boy, easy! Settle down! lie. That would be stupendous. Whoa, whoa! Easy, boy, easy.
[on seeing R] Hey, you all right? Easy.
R: Oh! Sorry, yes. Just, em, lost in thought, I [Maximus stops] guess. R: That’s it.
F: I mean because here’s the thing. [Pascal atop R’s head: Put down.] Superhuman good looks, I’ve always had them–born with it, but superhuman strength? R: Now sit. Can you imagine the possibilities of this…? [Maximus assumes sitting position]
Universitas Sumatera Utara R: Sit! [Maximus grunts]
[Maximus sits like a dog] R: Just for twenty-four hours and then you can chase each other to your heart’s content, F: What? okay?
R: Now drop the boot. [F sighs, stretches out his hand. Maximus [Maximus stops] turns away defiantly]
R: Drop it! R: And it’s also my birthday. Just so you know. [Maximus drops F’s boot] [Maximus reluctantly agrees. R hears distant R: Aww, you are such a good boy! Yes you bells, walks away; Maximus hits F in chest] are. Ho-ho. F: Oom! [Maximus wags tail] [Maximus neighs delightedly] R: You’re all tired from chasing the bad man all over the place? —
[Maximus nods] [R’s mouth: ‘wow’. F & Maximus get into fight, Pascal: behave, then F & Maximus F: Excuse me? simply beat each other once. R enters city but bumps into animals and people R: Nobody appreciates you, do they? because her hair was stuck.] [Maximus grunts] R: Oh, oh, sorry! R: Do they? [F collects hair, Maximus gallops to catch [Maximus grunts] up. F whistles to a group of little girls, who F: Oh come on, he’s a bad horse! then braid R’s hair for her.]
R: Oh, he’s nothing but a big sweetheart! R: Thank you!
[Maximus neighs delightedly] [Marketplace, R buys two pieces of fruit, but runs on quickly and the two pieces of fruit R: Isn’t that right? Maximus? falls upon the stallowner’s hands. F buys food, R sees mosaic of F: You’ve got to be kidding me. the King and Queen and the lost baby [Maximus hits R] princess.] R: Look. Today is kind of the biggest day of Girl: It’s for the lost princess. my life, and the thing is, I need you not to get him arrested.
Universitas Sumatera Utara [R looks closely. The princess had golden What if it’s not everything I dreamed it hair and green eyes like her. Dancing, and would be? the whole day with F. F & R finally rejoin at end of dance] F: It will be.
Citizen:To the boats! R: Hmm.
[F & R separate] And what if it is? What do I do then?
F: Well, that’s the good part I guess. You get to go find a new dream. [F rows gondola with R and Pascal.] R: Hmm. F: Hey Max! [palace, … launch lanterns] [F tosses a bag of apples at Maximus. Maximus turns his nose away] R: [ S O N G ]
What? I bought them. All those days watching from the windows
[Maximus eats two apples] All those years outside looking in
Most of them. All that time never even knowing
[Maximus stops eating] Just how blind I’ve been
R: Where are we going? Now I’m here, blinking in the starlight
F: Well, best day of your life, I figured you Now I’m here, suddenly I see should have a decent seat. Standing here, it’s all so clear
I’m where I’m meant to be
And at last I see the light
R: Hmm. And it’s like the fog has lifted
F: You okay? And at last I see the light
R: I’m terrified. And it’s like the sky is new
F: Why? And it’s warm and real and bright
R: I’ve been looking out a window for And the world has somehow shifted eighteen years, dreaming about what it might feel like when those lights rise in the All at once everything looks different sky. Now that I see you
Universitas Sumatera Utara [F holding two lanterns. R sits] All at once, everything is different
R: Hmm. Now that I see you
I have something for you, too. [Pascal blushes]
[takes out F’s satchel] F, R: Now that I see you.
I should have given it to you before, but I [F was about to kiss R when he sees his was just scared. And the thing is, I’m not former accomplices at nearby shore] scared anymore. You know what I mean? R: Is everything okay? F: [refuses to take the satchel] I’m starting to. F: Huh?
[R smiles. Both launch their lanterns.] Oh, yes, uh, huh. Yes, of course. I just…
F: [ S O N G ] [rows R to shore]
All those days chasing down a daydream I’m sorry, everything is fine. There’s just something I have to take care of. All those years living in a blur R: Okay. All that time never truly seeing F: I’ll be right back. Things the way they were [F walks away with satchel] Now she’s here, shining in the starlight R: It’s all right, Pascal. Now she’s here, suddenly I know
If she’s here, it’s crystal clear F: Ah, there you are. Huh. I’ve been I’m where I meant to go searching everywhere for you guys since we got separated. Hey, the sideburns just [F & R break into song] coming in nice, huh? Gotta be excited about F, R: And at last, I see the light that.
F: And it’s like the fog has lifted Hmm-mm. Anyhow, just wanted to say, I shouldn’t have split, the crown is all yours, F, R: And at last, I see the light I’ll miss ya, but I think it’s for the… best.
R: And it’s like the sky is new [F bumps into St (non-speaking)]
F, R: And it’s warm and real and bright St: Holding out on us again, eh, Rider?
And the world has somehow shifted F: What?
Universitas Sumatera Utara St: We heard you found somethin’. G: Oh, my precious girl. Somethin’ much more valuable than a crown. R: Mother.
We want her, instead. G: Are you all right? Are you hurt?
[R sees a shadow] R: Mother, how did you–
R: Uh. I was starting to think you ran off G: I was so worried about you dear. So I with the crown and left me. followed you. And I saw them attack you and–oh my, let’s go, let’s go before they [R sees the shadow split into two: St.] come too.
St: He did. [R saw F in distance. Tears well up. Then to mother: open arms.] R: What? No, he wouldn’t. R: [sobs] You were right, mum. You were St: See for yourself. right about everything.
[R sees F on yacht, sailing away] G: I know, darling. I know.
R: Eugene. [close-up on him sailing]
Eugene! [yacht with F hits kingdom pier]
St: Fair trade, a crown for the girl with the Guard: Look! magic hair? The crown. [R turns around] F: Rapunzel. Rapunzel! St: How much do you think someone would pay to stay young and healthy [apprehended by guards] forever? No, no, no, no, wait, wait, wait, guys, guys!
[St takes bag to catch her] [Maximus sees F apprehended]
R: No, please–no! No! F: –Rapunzel!
[R’s hair gets caught in log of wood. [Maximus sees foggy shore on the other Beating sounds.] side. Blank scene.]
G: Rapunzel! —
R: Mother? Capt: Let’s get this over with, Rider.
[R finds G, who brought down St] F: Where are we going?
Universitas Sumatera Utara [Capt: stern look] G: Oh, please speak up Rapunzel. You know how I hate the mumbling. F: [hand on his neck] Oh. R: I am the lost princess! Aren’t I? — Did I mumble, Mother? Or should I even G: There. It never happened. Now, wash up call you that? for dinner. I’m making hazelnut soup. G: Oh Rapunzel, did you even hear [R head low] yourself? Why would you ask such G: Huh. I really did try, Rapunzel. I tried to a ridiculous question? warn you what was out there. The world is R: It was you! It was all you! dark and selfish and cruel. If it finds even the slightest ray of sunshine, it destroys it. G: Everything that I did was to protect… you. [R finds sunburst on flag embedded in her bedroom wall murals] R: [pushes away G] Ugh!
R: [realizes she was the lost princess] Agh! G: Rapunzel! [knocks her dressing R: [descends stairs] I’ve spent my entire life table] hiding from people who would use me for my power… — G: Rapunzel! F: [knocks down the two guards beside him, apprehends St] How did you know about R: … but I should have been hiding… from her? Tell me, now! you!
St: It wasn’t us. It was the old lady. G: Where will you go?
F: Old lady… [apprehended by guards — He won’t be there for you. again] Agh! Wait! No! Wait! You don’t understand, she’s in trouble! Wait! R: What did you do to him?
— G:— That criminal is to be hanged for his crimes. G: Rapunzel? [climbs stairs] R: [gasps] No. Rapunzel, what’s going on up there? G: Now, Now. It’s all right. Listen to me. [R gasps] Everything is as it should be. [to pat R’s hair] G: Are you all right? R: [apprehends G’s hand] No! R: I’m the lost princess.
Universitas Sumatera Utara You were wrong about the world.
And you were wrong about me. [F pants]
And I will never let you use my hair again! Hook: Head down.
G: Errgh…! F: Head down.
[mirror shatters, G pants, R walks away] Hook: Arms in.
G: You want me to be the bad guy? Fine. F: Arms in. Now I’m the bad guy… Hook: Knees apart. — F: Knees apart. Knees apart? Capt: What’s this? Open up! [Vlad jumps] Shorty: What’s the password? F: Why– why do I need to keep my knees Capt: What? apart–
Shorty: Nope. [F sent into air]
Capt: Open this door! F: Arrghhhh…!
Shorty: Not even close! [F saddles on Max just neatly.]
Capt: You have three seconds. F: Oh.
One! [Maximus neighs]
[guard on left hooked away] F: Max.
Capt: Two… You brought them here?
[guard on right whisked away] [Maximus neighs]
Capt: Three… F: Thank you.
[Capt turns around to see F, gasps. Attila [Maximus smiles, motions to go] hits Capt with frying pan.] F: No really. Thank you. Uh. I feel maybe F: Frying pans! Who knew, right? this whole time we’ve just been misunderstanding one another, and we’re [3 bangs behind, chase, Ulf mimes to really just–huh— mislead, Vlad scares guards] [Maximus frustrated]
F: –Yeah, you’re right, we should go.
Universitas Sumatera Utara [escape scene] R: Mm-mm!
F: Max… [Pascal bites a piece of G’s dress, G shakes it off] Max… G: Rapunzel really! Enough already! Stop Max! Waaahhh… fighting me!
[Maximus neighs] R: No! I won’t stop. For every minute of the F: Okay Max, let’s see how fast you can run. rest of my life I will
[Maximus neighs in reply. They reach the fight! I will never stop trying to get away tower.] from you! [catches breath]
F: Rapunzel? Rapunzel, let down your hair! But, if you let me save him, I will go with you. [attempts to climb on his own when R’s hair falls from window. F climbs it.] F: [struggling] No! No, Rapunzel!
Rapunzel, I thought I’d never see you again. [Pascal reawakens] Huh? [for R was R: I’ll never run, I’ll never try to escape. chained and gagged.] Just let me heal him, and you and I will be together. Forever, just like you want. R: [gagged] Mm-mm, mm-mm! Everything will be the way it was. I promise.
[F is stabbed by G, wrenches] [Pascal: Huh?]
R: Mm-mm! Mm… R: Just like you want.
G: Now look what you’ve done, Rapunzel. [catches breath] Just let me heal him.
[F struggles] [G approves, chains F]
R: Mm… G: In case you get any ideas about following us. [leaves F to R] G: Oh, don’t worry, dear. Our secret will die with him. R: Eu–Eugene!
[F struggles] [F coughs, wrenches]
R: Mm-mm, mm… R: Oh, I’m so sorry. Everything is gonna be okay– G: And as for us, hmm! We are going where no one would ever find you F: No, Rapunzel– again! R: I promise you. You have to trust me–
Universitas Sumatera Utara F: No– [G and her dress turns to dust before her cloak hits the ground. R R: Come on. Just breathe– returns to F.] F: I can’t let you do this. R: [catches breath] No, no, no, no, no, R: But I can’t let you die. Eugene.
F: [cough] But if you do this, … [F coughs]
R: Shh, shh, shh… R: Oh. Look at me, look at me, I’m right F: … then you… here, don’t go, stay with me, Eugene–flower gleam and glow, let your power shine, make R: … shh, shh… the clock reverse, bring back what once was mine– F: … will die. F: –Rapunzel. R: Hey. It’s gonna be all right. R: What? [F forces a smile. R is about to sing the incantation] F: You were my new dream.
F: Rapunzel, wait… [approaches R, slices R: [sobs] And you were mine. off Rapunzel’s hair with a broken shard of mirror] [F breathes his last. Tears well up in R’s eyes.] R: [hair turns dark brown from cut ends to roots] Eugene, (what…?) R: Heal what has been hurt. Change the fate’s design. Save what has been lost. Bring G: No! back what once was mine. What once was mine. [R’s golden hair turns dark brown quickly along its length.] [R sobbing, a tear falls on F’s cheek and revives him] G: [tries to wrap herself around remaining golden hair] No, no, no… [hand ages] no! F: Rapunzel. What have you done? What have you done? [hair turns white] No! R: [gasps] Eugene.
[Pascal pulls a length of hair, tripping G F: Did I ever tell you I’ve got a thing for who falls from the tower. R brunettes?
stretches her hands as if to stop it from R: [gasps] Eugene! happening.] [R embraces F, then kisses him]
G: Arghhh! —
Universitas Sumatera Utara [royal family reunion, F pulled into F: Pascal–never changed. embrace] [R picks up Pascal] F: Whoa! F: At last, Rapunzel was home and she [King, Queen, R and F hugging] finally had a real family. She was a Princess worth waiting for. Beloved by all, she led F: Well, you could imagine what happened her kingdom with all the grace and wisdom next. that her parents did before her.
And as for me, well, I started going by The kingdom rejoiced, for the lost princess Eugene again. Stopped thieving and had now returned. The party lasted an entire basically turned it all around, but I know week, and honestly I don’t remember much what the big question is, hah. of it. Did Rapunzel and I ever get married? Well I [Hook plays the piano] am pleased to tell you that after years and years of asking, and asking, and asking, I F: Dreams came true all over the place. That finally said yes. guy went on to become the most famous concert pianist in the world, if you can R: Eugene. believe it. F: All right, I asked her.
[Big was hit by Hook’s hook. His helmet R: And we’re living happily ever after. ended up on a woman’s head] F: Yes we are. F: And this guy? Well, he eventually found true love. [Shorty raised by lanterns, nodding.]
[Ulf miming] —THE END
F: As for this guy, well, I assume he’s happy. He’s never told me otherwise.
[Guards raise frying pans to Maximus.]
F: Thanks to Maximus, crime in the kingdom disappeared almost overnight…
[A guard hurriedly presents a green apple to Maximus]
F: … as did most of the apples.
[Pascal changing colour]
Universitas Sumatera Utara
Universitas Sumatera Utara