THE ANALYSIS OF DIRECTIVE UTTERANCES USED BY THE MAIN CHARACTERS OF HOTEL TRANSYLVANIA MOVIE AND ITS APPLICATION IN TEACHING SPEAKING AT TENTH GRADE STUDENTS OF SENIOR HIGH SCHOOL
S1 Thesis
Submitted as a partial fulfillment of the requirement to obtain Sarjana Pendidikan degree at English Education Program of Purworejo Muhammadiyah University
by TITI SAFITRI 122120139
ENGLISH EDUCATION PROGRAM TEACHER TRAINING AND EDUCATION FACULTY PURWOREJO MUHAMMADIYAH UNIVERSITY 2016
i
APPROVAL SHEET
THE ANALYSIS OF DIRECTIVE UTTERANCES USED BY THE MAIN CHARACTERS OF HOTEL TRANSYLVANIA MOVIE AND ITS APPLICATION IN TEACHING SPEAKING AT TENTH GRADE STUDENTS OF SENIOR HIGH SCHOOL
by TITI SAFITRI 122120139
This thesis has been approved to be defended in front of the Board of Examiners
Approved by
Consultant I Consultant II
Zahrotul Muniroh, S.Pd., M.A Ismawati Ike N., S.S., M.Hum. NIDN 0029037604 NIDN 0010067901
The Head of English Education Program
Sri Widodo, S.S., M.Hum. NIDN 0628057302
ii
RATIFICATION SHEET
THE ANALYSIS OF DIRECTIVE UTTERANCES USED BY THE MAIN CHARACTERS OF HOTEL TRANSYLVANIA MOVIE AND ITS APPLICATION IN TEACHING SPEAKING AT TENTH GRADE STUDENTS OF SENIOR HIGH SCHOOL
by TITI SAFITRI 122120139
This thesis has been defended in front of the board of examiners on August 23rd 2016
THE BOARD OF EXAMNINERS Main Examiner : Tusino, M.Pd.B.I. …………………..
First Examiner : Zahrotul Muniroh, S.Pd., M.A. ………………......
Second Examiner: Ismawati Ike N., S.S., M.Hum. …………………..
Purworejo, August 2016 The Dean of Teacher Training and Education Faculty
Yuli Widiyono, M.Pd. NIDN 0616078301
iii
STATEMENT
The student who sign in the following:
Name : Titi Safitri
Student number : 122120139
Study Program : English Education Program
States that this thesis is absolutely my own work and the contents of the thesis are not written by someone else as the requirement in accomplishing the study of this university. In a few parts, the researcher draws opinions of someone else as references which written based on rule of quoting.
If it is proven that this statement is incorrect, this entirely becomes my responsibility.
Purworejo, 5th August 2016
The researcher,
Titi Safitri
iv
MOTTO
Make hay while the sun shine.
Live for today, dream of tomorrow, learn from yesterday.
When one door closed, another opens; but we often look so long and so regretfully upon the close door that we do not see the one which has opened.
The secret of life is not to do what you like, but like what you do.
God never change fate, only if they trying to change themselves.
Where there is a will, there is a way.
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DEDICATIONS
With proud, gratitude and love, this my master piece is dedicated to:
My beloved father and mother, Sutarnyo and Siti Nurasih who give me
support and a great endless love. Both of you are everything for me and
there is no words to describe how do I love you. Thanks for your support,
advice, affection, unconditional love, and prays for my success.
My beloved brother, Ari Nurul Aziz. Thanks for your love, care, spirit, and
I want to say that you are my great brother I have.
All members of my beloved big family. Thanks for love, care, motivation
you give to me.
H. Nasrudin, S.Pd.I., M.S.I., Bunda Ratih, and the all members of the big
family of Pesantren Mahasiswa Al-Chudlorie of Purworejo
Muhammadiyah University. Thanks for all your kindness that can’t I
express it in words.
All my beloved friends, who gives me spirit, advices, suggestions and all of
kindness.
All my friends in amazing Class.
Everyone I love and everyone who loves me.
vi
ACKNOWLEDGEMENT
Firstly, the researcher would like to express his gratitude to Allah the
Almighty and the Most Merciful for blessing health, ability and guidance, so that the researcher can complete and finish this thesis entitled “The analysis of Directive
Utterances Used by the Main Characters of Hotel Transylvania Movie and Its
Application in Teaching Speaking at Tenth Grade Students of Senior High School”.
Then, the researcher would like to thanks to:
1. Drs. H. Supriyono, M.Pd. as the Rector of Muhammadiyah University of
Purworejo.
2. Yuli Widiyono, M.Pd. as the Dean of Teacher Training and Education Faculty
of Muhammadiyah University of Purworejo.
3. Sri Widodo, S.S., M.Hum, the Head of English Education Program of Teacher
Training and Education Faculty of Muhammadiyah University of Purworejo.
4. Zahrotul Muniroh, S.Pd., M.A. as her consultant in conducting this thesis who
gives her suggestions, big motivation, and extremely patience in correcting her
thesis as well precious guidance to help her conducting this thesis.
5. Ismawati Ike N., S.S., M.Hum. as her second consultant in doing this thesis who
gives her great suggestion, motivation, and guidance in conducting this thesis.
6. All lecturers of English Department of Muhammadiyah University of Purworejo
who give her a lot of knowledge.
vii
7. Her beloved friends, Fadlan Abdul Jabar, Titi Nikmatul K., Sa’adiyah Nur Asni,
Rochimatun, Rahmawati, Meylisa Arum L., Ika Nurjannah, Rina W., Wida N.,
Ana Sholihatun, and all of her classmates, as well as everyone who motivate
and help her to do and finish this thesis.
Finally, the researcher realizes that this thesis is still far from being perfect.
However, the researcher still hopes that this thesis will be useful for English
Education Program students of Purworejo Muhammadiyah University and all readers. The researcher will also appreciate the suggestion from the reader. May
Allah bless us.
Purworejo, August 2016 The Researcher
Titi Safitri
viii
ABSTRACT
Titi Safitri. “The Analysis of Directive Utterances Used by the Main Characters of Hotel Transylvania Movie and Its Application in Teaching Speaking at Tenth Grade Students of Senior High School”. A Thesis. English Education Program. Teacher Training and Education Faculty, Purworejo Muhammadiyah University. 2016.
Directive is one of speech functions. It is linguistic utterance intended to get someone to do something. It can be conveyed less obviously and obviously that expressed in variety forms such as imperative, interrogative and declarative. Based on Holmes theory in sociolinguistics, there are some factors which affect the speaker’s choice of directive form, those are social dimensions (status, distance, and formality), gender, and routines of the task. The objectives of this research are to classify the types of directive utterances and analyze the factors affecting the use of directive form by the main characters of Hotel Transylvania movie as well as the application of the study in teaching speaking at tenth grade students of Senior High School. In conducting the research, the researcher used a descriptive qualitative method. The data are taken from the dialogues in the movie and they are explained descriptively. The steps of collecting data are watching the movie, reading the script, taking the utterance, giving a code for the data and organize the data into data sheet. To analyze the data the researcher followed some procedure. The procedure are reducing the data that is not needed, classifying data, analyzing and interpreting the data based on the theory, as well as presenting the result of analyzing data descriptively. The main characters of Hotel Transylvania movie performed 126 utterances categorized as directive utterance which divided into 19 utterances (15.08 % data) belong to less obvious directive and 107 utterances (84.92 % data) belong to obvious directive. In detail, the obvious directive consist of 84 (66.67 %) data belong to imperative form, 13 utterances (10.32 % data) belong to declarative form, 6 utterances (4.76 % data) belong to you imperative form, 3 utterances (2.38 % data) belong to interrogative with modal verb form, 1 utterances (0.79 % data) belong to interrogative with tag form, and there is none of datum belongs to interrogative with negative modal form. Finally the researcher hopes this research will be useful for the student to enrich their knowledge on sociolinguistics. It is suggested for the teacher to give the student more knowledge about directive utterance to enrich their ability in communication. The researcher also hopes to other researcher to continue the study of directive utterance in different objects.
Keywords: directive utterance, sociolinguistics, movie, teaching speaking
ix
TABLE OF CONTENTS Page PAGE OF TITLE ...... i
APPROVAL SHEET ...... ii
RATIFICATION SHEET ...... iii
STATEMENT ...... iv
MOTTO ...... v
DEDICATION ...... vi
ACKNOWLEDGEMENT ...... vii
ABSTRACT ...... ix
TABLE OF CONTENTS ...... x
LIST OF TABLE ...... xiii
LIST OF APPENDICES ...... xiv
CHAPTER I. INTRODUCTION
A. Background of the Study ...... 1
B. Identification of the Problem ...... 3
C. Limitation of the Problem ...... 4
D. Statement of the Problem ...... 5
E. Objectives of the study ...... 5
F. Significance of the study ...... 5
CHAPTER II. REVIEW OF RELATED LITERATURE
A. Related Literature ...... 7
1. Sociolinguistics ...... 7
2. Speech Function ...... 8
x
3. Directive Utterances ...... 9
4. Factors Affecting the Choice of Directive Utterances ..... 11
5. Movie ...... 16
6. Main and Minor Character ...... 23
7. Speaking ...... 23
8. Hotel Transylvania Movie ...... 28
B. Pervious Study ...... 29
CHAPTER III. RESEARCH METHOD
A. Type of Research ...... 32
B. Object of the Research ...... 33
C. Source of Data ...... 33
D. Unit of Analysis ...... 34
E. Technique of Collecting Data ...... 34
F. Technique of Codding Data ...... 37
G. Technique of Analyzing Data ...... 39
CHAPTER IV. RESEARCH FINDING AND DISCUSSION
A. Research Finding ...... 41
B. Discussion ...... 43
1. Directive Utterances Used by the Main Characters
of Hotel Transylvania Movie ...... 43
2. The Application of Directive Utterance Found
in Hotel Transylvania Movie in Teaching Speaking ...... 104
xi
CHAPTER V. CONCLUSION AND SUGGESTION
A. Conclusion ...... 113
B. Suggestion ...... 114
REFERENCES
APPENDICES
xii
LIST OF TABLE
Page
Table 1. The Form of Directive Utterances ...... 9
Table 2. The Format of the Data Sheet 1 ...... 35
Table 3. The Format of the Data Sheet 2 ...... 36 Table 4. Research Finding ...... 41
xiii
LIST OF APPENDICES
Appendix 1. Data Sheets Appendix 2. Movie Script Appendix 3. Syllabus of Tenth Grade of Senior High School Appendix 4. Decree of Thesis Consultant Appendix 5. Thesis Consultation Log
xiv
1
CHAPTER I
INTRODUCTION
In this chapter, the researcher will explain background of the study, reason for choosing the topic, statement of the problem, objective of the study, limitation of the problem, significance of the study, definition of the key terms and organization of the thesis.
A. Background of the Study
Language is one of basic needs for human in their social life. They use
language to communicate or to convey their ideas, feeling and desires to
others. Language is a system of arbitrary vocal symbols used for human
communication (Wardhaugh, in Mesthrie, 2000:1). Language refers to
speaking, writing and gesturing. Human recognizes spoken language, written
language, and body or gestural language to convey ideas, feeling and desires.
Both of them cannot be separated from human life because it plays important
role in human’s life. Without any language, people cannot deliver their idea.
Linguistics only deals with written language and spoken language that
deal with speech. Speech has some functions, those are expressive utterances,
directive utterances, referential utterances, metalinguistic utterances, poetic
utterances, and phatic utterances. Directive is utterance to get someone to do
something. There are varieties of ways or forms of directive in which the same
meaning of directive can be expressed. The form of directive utterances can be
interrogative, declarative and imperative depends on whom the utterance
delivered to. The utterance talk to a child may be different from the utterance
1 2
talk to our teacher or lecturer though the purpose is the same. In sociolinguistics, why someone says the same directive in different form depends on some factors, those are social dimensions (status, distance, and formality), gender, and routines of the task. For instance, to direct someone who is in the first meeting, the speaker usually uses the polite way of directive.
In fact, some people are not aware of the form of their directive utterance in asking someone to do something. When the speaker does not consider the form choice of utterance, it may decrease the politeness by which can embitter the hearer. Therefore, knowing the forms of directive and its use based on the factors above is important to avoid misunderstanding and to make a good relationship between the participants, as well to build a good social interaction with other people around the world.
Based on the fact above, the researcher considers that analysis of directive utterances is important in order to learn more about the form of directive in variety of social dimensions and situations or social context. In this research, the researcher chooses the title “The Analysis of Directive
Utterances Used by the Main Characters of Hotel Transylvania Movie and Its
Application in Teaching Speaking at Tenth Grade Students of Senior High
School”.
The reason of the researcher to choose a movie to be analyzed is because it is usually a reflection of daily life. Utterances that used in the movie are usually same as the utterances used in daily conversation, so movie can be 3
a media used by teacher in language teaching. The researcher chooses Hotel
Transylvania movie to analyze focusing on directive utterances used by the
main characters because there are many directive utterances found in that
movie. This research will be useful in English language teaching. The
directive utterances found in the movie can help students to understand the
form of directive utterances and produce the utterance of command and
request expression to improve their speaking skill.
Students usually like to use movie as learning media because it not
only helps them to understand the material but also entertains them, so the
students will more enthusiasm in studying and enjoying the classroom
activities. Besides, using movie as a media lets students get more benefits.
There are many aspects can be learnt by students, some of them are
vocabulary, grammar, pronunciation, culture, language style, dialect, etc. It is
also possible for students to learn moral value found in the movie.
B. Identification of the Problem
Bygate in Melendez (2014:550) says that one of the basic problems in
foreign language teaching is to prepare learners to be able to use the
language. It means that speaking skill is important for English learner. As
stated by Bahadorfar & Reza (2014:9), speaking is an important part of
everyday interaction and most often the first impression of a person is based
on his/her ability to speak fluently and comprehensively. Because of the
importance of speaking skill, students have to master it but there are some
problems in teaching and learning activities. 4
The problems found by the researcher are as follows:
1. Students usually have difficulties in producing utterance in speaking class.
2. Students are usually lack of grammar and pronunciation.
3. Students usually have difficulties in knowing the form of directives.
4. Students are usually confused to whom or when the form of directives
used, in other words they are confused in considering the politeness.
5. Students are lack of motivation.
6. Teachers have a responsibility to prepare the students as much as possible
to improve students’ speaking skill. Teachers have to provide appropriate
media in teaching speaking especially in directive utterances material.
C. Limitation of the Problem
Because of the limited ability and time of the researcher in doing this
research, the researcher will limit the scope of the study on sociolinguistics
which focuses on the analysis of directive utterances used by the main
characters of Hotel Transylvania movie. In this research, the researcher will
analyze two things, those are the types of directive utterances used by the
main character of Hotel Transylvania movie and the factors influencing the
usage of them. The researcher will not only analyze the movie, but also
describe its application in teaching speaking.
The reasons of applying this research to teach speaking are as follows:
1. Students usually have the difficulties in knowing the form and produce the
utterance. 5
2. Students need an appropriate media to mastery English utterance in order
to improve their speaking skill.
3. Movie can be a good media for students in learning English because they
can learn many things from movie.
D. Statement of the Problem
The problem of this study can be formulated as follows:
1. What is the classification of directive utterances used by the main
characters of Hotel Transylvania in sociolinguistics study?
2. What are the factors behind the main characters of Hotel Transylvania
use such form of directive utterances?
3. How to apply the analysis of directive utterances used by the main
characters of Hotel Transylvania in teaching speaking?
E. Objectives of the Study
In line of the problem above, the objectives of the study are:
1. To classify the directive utterances used by the main characters of
Hotel Transylvania in sociolinguistics study.
2. To identify the factors behind the main characters of Hotel
Transylvania use such form of directive utterances.
3. To describe the application of the analysis of directive utterances used
by the main characters of Hotel Transylvania in teaching speaking.
F. Significance of the Study
The result of this study will enrich research in language field especially the
research related to speech function. It is hopefully useful for many people 6
especially for who are closely related to English education. The significances of the study are stated as follows:
1. For the researcher
She will know what types of directive utterances used by the main
characters in Hotel Transylvania as well as the factors behind the
chosen of a type of directive utterances by the main characters.
2. For the teacher or lecturer
It is expected to be useful for teacher or lecturer in teaching English
especially speaking skill under the material of directive utterances.
3. For the students
Students will be more interested and motivated in learning English by
using the movie and get more information about directive utterances
as well as the factors that influence the production of utterance form.
4. For the readers
For the readers or for who are interested in sociolinguistics, the
finding of the research is hopefully giving additional information and
knowledge about directive utterances. 7
CHAPTER II
REVIEW OF RELATED LITERATURE
In this chapter, the researcher presents several theories that are closely related to the study. The aim is to aid her in analyzing the data. It will elaborate previous study, sociolinguistics, speech functions, directive utterance, the factors influence in choosing directive utterance, movie, main character, teaching speaking, and Hotel Transylvania Movie.
A. Related literature
1. Sociolinguistics
Sociolinguistics is a branch of linguistics that discusses about the
relationship between language and society. This term is supported by
Bussmann (2006:1089) who states that sociolinguistics is scientific discipline
developed from the cooperation of linguistics and sociology that investigates
the social meaning of the language system and of language use, and the
common set of conditions of linguistic and social structure.
Holmes (2001:1) says that sociolinguists are interested in explaining
why people speak differently in different social context, and they are
concerned with identifying the social functions of language and the ways it is
used to convey social meaning.
Sociolinguistics studies how speakers use language appropriately, in
terms of communicative competence: ‘when to speak, when not, and what to
talk about with whom, when, where, in what manner’ (Hymes in Wray
7 8
2006:93). In other words, Wray (2006:93) explains that sociolinguists stress the language varies not only in the sense that words can be combined together to form an infinite number of sentences or longer discourses, but also systematically, according to a range of factors such as age, sex, background of speaker, and the situation or social context where the language is used.
2. Speech Function
Speech defined by Bussmann (2006:1106) is a process and result of oral or written linguistic production. According to Holmes (2001: 259),
Speech can be categorized in to some functions, those are as follows:
a. Expressive utterances express the speaker’s feeling, e.g. I’m feeling
great today.
b. Directive utterances attempt to get someone to do something, e.g.
Clear the table.
c. Referential utterances provided information, e.g. At the third stroke it
will be three o’clock precisely.
d. Metalinguistic utterances comment on language itself, e.g.
‘Hegemony’ is not a common word.
e. Poetic utterances focus on aesthetic feature on language, e.g. a poem,
an ear-catching motto, a rhyme, Peter Piper picked a peck of pickled
peppers.
f. Phatic utterances express solidarity and empathy with others, e.g. Hi,
how are you, lovely day isn’t it! 9
3. Directive utterances
Utterance is item of a language used for a purpose in specific context.
Utterance defined by Hurford (2007:16) are as follows:
“An utterance is any stretch of talk by one person before and after which there is silence on the part of that person. An utterance is the use by a particular speaker, on a particular occasion, of a piece of language, such as a sequence of sentences, or a single phrase, or even a single word.”
According to Holmes (2001:260) directives are linguistic utterances intended to get someone to do something. Kreidler (2002:189) states, directive utterances are those in which the speaker tries to get the addressee to perform some act or refrain from performing an act.
There are many ways in expressing these directives. People can ask others to do something by suggesting or inviting them, or by ordering or commanding them. Generally, Holmes (2001: 261) clarifies the directive into two category they are obvious and less obvious directive or hint. a. Obvious Directive
Obvious directive is clarified into six forms. They are as following:
Table 1. The Form of Directive Utterances
Utterances Form
. Sit down. Imperative
. You sit down. You imperative
. Could you sit down? Interrogative with modal verb
. Sit down, will you? Interrogative with tag
. Won’t you sit down? Interrogative with negative modal 10
. I want you to sit down. Declarative . I’d like you to sit down.
. You’d be more comfortable sitting
down
“Orders and commands generally expressed in imperative form. While polite way to get people to do something tend to use interrogatives or declaratives (Holmes, 2001:261).”
It can be inferred that imperative is the most direct form of directive, while interrogatives and declarative forms are less direct form of directive.
However this is not the permanent rule, Holmes (2001:260) says that although in general the interrogatives and declaratives are more polite than the imperatives, a great deal depends on intonation, tone of voice and context.
A gentle sit down may be far more polite than a thundered I want you to sitting down. b. Less Obvious or Hint Directive
According to Holmes and Maria (2015:50), hints are utterances where the directive intent is not directly or conventionally derivable from the words uttered. In other words, addressees must infer what intent of speaker’s word appropriate behavior in the context. Hint is the least direct category of directive. Hints or less obvious directives are showed in following illustration.
Teacher : What are you doing over the window Helen?
Helen : Looking at the birds Miss. 11
Teacher : And what should you be doing?
Helen : (No answer).
Teacher : Go and sit down now and get on with your writing.
The underlined utterances above are categorized as less obvious directive or hints. ‘What are you doing over the window Helen?’ and ‘And what should you be doing?’ are a very gentle directive utterance for Helen by the teacher who intends her to come back to her chair and doing the task.
While the last teacher utterance in the dialogue above, ‘Go and sit down now and get on with your writing’, is imperative form of directive. It is an obvious way of getting Helen to do thing.
4. Factors Affecting the Choice of Directive Utterances
People usually use different form of directive in different participants and setting of the context. It means that choosing the appropriate form of directives is influenced by some factors. The factors that affect a speaker’s choice of directive form include social dimensions—social distance between participants, relative status of them, and formality of the context—, gender and routineness or reasonableness of the task. a. Social Distance/Solidarity
Hudson (2001:122) says that solidarity concerns the social distance
between two people—how much experience they have shared, how many
social characteristic they shared (religion, sex, age, region of origin, race,
occupation, interest, etc.), how far they are prepared to share intimacies,
and other factors. 12
Social distance scale concerns with the relationship of participants.
In social distance scale, the high solidarity is called as intimate and the low
one is called distant. In Holmes (2001:261), people who are close friends
or intimates use more imperative than declarative and interrogative.
Following are examples of directive utterance produced within a family
(intimate relationship), all said without rancor and caused no offence:
o Roll over.
o Set the table, Robbie.
o Wash your hands for eat, children.
o Turn that blesse radio down. b. Status/Power
Brown and Gilman in Mesthrie (2009:310) define power is a
relationship between at least two persons, and it is non-reciprocal in the
sense that both cannot have power in the same area of behavior.
In status scale, the high status is called superior and the low one is
called subordinate. The terms superior and subordinate are defined with
referenced to societal bases of power (the state, church, army, wealth, the
family), but also to other factors like age, gender, and physical strength
(Mesthrie, 2009:311).
People who have high status usually use imperative form to ask
other in lower status to do something. Holmes (2001:263) says that status
differences are clearly marked and accepted; superiors tend to use 13
imperatives to subordinate. Teachers often use imperative to pupils.
Examples:
o Open your books on page 32.
o Shut the door.
o Stop talking please.
Teachers can use very direct expression to their meaning because
of their high status to their pupils. On the other hand, the rights and
obligations in a role relationship such as teacher-pupil are so clear-cut that
teachers can also use minimally as directives (Holmes, 2001:263).
Examples: a) Blackboard! (‘Clean the blackboard’)
b) I hear talking. (‘Stop talking’)
So clear-cut are the rules for classroom behavior that it has been suggested
that pupils operate with a very general rule of the form ‘scan every
utterance of the teacher for directive intent’ (Holmes, 2001:263). c. Formality
Formality is included the factor in choosing an appropriate
directive form. It is related to the setting or type of interactions. The
setting of formality dimension can be formal and informal. Formal setting
belongs to high formality while informal setting belongs to low formality.
In the formal setting, directive is expressed less directly such use
declarative form. Holmes (2001:264) gives an illustration;
“At a graduation ceremony, the University Chancellor gave the Vice- chancellor the directive in this example: ‘I now call on the vise- Chancellor to read the citation for our distinguished guest’. The required action (‘read the citation’) is embed as a subordinate clause in 14
the second part of the declarative sentence, and this is a common grammatical means of expressing directives less directly and more politely.”
The speech in the situation above belongs to formal setting, so the speaker
uses declarative form of directive instead of imperative in order to express
a polite way to get someone to do something.
In formal setting everyone in any status uses directive utterances in
less direct form even from superior to subordinate. It is different in
informal setting. Holmes (2001:264) says,
“The relevance of status in less formal context was determined by age and size. The oldest, biggest, and strongest child used by the most imperatives, while attempts by the children to get him to cooperate involved less direct form such I think I need that now and Could I borrow that? d. Gender
There are many terms of gender, Yule (2006:222-223) divides
gender to three terms they are biological, grammatical and social.
“Biological (or ‘natural’) gender is the distinction in sex between the ‘male’ and ‘female’ of each species. Grammatical gender is the distinction between ‘masculine’ and ‘feminine’, which is used to classify nouns in languages such as Spanish (el sol, la luna). A third use is for social gender, which is the distinction we make when we use words like ‘man’ and ‘woman’ to classify individuals in terms of their social roles (Yule, 2006:222-223).”
Social gender influences the speaker’s spoken language. Girl and
women tend to favor more polite and use less direct form of directives than
males (Holmes, 2001:265). Wardhaugh (2006:322) states that there are
often different politeness requirements made of men and women. The 15
different politeness of men and women can be seen in the examples as
follows:
- Tom : Give me that. I need it now.
- Seymour : Get off the car.
- Grant : Get out of my house.
- Maria : You finished with that rolling pin now?
- Lisa : My turn now eh?
- Meg : It’s time for tea so you’ll have to go home now.
The forms used by the girl are clearly less direct and polite than those used
by the boys. The gender which becomes the factor of choosing directive
form is not only the speaker’s gender but also addressee’s gender. Women
not only use less direct form of directive, they also receive less direct form
(Holmes, 2001:265). e. Routineness or Reasonableness of the Task
Another factor that relevant to the form of a directive is routineness
or reasonableness of the task. A boss might produce imperative utterance
to his mechanic when giving her a routine task. If, he is expecting her to
do something out of the ordinary or especially difficult, he is more likely
to use a less direct form such as interrogative form or even a hint. See the
following examples for detail.
a) Get those brake pads in 5 o’clock Sue. That car is needed first thing in
the morning.
b) Could you stay a bit later tonight, do you think, and finish this job? 16
c) That job is taking longer than we predicted. I don’t know what we’ll do
if it isn’t ready tomorrow.
Example a is utterance when giving someone a routine task, example b
and c are directive utterances when expecting someone to do something
out of the ordinary or especially difficult.
In general, imperatives are used between people who know each other
well or to subordinates. Interrogatives and declaratives, including hints, tend
to be used between those who are less familiar with each other, or where there
is some reason to feel the task being requested or not routine, or used by
women. But there are many qualifications to these generalizations. Hints may
also be used for humorous effect between people who are close friends
(Holmes, 2001:265). Examples:
a) To someone blocking the light out:
You make a better door than a window.
b) Mother to teenage son:
I’m not sure that a couple of smelly socks in the middle of the lounge
floor can beaten as a center piece for our dinner party. What do you
think, Tim?
5. Movie
a. Definition of Movie
Movie is one of popular entertainment in this era that can be watched
in cinema, television, DVD, and Internet. The term of movie and film is
usually confusing. Actually, both of them have the same form that is a 17
moving picture tells a story, but they have some differences. Linguistically movie is an AE and film is a BE. Then, the mainly different is in its scope.
Movie is an entertainment product and it is usually commercialism, while film has an academic scope and considered by critics. As stated by Barsam and Monahan (2010:3), film is often applied to a motion picture that is considered by critics and scholars to be more serious or challenging than the movies that entertain the masses at the multiplex.
Moreover, Barsam and Monahan (2010:3) explain movie as follows:
“A movie is a popular entertainment, a product produced and marketed by a large commercial studio. Every image is well polished by an army of skilled artists and technicians. The finished product, which is about two hours long, screens initially in movie theaters, is eventually released to DVD, and ultimately winds up on television.”
That film is close to academic scope is also stated by Hauenstein and
Riddle (2003: 84), films can be used to illustrate course content, promote a visualization of concepts and theory, provide a specific cultural focus, and, at the same time, provide an important entertainment value that can enhance undergraduate and graduate instruction.
In addition, Champoux (2007:1) says that film scenes can offer a visual portrayal of abstract theories and concepts taught in organizational behavior and management courses. b. Development of Movie Technology
Since the early 1890s until recently, motion-picture technology or how movies are made, has developed in three stages. The three stages in this technological development are film, video, and digital. 18
Refer to film technology, film stock is the medium on which the
image is recorded. According to Barsam and Monahan (2010 :462), film is an
analog medium in which the camera creates an image by recording through a
camera lens the original light given off by the subject and stores this image on
a roll of negative film stock.
Film involves a mechanical system that moves this film stock through several machines: a camera, a processor, and a projector. Barsam and
Monahan (2010: 462) explain the description of each machine as follows:
“In the first stage, shooting, the camera exposes film to light, allowing that radiant energy to burn a negative image onto each frame. In the second stage, processing, the negative is developed into a positive print that the filmmaker can then screen in order to plan the editing, a process that produces the final print. In the third stage, projecting, the final print is run through a projector; which shoots through the film a beam of light intense enough to reverse the initial process and project a large image on the movie screen.”
The next stage of movie technology is video. Video is used to describe
the visual and audio component that played a noteworthy role in
moviemaking after the 1950s. It makes up from pixels.
“The video image consists of pixels (short for “picture elements”), the small dots that make up the image on a video screen. When electronic technology puts these pixels together, they make up the picture that is recorded on videotape (later, digital videotape) and that we see on a video monitor (Barsam and Monahan, 2010: 465).”
Today video technology continues to be used in amateur film making,
low-budget documentary production, and other areas, it is rarely used by the
film industry to make feature-length movies. 19
The latest stage of technology of the movie is digital. The description of digital technology is as follows:
“Digital technology involves an electronic process that creates its images through a numbered system of pixels (which we can think of as the binary numbers 0 and 1). Unlike the analog image, these do not have a physical relationship to the original. Indeed, they are not exactly images, but, rather, thousands of digits stored on a flash card or a computer hard drive. These digits are reconstructed into visual images each time the movie is edited or shown and, unlike film stock, can be manipulated endlessly (Barsam and Monahan, 2010: 465).” c. Genres of Movie
Movie genres are categorizing the movie based on its concerned to or its theme or its purpose. Movie genres are also called as types of movie.
There are many genres of movie. Ducan (2006:10) mentions some popular genres: drama, romance, western, comedy, thriller, action, science fiction, horror, and fantasy; and popular hybrid of fundamental genres such as action drama, action adventure, romantic comedy, science fiction thriller, horror thriller, and horror comedy.
These are some of the most common genres identify from some resources:
1) Action
Movies in this genre are usually strained the viewer. It often
involves car chases, gun fights and hand-to-hand combats or physical
forces. Violence is the key characteristic of this film genre. The sub-genres
of action movie include kung fu movies, spy movies, disaster movies, 20
Superhero Movies and video game movie. The examples of action movie
are Mission Impossible, James Bond, etc.
2) Adventure
Adventure movie are usually exciting stories, with new
experiences. It also involves some action, but the main aspects of the
movies in this genre are exotic locales, historical settings, epic expeditions
and anything that brings thrills to the audience. They can include searches
or expeditions for lost continents, "jungle" and "desert" epics, treasure
hunts, or searches for the unknown. The examples of adventure movie are
the Adventures of Robin Hood, Indiana Jones, and Pirates of the
Caribbean.
3) Comedy
Comedy movie is a movie in which humor is the main driving
force. Anything with slapstick moments, witty dialogue and satirical
elements are included in this genre. Parodies and spoofs are the most
obvious types of comedy movies while some involve a mix of action,
adventure and romance. Movie in this genre designed to amuse and
provoke laughter by exaggerating the situation, the language, action,
relationships and characters. The examples movies are Mrs. Doubtfire,
When Harry Met Sally, My Best Friend’s Wedding and Nine to Five.
4) Crime and Gangster
Crime and Gangster films are developed around the sinister actions
of criminals or mobsters, particularly bank robbers, underworld figures, or 21
ruthless hoodlums who operate outside the law, stealing and murdering
their way through life. The examples of this genre are Out of Sight, Sling
Blade, The Godfather and The Departed.
5) Drama
Drama genre is a movie that portrays realistic characters, settings,
life situations, and stories involving intense character development and
interaction; but they sometimes involve more fantastical elements. The
examples are All about Eve, Shakespeare in Love, and Great Expectations.
6) Epic or Historical
Epic or Historical movie are movie which takes an historical or
imagined event, mythic, legendary, or heroic figure, and add an
extravagant setting. The examples epic or historical movies are The King’s
Speech, Gladiator, Kingdom of Heaven, and Alexander.
7) Horror
Movies in the horror genre involve blood, gore, the supernatural
and things that make one afraid of going to sleep at night. Horror movie is
designed to frighten the viewers, often in a terrifying story such ghost
stories or zombie flicks. The examples of horror movie are Paranormal
Activity, Annabelle, Friday the 13th, The Ring, and Dawn of the Dead.
8) Musical or Dance
Musical or dance movie are the movie which movies involve a lot
of singing and dancing to complement the storytelling. The movie centered
on combinations of music, dance, song or choreography. The movies in 22
this genre are the Sound of Music, High school Musical, Mamma Mia and
Chicago.
9) Science fiction
Science fiction or Sci-fi movie is imaginative scientific movie that
feature futuristic technology, interstellar travel, extraordinary monsters,
aliens, improbable settings, fantastic places and anything that is very
imaginative that does not fit in the real world. Science fiction often
expresses the potential of technology to destroy humankind and easily
overlaps with action, adventure and horror movie. The examples of sci-fi
movie are Star Wars, Transformer, Terminator, Avatar and The Matrix.
10) War
War movie is a movie that involves combat and tales of life in the
battlefield. War movies are often paired with other genres, such as action,
adventure, drama, romance, comedy, and even epics and westerns. The
examples of war movies are Saving Private Ryan, Behind Enemy Lines,
Rambo, and Black Hawk Down.
11) Westerns
Western movie genre is one of the oldest genre, most enduring
genres with very recognizable plots, elements, and characters. It started out
as a film genre that only relied on horses, guns, dusty towns, bar fights and
cowboys. The examples are No Country for Old Man, Brokeback
Mountain, The Cowboys, and Dance with Wolves. 23
6. Main and Minor Character
In the movie, there are a set of characters as a major aspect of the
story. Character in movie can be classified as major and minor character.
The major character is known as the main character. It is an important figure
of the center of the story’s action or theme. Mardalena (2015:36) also states
that
“The main character, especially when there is only one, is also called protagonist. The term protagonist has the advantage that it implies no value-judgment and call include heroes or heroines (i.e. positive main characters) as well as anti-heroes and anti-heroines (i.e. negative main characters).”
Main character is also known as dynamic character, Mardalena,
(2015:39) says that dynamic character exhibit some kinds of change of
attitude, purpose, behavior, as the story progress.
Supporting the major character are secondary or minor characters.
According to Mardalena (2015:39), the function of minor character is partly
to illuminate the major characters. Minor characters are often static or
unchanging: they remain the same from the beginning until the end.
(Mardalena, 2015:39).
7. Speaking
a. Nature of speaking
Speaking is one of important skills must be mastered by English
learner. It is as said by Luoma (2004: 20) that speaking as a technical term to
refer to one of the various skills those language learners should develop and
have. 24
Brown and Yule in Bahadorfar & Reza (2014:9), say that speaking is the skill that the students will be judged upon most in real-life situations.
According to Rickheit and Strohner in Efrizal (2012:127), speaking is speech or utterances with the purpose of having intention to be recognized by speaker and the receiver processes the statements in order to recognize their intentions.
Basically, the framework of speaking is divided into three parts, they are talk as interaction, talk as transaction and talk as performance (Richard,
2008:21). Each of these speech activities is quite distinct in terms of form and function.
1) Talk as interaction refers to what normally mean by “conversation”
and describes interaction that serves a primarily social function, to
establish and maintain social relations.
2) Talk as transaction refers to situations where the focus is one
exchange of information. Richard (2008:24) says that in the
transactional talk, the message and making oneself understood clearly
and accurately is the central focus, rather than the participants and
how they interact socially with each other.
3) Talk as performance refers to public talk, that is, talk that transmits
information before an audience, such as classroom presentations,
public announcements, and speeches. 25
b. Between speaking skill and sociolinguistics
To master speaking skill needs a variety of skills and competences.
Hymes in Rickheit and Strohner (2008: 207) says that to use language to communicate successfully requires much more than linguistic competence. It means that to have a good speaking skill is not only needs linguistic competence such as phonological, morphological, and syntactic competencies, but also other competence. The knowledge of sociolinguistic is also supporting speaking skill, for instance, someone cannot use the same form of directive in any setting and addressee because of consideration of politeness, so it can be said that sociolinguistics is one of important competence needed by the learner. c. Teaching Speaking
Learning is acquiring or getting of knowledge of subject or skill by study, experience, or instruction. While teaching which cannot be defined apart from learning is the activities for guiding and facilitating learning, enabling the learner to learn, and setting the condition for learning (Brown,
2000:7). So, teaching speaking means guiding and facilitating the students to master speaking skill by providing the knowledge, giving the instruction, and setting the condition for learning.
The mastery of speaking skills in English is a priority for second- language or foreign-language learners. Consequently, success in language learning often be evaluated on how much learner have improved their spoken language proficiency. Therefore to help students improved their spoken 26
language proficiency, teacher should design various speaking class activities by which students will more active in learning process and make the learning more meaningful and fun for students.
According to Thornbury (2005: 94-106), there are some appropriate activities to teach speaking.
1) Presentation and task
The learner will have to give presentation or talks in ‘real life’ the
experience of standing up in front of their colleagues and speaking for a
sustained turn is excellent preparation for real life speaking.
2) Stories and joke
Story telling is universal function of language and one of the main
ingredients of casual conversation. Through their stories learners not only
practice as essential skill, but they can also get to know one another.
3) Drama, role and simulation
Speaking activity involving drama element, in which learners take
imaginative leap out the confines of the classroom, provide a useful
springboard for real-life language use.
4) Discussion and debates
Many teacher would agree that the best discussion in the class are
those that arise spontaneously, either because of something personal that a
learners report or because a topic or a text in the courses book triggers
some debate. 27
5) Conversation
The teacher gets around organizing conversation classes around a
set of themes.
Naturally, teaching needs assessment. Brown (2004:141) categorizes five levels or types of speaking which used as a basic of speaking assessment task.
1) Imitative. It is the ability to simply parrot back (imitate) a word or
phrase or possibly a sentence. This is a purely phonetic level of oral
production which is traditionally labeled “pronunciation”.
2) Intensive. A second type of speaking is the production of short
stretches of oral language designed to demonstrate competence in
narrow band of grammatical, phrasal, lexical or phonological
relationship.
3) Responsive. This type include interaction and test comprehension but
at the somewhat limited level of very short conversation, standard
greetings and small talk, simple requests and command, and the like.
4) Interactive. The differences between responsive and interactive
speaking are in length and complexity of the interaction, which
sometimes includes multiple exchanges and/or multiple participants.
The interaction can take two form of interpersonal language or
transactional language.
5) Extensive (monologue). Extensive oral production includes speeches,
oral presentations, and story-telling, during with the opportunity for 28
oral interaction from listener is either highly limited or ruled out
altogether.
8. Hotel Transylvania Movie
Hotel Transylvania is an American 3D animated comedy movie produced by Sony Pictures Animation. It was directed by Genndy
Tartakovsky, and produced by Michelle Murdocca that release in 2012. The film features the voices of Adam Sandler, Andy Samberg, Selena Gomez,
Kevin James, Fran Drescher, Steve Buscemi, Molly Shannon, David Spade,
CeeLo Green, etc.. The main characters of this movie are Adam Sandler as
“Dracula”, Andy Samberg as “Jonathan”, and Selena Gomez as “Mavis”.
The story is summarized as follows.
In a world of the ghost there is a hotel was built by Dracula where the world's monsters can take a rest from human civilization. This hotel was built for him and his daughter who wanted to live in a place which free from human. One day, Drac celebrated Mavis—his beloved daughter— 118 years birthday by inviting all of his friends. A day before the birthday party they all were very happy but accidentally there was a boy entered the hotel. Knowing that, Drac lost his joy and became so worry. He did not know what would happen if all his guests knew that there was a human in the hotel. The hotel’s reputation must be destroyed. Therefore, Drac did effort to hide the boy from the guests that all of them were ghost. He dressed Jonathan, a boy who enters his hotel, like a ghost. 29
Mavis and Jonathan met in that day. She was falling in love to him
that of course it be banned by his father. Because he was worry about his
hotel’s reputation and his daughter will be falling in love to Jonathan, Drac
expelled Jonathan from his hotel but Mavis found him and brought him back
to the hotel. Jonathan also loved Mavis and tried to give happiness for Mavis
by showing the beautifulness of sunshine in the early morning—the
beautifulness that have not been seen by Mavis—. However, being realized
that Drac did not give permission because they had different life, Jonathan
decided to go away from Mavis. Knowing that Jonathan had left her, Mavis
was so sad and had a deep depression. Her love to Jonathan was unchanged
although she knew that he was a human.
Seeing her beloved daughter lived in depression, Drac decided to seek
Jonathan. He told this case to his friends and they supported him to seek
Jonathan. After doing the explorer finally, he found that Jonathan was in the
plane which was going to board. With much effort, finally Drac could give
explanation and said to Jonathan that he was Mavis’ Zing. Jonathan was
happy. In the end of the story Jonathan come back to meet Mavis and Mavis
was so happy because she had her Zing come back.
B. Previous Study
There are some previous studies that have been conducted by some
researchers. Desy Nur Wahu Ningsih (2014) studied directive utterances in
the English translation of Holy Al-Qur’an particularly on the verses of five
pillars of Islam. The data source of his research is from Al-Qur’an English 30
Translation particularly on the verses of five pillars of Islam, which she has collected 35 data. In her research she describes the meaning of the message
(intention) contained in the directive utterances by referring to the theory of speech act of Kreidler’s theory and describing the linguistics form referring to the Frank’s theory. In category of Directive Utterance Based on Illocution she found 25 data or 71% as the directive commanding strategy, 9 data or 26% as the directive prohibiting category, 1 datum or 3% as directive. While in linguistics form, she found 29 data or 83% are included imperative sentence and 6 data or 17 % are included declarative sentences.
Other previous study that related to the research is a thesis conducted by Nonong Maysarah (2010) under the title Using English film in Teaching
Speaking (an experimental study at SMA PGRI 3 Jakarta). Her research was conducted to find out the effectiveness of using English film to teach speaking skill in at the second year of SMA PGRI 3 Jakarta. She did experiment in teaching speaking using English film for 10 meetings from
February 26th until April 23rd 2009. Pre-test was given before the experiment and post-test was given after the experiment. Then the results of both scores formulated by using t-test calculation to see whether there is an effect or not of the teaching technique by using English film. In the result of calculation obtained t0 13.02; tt on significant 5% = 2,056 and 1% = 2.779. Because value of t0 is higher than tt, the hypothesis is accepted. Thus, there is a significant effectiveness of using English Film in teaching speaking. 31
The researcher’s and Desy’s research have similarity in topic that is directive utterances and the similarity between the researcher’s and Nonong’s research, is the application of research in teaching speaking. Although the researcher’s study has similarity with the two previous studies, they are totally different. The researcher will analyze what types of directive utterances used by the main characters in Hotel Transylvania with its factors behind the directive utterances used by the main characters referring to
Holmes’s theory in sociolinguistics. Besides, the researcher will also describe its application in teaching speaking while the two previous studies are not.
Desy had researched directive utterances in the English translation of Holy
Al-Qur’an particularly on the verses of five pillars of Islam, and Nonong did experimental study to research whether using English film in teaching speaking is appropriate method or not in teaching speaking. The film used in the Nonong’s research was not specific too. 32
CHAPTER III
RESEARCH METHOD
This chapter talks about research method that deals with the ways to conduct this research. Research method is necessary for the researcher in collecting and analyzing the data.
In order to make the discussion of the research method clearer, the researcher divides this chapter into type of research, object of the research, source of data, unit of analysis, technique of collecting data, technique of codding data, and technique of analyzing data.
A. Type of Research
This research employs descriptive qualitative research. Qualitative
research is a research of which the data in the form of written or oral words
from people or behaviors that can be observed (Bogdan and Taylor in
Moleong, 2014:4).
Creswell (2009:4) explains qualitative research as follows:
“Qualitative research is a means for exploring and understanding the meaning individuals or groups ascribe to a social or human problem. The process of research involves emerging questions and procedures, the data typically collected in the participant's setting, data analysis inductively building from particulars to general themes, and the researcher making interpretations of the meaning of the data.”
Descriptive is derived from word to describe that mean to explain
something. Descriptive research is a research which conduct to research a
situation or condition, event, activity, etc. whose result explained in a
research paper (Arikunto, 2013:3).
32 33
This research is categorized as descriptive qualitative research since
the data taken from a phenomena that are utterances said by the main
characters of Hotel Transylvania movie. Furthermore, the utterances are
analyzed descriptively to describe and explain in detail based on directives
utterances theory.
B. Object of the Research
Object of the research is something that researcher tries to analyze.
Object in qualitative research is totally different from the object in
quantitative research. According to Sugiyono (2015: 215), there is no
population term in qualitative research, but Spradley named ‘social situation’
that is consists of three elements: place, actor, activity that have a synergy
interaction.
The object of this research is the dialogue of the main characters of
movie entitled Hotel Taransylvania.
C. Source of Data
Data is an information or fact needed by the researcher to be analyzed
in order to find the conclusion. As said by Djamal (2015:65) data is
information searched for solving the problem. It is a result of researcher
record that form can be fact or numeral (Arikunto, 2010:161). Meanwhile,
source of the data is defined as a subject from where the data be gained
(Arikunto, 2010:172).
There are two types of data source, they are primary data source and
secondary data source. According to Djamal (2015:66), 34
“Primary data source is source of data that give the data directly without an agent, such as event or activity can be observed by researcher. While, secondary data source is a source of data that give the data indirectly such as via someone else or documents.” Source of the data used in this research are documents that are movie
entitled Hotel Transylvania and its script. The movie is a primary data source
of this research and the movie script is a secondary data source that support
the research analysis. Hotel Transylvania is an animation movie, which is
directed by Genndy Tartakovsky and released in 2012. The data collected by
the researcher is the directive utterances used by the main characters of the
movie. In this research, the data obtained from the original movie script of the
movie. The researcher types down the characters’ name and time of dialogue.
D. Unit of Analysis
Unit of analyzed is something that analyzed by the researcher those
are directive utterances used by the main characters of Hotel Transylvania
movie and its application in teaching speaking at tenth grade students of
senior high school.
E. Technique of Collecting the Data
The technique of collecting the data used by the researcher is
observation and documentation in which the researcher makes a fieldnote of
the data needed. Observation is the process of gathering open-ended,
firsthand information by observing people and place at a research site
(Cresswell, 2012:213). Fieldnote are text (words) recorded by the researcher
during an observation in a qualitative study (Cresswell, 2012:216). 35
The steps done by the researcher are as follows:
1) First, the researcher watches the movie several times carefully to get deep
understanding and find the dialogues in which involve the main character.
2) Second, reading the movie script while watching the movie to checking the
accuracy of them as well as to find the dialogues of the main character.
3) Selecting the utterances of the main characters of Hotel Transylvania
movie contained directive utterances.
4) Making fieldnote to store the information during the observation.
5) Organizing the data into the data sheet.
The format of the data sheet is shown in the following table.
Table 2. The Format of the Data Sheet 1: Types of Directive Utterances Used By the Main Characters of Hotel Transylvania Movie Category of Directive Utterance No. Data Obvious Directive Utterance Hint I YI IMV IT INM D
Note:
- I = Imperative
- YI = You imperative
- IMV = Interrogative with modal verb
- IT = Interrogative with tag
- INM = Interrogative with negative modal
- D = Declarative 36
Table 3. The Format of the Data Sheet 2: The Social Factors Influencing the Main Characters in Using Certain Types of Directive Utterance in Hotel Transylvania movie
Social Factor in Using Directive Utterance No. Data Routine- Distance Status Formality Gender ness F L H L M F H - M ------I Ds Fr In - R NR F L H L H M F M
Note:
- I = Intimate
- Ds = Distant
- H-H = High status to high status
- H-L = High status to low status
- L-H = Low status to high status
- L-L = Low status to low status
- Fr = Formal
- In = Informal
- M-M = Male to male
- M-F = Male to female
- F-M = Female to Male
- F-F = Female to female
- R = Routine
- NR = Not routine 37
F. Technique of Codding Data
To make the analysis process easier and more effective, the researcher
codes the data. The steps of coding the data in this research are as follows:
1. Giving the number of each data
2. Giving abbreviation of actors’ name as follows:
Main characters:
Dracula = D
Mavis = M
Jonathan = J
Minor character:
Armor = A
Bigfoot = B
Chef = C
Esmeralda = E
Eunice = Ec
Fly = Fl
Frankenstein = F
Foreman = Fm
Ghouligan = G
Ghost = Gh
Gill-man = Gm
Glen = Gn
Gremlin Man = GM 38
Gremlin Woman = GW
Elderly Gremlin = EG
Housekeeping = H
Hydra = Hy
Invisible Man = IM
Jelly Monster = JM
Little Fly = LF
Louse = Ls
Martha = Mt
Marty = Ma
Murray = Mr
Mummy Woman = MW
Pilot 1 = P1
Pilot 2 = P2
Red Man = Rm
Skeleton Man = SM
Skeleton Woman = SW
Shrunken Head = SH
Spider = Sp
Quasimodo = Q
Table = T
Wanda = W
Wayne = Wy 39
Werewolf Kids = WK
Winnie = Wn
Yeti = Y
Zombie = Z
3. Writing down the exact time when the dialogue occurs.
4. Bolding the directive utterances.
For example:
32/D-M/00:03:12 --> 00:03:14 Just bend the legs and push off.
It means “Just bend the legs and push off” is directive utterances said by
Drac to Mavis. The data located in the twentieth utterance in the movie
script and occur in specific time 00: 03:12 until 00: 03:14
G. Technique of Analyzing Data
After collecting the data, the data, and making an interpretation of the
larger meaning of the data. the next step is analyzing it. Creswell (2009: 183)
says that the process of data analysis involves making senses out of text and
image data. Moreover, he says that analyzing data involves preparing data for
analysis, conducting different analyses, moving deeper and deeper into
understanding the data, representing
Different from quantitative research, analyzing data in qualitative
research conducted intensively and simultaneously with collecting the data.
According to Daymon and and Holloway (2002:364), in qualitative research 40
analyzing data is not only done once after the data collected, but it is as a systematic process conducted continuing simultaneously with collecting data.
The steps done by the researcher in analyzing the data are as follows:
1. Observing the utterances used by the main characters of Hotel
Transylvania comprehensively.
2. Reducing the data that does not needed.
3. Classifying the types of directive utterances used by the main
characters of Hotel Transylvania movie.
4. Analyzing and interpreting the data based on the factors in using
certain directive utterances.
5. Discussing and consulting the data based on the finding with
knowledgeable informants concerning this study.
6. Presenting the result of analyzing data descriptively. 41
CHAPTER IV RESEARCH FINDING AND DISCUSSION
In this chapter the researcher presents the result of the data analysis about the directive utterances used by the main characters of Hotel Transylvania movie.
This chapter consists of two main discussions, the firs is about directive utterances used by the main characters of Hotel Transylvania movie and the other one is the application of directive utterances found in the movie in teaching speaking.
A. Research Finding
The researcher found that directive utterances were used by the main
characters of Hotel Transylvania movie. The researcher summarized the
result of the data analysis before presenting the data in details. In order to
make the reader understand easily, the researcher presents them in the
following table.
Table 4. Research Finding of the Types of Directive Utterances Used by the Main Characters of Hotel Transylvania Movie
No. Types of Directive Number of Data Percentage Utterances Total 4, 20, 24, 32, 33, 35, 36, 59, 84, 105, 175, 183, 197, 198, 218, 219, 272, 282, 284, 287, 289, 299, 307, 309, 310, 363, 375, 405, 442, 446, 448, 468, 1 Imperative 471, 479, 480, 504, 506, 84 66.67 % 512, 521, 548, 552, 560, 619, 620, 624, 625, 631, 685, 687, 694, 703, 708, 709, 720, 735, 738, 746, 748, 749, 750, 754, 759, 760, 782, 783, 816, 817,
41 42
819, 820, 822, 827, 830, 832, 834, 839, 840, 859, 962, 1010, 1078, 1116, 1226, 1249, 1270 315, 316, 642, 696, 697, 2 You Imperative 6 4.76 % 751 Interrogative with 3 691, 1051, 1053 3 2.38 % Modal Verb Interrogative with 4 640 1 0.79 % Tag Interrogative with 5 - - 0 % Negative Modal 13, 21, 60, 191, 221, 343, 6 Declarative 378, 639, 725, 812, 952, 13 10.32% 943, 1081 71, 76, 77, 85, 95, 129, 212, 274, 283, 447, 678, 7 Hint 19 15.08 % 821, 823, 824, 826, 828, 829, 831,951 Total 126 100 %
From the table above, the researcher draws the conclusions that from
126 data of directive utterances used by the main characters of Hotel
Transylvania, there are 84 (66.67 %) data belong to imperative form, 19
(15.08 %) data belong to hint, 13 (10.32 %) data belong to declarative form, 6
(4.76 %) data belongs to you imperative form, 3 (2.38 %) data belong to interrogative with modal verb form, 1 (0.79 %) datum belong to interrogative with tag form, and there is none of data belong to interrogative with negative modal form. It can also be concluded that 19 (15.08%) data belong to less obvious directive, and 107 (84.92%) data belong to obvious directive. 43
B. Discussions
Discussion is the essential part of this research. Here, the researcher
presents her analysis in finding the kinds of directive utterances used by the
main characters of Hotel Transylvania movie based on Holmes’s theory. The
researcher only provides the data that contain directive utterances to be
analyzed based on its types or forms and the relevant factors of it.
In presenting the data, the researcher gives the coding data which
contain the number of data, the participants (speaker and addressee), and the
specific time in the film. The researcher also explains the context of situation
to make the explanation clearer. She also discusses how the application of
directive utterances of main characters found in the movie in teaching
speaking at the tenth grade students of Senior High School.
1. Directive Utterances Used by the Main Characters of Hotel
Transylvania Movie
Directive utterances are those in which the speaker tries to get the
addressee to perform some act or refrain from performing an act. Directive
utterances are divided into two categories, they are obvious and less
obvious or hint directive. The obvious directives consist of six forms they
are: imperative, you imperative, interrogative with modal verb,
interrogative with tag, interrogative with negative modal, and declarative.
While, hints or less obvious directives are utterances where the directive
intent is not directly or conventionally derivable from the words uttered. 44
The directive utterances being analyzed are uttered by the main characters of the movie, they are Dracula, Mavis, and Jonathan.
Before analyzing the data in details, the researcher made the identifications of data in data sheet to identify the form of directive utterances and the factors which affect the choice of directive form. The data sheet is presented in the appendix. Then, the detail explanations of the findings are presented as follows: a. Imperative
Imperative is a direct form of utterance to get someone to do
something. Here are the detail information of imperative form of
directive utterances found in the movie:
1) 4/D-M/00:01:16--> 00:01:19
Hush, little vampire, don't say a word.
a) Context of situation:
Dracula was singing to make his baby stop to cry.
b) Data interpretation:
The song was delivered by Drac to his baby, Mavis, so the
directive utterance contained in the song was affected by social
factor of them. Drac used imperative form because they had
intimate solidarity, the status scale was high to low, the context
was informal and it was a simple task. 45
2) 20/M-D/00:02:2 --> 00:02:29
Don't take my candy.
a) Context of situation:
Drac told Mavis that human was a cruel creature, human would
burn their clothes, bit their toes, and take their candy.
b) Data interpretation:
Mavis was frightened by Drac’s story. She did not want anyone
to take her candy. She said “Don’t take my candy”, an
imperative form to his father, because they were intimate, the
context was informal, and the task was reasonable.
3) 24/D-M/00:02:43 --> 00:02:48
Let me wipe all your poop away.
a) Context of situation:
Drac was singing for Mavis.
b) Data interpretation:
Drac used imperative form because their social distance was
intimate, the status scale was high to low, the context was
informal and the task was a simple or reasonable task.
4) 32/D-M/00:03:12 --> 00:03:14
Just bend the legs and push off.
a) Context of situation:
Dracula was training Mavis to fly. 46
b) Data interpretation:
“Just bend the legs and push off” is an imperative form of
directive. Drac used the imperative because he had intimate
distance with Mavis, his status was higher than Mavis’, they
were in informal social context, and the task was reasonable.
5) 33/D-M/00:03:14 --> 00:03:16
Trust me, mouse.
a) Context of situation:
Dracula was training Mavis to fly. He convinced her that she
would be fine in trying to fly.
b) Data interpretation:
Drac called Mavis mouse, it means that the distance between
him and Mavis was intimate, so he used imperative form. In
addition, the status between them was high to low,the social
context was informal, and the task was reasonable.
6) 35/D-M/00:03:21--> 00:03:22
Look at you!
a) Context of situation:
Mavis was able to fly successfully.
b) Data interpretation:
Drac used imperative form because social distance between
them was intimate, the status scale was high to low, the context
was informal and the task was a simple task. 47
7) 36/D-M/00:03:22 --> 00:03:23
Faster, baby! Faster!
a) Context of situation:
Drac was happy because his child had flew successfully then he
asked her to fly faster.
b) Data interpretation:
Drac used imperative form because social distance between him
and Mavis was intimate, it marked by calling Mavis with baby
that reflect affectionate feeling. Besides, the status scale was
high to low, the context was informal and the task was a simple
or reasonable task.
8) 59/D-all guests/00:05:52--> 00:05:53
Take an itinerary.
a) Context of situation:
Drac was giving an invitation card of her daughter’s birthday
party to the guests of hotel.
b) Data interpretation:
Although the solidarity or social distance between Drac and the
guests was distant, he used imperative form. It because he was
the owner of the hotel, so he had the highest social status in the
hotel. Besides, the context was informal and the task was
reasonable. 48
9) 84/ D-Wy/00:06:53 --> 00:06:55
Let me just clean up their filth
a) Context of situation:
Wayne’s kids played around the room and made it disorder.
They also wasted the filth in the room.
b) Data interpretation:
To clean up the room is a normal action when the guest waste
the filth or rubbish. It is a reasonableness or a routineness so, the
appropriate utterance is imperative, “Let me just clean up their
filth”. It will be strange if he said in declarative or interrogative
form, such as “I’d like you to let me to clean up their filth” or
“Could you let me to clean up their filth?”
10) 105/D-IM/00:07:51->00:07:53
Hold this bacon.
a) Context of situation:
Drac was being slapped by Invisible Man because he had
laughed in his face. Then Drac gave a bacon to the Invisible
Man that make him be swarmed and bit by werewolf kids.
b) Data interpretation:
Drac used the imperative form because he was talking to his
friend (the social distance between the speaker and addressee
was intimate). Moreover the formality of the context was 49
informal, the gender both of them were male, and the request
was a reasonable task.
11) 175/D-SH/00:11:08-> 00:11:12
Please, relax. Just do your job.
a) Context of situation:
With noisy voice, Shrunken Head said to Drac that Mavis would
go out to see the world. Then she asked what would he say and
do. Dracula said, “l got it covered. Please, relax. Just do your job”.
b) Data interpretation:
The form of directive utterance said by Drac to Shrunken Head
was imperative. The main reason is that Drac had higher status
than Shrunken Head. Drac was the Superior and Shrunken Head
was a subordinate.
12) 183/M-D/00:11:27--> 00:11:29
Dad, please, let me speak.
a) Context of situation:
Mavis wanted to say something to Drac.
b) Data interpretation:
Although Mavis’s social status was lower than Drac’s, she used
imperative to Drac because of their solidarity. They are so
intimate. Besides, the formality of the context was informal and
the request was reasonable. 50
13) 197/D-M/00:12:01--> 00:12:02
Stop.
a) Context of situation:
When Mavis got her father permission, she packed her clothes
directly and was ready to fly to go out, but her father stopped
her.
b) Data interpretation:
“Stop” is an imperative form of directive. The reasons of using
an imperative form by Drac to Mavis were the solidarity of them
was intimate, the social status was high to low, the formality
context was informal, and the task was reasonable.
14) 198/D-M/00:12:02 --> 00:12:04
Wait a second, sweet fangs.
a) Context of situation:
When Mavis got her father permission, she packed her clothes
directly and was ready to fly to go out, but her father stopped
her.
b) Data interpretation:
“Wait a second, sweet fangs.” is an imperative form of directive.
The reasons of using an imperative form by Drac to Mavis were
the solidarity of them was intimate, the social status was high to
low, the formality context was informal, and the task was
reasonable. 51
15) 218/D-M/00:12:47 --> 00:12:50
No, no, don't do that.
a) Context of situation:
Mavis showed her sad face.
b) Data interpretation:
Commonly, a parent does not want to see his or her child being
sad or crying. The request—to stop showing the sad face—is a
routine task, so he used imperative form of directive.
16) 219/D-M/00:12:50--> 00:12:52
Don't give me the pouty bad face.
a) Context of situation:
Mavis still showed her sad face and even was about to cry.
b) Data interpretation:
Commonly, a parent does not want to see his or her child being
sad or crying. The request to stop crying is a routine task, so he
used imperative form of directive.
17) 272/M-Z/Z-M/00:16:10 --> 00:16:12
Calm down, now.
a) Context of situation:
Mavis was being encircled by zombies that pretended to be
humans. 52
b) Data interpretation:
Although the form of directive utterance is imperative, she used
gentle voice. It because the distance of her and the addressee
was distance. She was a new comer in the village and no one of
villagers she had already known.
18) 282/D-Z/00:17:16 --> 00:17:18
All right, everybody, get back to work now.
a) Context of situation:
Dracula directed Zombies to get back to work after they had
frightened Mavis.
b) Data interpretation:
Dracula directed Zombies with imperative form because he was
a boss and the Zombies were his workers, so the social status of
them was high to low. Besides, the formality context was
informal, the gender of them were male, and the task was
reasonable.
19) 284/D-Z/00:17:26--> 00:17:28
Leave the mannequin here. Come on.
a) Context of situation:
Drac saw one of the Zombies drag a mannequin.
b) Data interpretation:
Dracula directed Zombies to leave the mannequin with
imperative form because he was saying to his subordinate. In 53
other words, the social status of them was high to low. Besides,
the formality context was informal, the gender of them were
male, and the task was reasonable.
20) 287/D-SH/00:17:53 --> 00:17:55
Quiet.
a) Context of situation:
Drac asked the Shrunken Head to be quiet.
b) Data interpretation:
Dracula directed Shrunken Head with such imperative because
the social status scale between them was high to low, the
formality context was informal, and the task was a routine task.
21) 289/M-D/00:17:59 --> 00:18:00
Come in, Dad.
a) Context of situation:
Mavis let her father to come in her room.
b) Data interpretation:
She used imperative form because letting her father enter his
room was a routineness. Besides, the distance between them was
intimate and the formality context was informal.
22) 299/D-M/00:18:17 --> 00:18:19
Look at me
a) Context of situation: 54
Drac pretended to be shocked when Mavis told him that human
was awful like he had told her. He shout, “What? Look at me.
l'm getting goose bumps, l'm so scared.”
b) Data interpretation:
Drac used the imperative form because it was a routineness.
Someone will scare when he hears something scary, and to
express it he usually says “Look at me, l'm so scared …”
23) 307/D-M/00:18:44 --> 00:18:45
Look what l brought you.
a) Context of situation:
To entertain his daughter, Drac gave worm cakes for her.
b) Data interpretation:
Drac used the imperative form because the distance between
him and Mavis was intimate, the status scale was high to low,
the formality context was informal and the task was a
routineness.
24) 309/D-M/00:18:49 --> 00:18:50
Don't be sad anymore.
a) Context of situation:
Drac asked Mavis to stop her sad.
b) Data interpretation: 55
Drac used the imperative form because the distance between
him and Mavis was intimate, the status was high to low, the
formality context was informal and the task was a routine.
25) 310/D-M/00:18:51 --> 00:18:55
Remember, this is the year we open Mommy's present for you.
a) Context of situation:
Drac asked Mavis to stop her of being sad and asked her to
remember that in that year they would open the present from her
Mommy.
b) Data interpretation:
There are some social factors that affect Drac utterance. He used
the imperative form because the distance between him and
Mavis was intimate, the status scale was high to low, the
formality context was informal and the task was not something
difficult.
26) 363/D-J/00:21:25 --> 00:21:26
Quiet, you fool.
a) Context of situation:
Drac asked Jonathan to be quiet.
b) Data interpretation:
Although Drac talked to someone who he had not known, he
used imperative form in high intonation. It because he had high 56
social status than the addressee, the formality context was
informal and both of them were male.
27) 375/J-D/00:21:47 --> 00:21:48
Here, try it.
a) Context of situation:
Jonathan asked Drac to hear music from his mobile phone.
b) Data interpretation:
Although the social distance was distant and the social status
was low to high, Jonathan directed Drac with imperative form. It
because the formality context was informal, and the task was not
something out of ordinary. Besides, the gender both of them
were male. Male usually use imperative form to direct others.
28) 405/J-Everyone/00:23:09 --> 00:23:10
Look at me!
a) Context of situation:
Jonathan had been being dandified as a monster by Drac. He
asked everyone to look at him to introduce that he was a stein
monster.
b) Data interpretation:
Jonathan used the imperative form because formality of the
context was informal and the task was something reasonable.
Those are the main reasons of using such imperative by
Jonathan in distant social distance. 57
29) 442/J-D/00:25:42 --> 00:25:44
Please don't kill me.
a) Context of situation:
Jonathan was scary after he knew that the man with him is a
Dracula. He was worried that he would be killed by him.
b) Data interpretation:
It is a natural and very common that someone will beg not to be
hurt when a dangerous threatening him. Therefore, Jonathan’s
directive utterance is a reasonable request. Everyone will say so
in such situation.
30) 446/D-J/00:25:54 --> 00:25:55
Shut up already.
a) Context of situation:
Drac asked Jonathan to stop talking.
b) Data interpretation:
The reasons of using imperative form by Drac to Johnathan are
the social status between them was high to low, the formality
context was informal and both of them were male. Moreover,
Drac was being peevish to Jonathan.
31) 448/D-Gn/00:25:58 --> 00:26:00
Go back to sleep. 58
a) Context of situation:
Jonathan entered an underground room to run away from Drac
but actually he came into scary monster room and he made the
monster woke up.
b) Data interpretation:
Drac used an imperative form to direct Glen, a monster being
disturb by Jonathan, because of his social status. Drac had
higher social status than the monster, because he was the owner
of the hotel. Other relevant factors are formality of the context,
gender, and the routineness.
32) 468/D-J/00:27:13 --> 00:27:16
Okay, hop on my back.
a) Context of situation:
Drac asked Jonathan to hop on his back to bring him out from
the hotel.
b) Data interpretation:
Drac used an imperative form because the distance between he
and the addresseewas intimate, the status scale was high to low,
the formality of the context was informal, the gender both of
them were male, and the request was a reasonable task. In this
situation the solidarity of Drac and Jonathan was being intimate
because Drac had shared some his experience to Jonathan. He
told him about his behavior and the purpose to build the hotel. 59
33) 471/J-D/00:27:20--> 00:27:23
Wait. Wait, l want to stay.
a) Context of situation:
Drac had changed to a bat then he hold Jonathan using his toes
b) Data interpretation:
Jonathan used such imperative form because the solidarity
between him and Darc was intimate and his request was
something easy. Besides, the context was informal and the
request was reasonable.
34) 479/J-D/00:27:41--> 00:27:43
Look, you have something on your face.
a) Context of situation:
Jonathan told Drac that there was something in his face.
b) Data interpretation:
Jonathan used such imperative form because of some factors,
they are the solidarity between him and Darc was intimate, the
context was informal, the gender both of them were male and
the request was something simple.
35) 480/D-J/00:27:43 --> 00:27:47
Play along if you ever want to see your precious backpack.
a) Context of situation:
Drac asked Jonathan to go. 60
b) Data interpretation:
Drac used imperative form because the solidarity of them was
intimate, the status scale was high to low, the formality was
informal, the gender both of them were male and the request
was something easy.
36) 504/J-A/00:28:52 --> 00:28:53
Whoa, look at my face.
a) Context of situation:
Jonathan saw that an armor was able to speak. He was anxiety
about this monster and tried to talk to him.
b) Data interpretation:
Jonathan used the imperative form because he was talking in
informal context, the status of addressee was low, the gender of
them were male and the task was a simple task.
37) 506/M-D/00:28:58 --> 00:29:00
Then go check on the emergency, and l'll keep him company.
a) Context of situation:
Since the armor told that there was an emergency, Mavis asked
his father to check it out.
b) Data interpretation:
The form of Mavis directive utterance to his father was
imperative although the social status scale was low to high. It 61
was because they had intimate solidarity, the context was
informal and the task being requested was a routine task.
38) 512/D-SH/00:29:14--> 00:29:16
Shut up!
a) Context of situation:
Drac was peevish to Shrunken Head because she always poke
nose into his conversation to Mavis.
b) Data interpretation:
Drac used imperative form with thundered voice because the
status scale was high to low, the formality was informal, and the
request was a routine. Moreover he was peevish to Shrunken
Head because she always poke nose into his conversation to
Mavis. Someone who is angry usually uses high intonation.
39) 521/D-J/00:29:41 --> 00:29:42
Follow me.
a) Context of situation:
Drac directed Jonathan to follow him to get out from the hotel
through a secret lane.
b) Data interpretation:
There are some social factors that affect Drac utterance. He used
the imperative form because the distance between him and
Jonathan was intimate, the status scale was high to low, the 62
formality of the context was informal and the task was not
something difficult.
40) 548/D-J/00:31:26 --> 00:31:27
Don't move.
a) Context of situation:
Drac asked Jonathan to keep his position behind the wall. He did
not want Jonathan appeared to his friends.
b) Data interpretation:
Drac used the imperative form because the status scale between
him and Jonathan was high to low, the distance was intimate, the
formality context was informal and the task was reasonable.
41) 552/D-Wy,F,Mr/00:31:35--> 00:31:36
Okay. Put down Zombie Mozart, Bach and Beethoven this instant.
a) Context of situation:
Drac asked Wayne, Frank, and Murray to put down the Zombie
Mozart, Bach and Beethoven.
b) Data interpretation:
Drac used the imperative form because he was talking to his
friends. The distance between the speaker and the addressee was
intimate, the status scale was high to low,the formality context
was informal, the gender both of them were male and the task
was a simple task, are the factors of Drac’s directive utterance
form. 63
42) 560/D-F/00:32:02 --> 00:32:03
Don't ask me again!
a) Context of situation:
Dracula’s friends wanted Drac to sing together with them like he
did in the old time, but Drac was a little bit angry and rejected it.
He never sang in public after Martha had passed away.
b) Data interpretation:
Drac used the imperative form with a thundered voice to his
friends because the distance between him and his friends was
intimate, the status scale was high to low, the formality of the
context was informal, and the gender both of them were male.
Moreover, he was rather angry to them. Someone who is angry
usually used high tone of voice.
43) 619/J-F,Mr,Wy,IM/00:34:49--> 00:34:51
Hold on, huys.
a) Context of situation:
Johnny asked Frank, Murray, Wayne, and Invisible Man to hold
on their rehearsal performance.
b) Data interpretation:
Johnny used imperative form because the social distance
between him and the addressees was intimate. They became
intimate because he confessed that his name was Johnnystein
and he was Frankenstein’s cousin. Other factors are the 64
formality context was informal and the gender of all them were
male.
44) 620/J-F,Mr,Wy/00:34:51,548 --> 00:34:52,757
Stop.
a) Context of situation:
Johnny saw Drac’s friends’ performance was so bad. He asked
them to stop it.
b) Data interpretation:
Johnny used imperative form because the social distance was
intimate. Other factors are the formality context was informal
and the gender of all them were male. Moreover, the social
status of Johnny was higher than them because he admitted that
he was there as a party planner.
45) 624/J-F,Mr,Wy/00:34:59,181 --> 00:35:00,681
Here, let me show you.
a) Context of situation:
Johnny would show them the fun music for the party.
b) Data interpretation:
Johnny used imperative form because the social status of Johnny
was higher than them because he admitted that he was there as a
party planner. Other factors are the social distance of them was
intimate, the formality context was informal and the gender of
all them were male. 65
46) 625/J-Wy/00:35:00--> 00:35:03
Werewolf man, give me a jam!
a) Context of situation:
Johnny wanted to show what a fun music like.
b) Data interpretation:
Johnny used imperative form because he was there as a party
planner so that his social status was higher than Wayne’s. Other
factors are the social distance of them was intimate, the
formality context was informal, the gender both of them were
male and the task was not something difficult.
47) 631/J-Guests/00:35:16-> 00:35:19
Say 118!
a) Context of situation:
Johnny asked the audients to say 118.
b) Data interpretation:
Johnny used imperative form to direct the audience to say 118
because it was a reasonable task. Other relevance factors are the
social status of Johnny was higher than the audience because he
was a party planner and the formality context was informal.
48) 685/D-M/00:38:38--> 00:38:43
Look, love droppings, l brought you a bagel with your favorite,
scream cheese.
a) Context of situation: 66
Dracula brought Mavis a bagel with scream cheese.
b) Data interpretation:
Drac used imperative form because the distance between him
and Mavis was intimate, the status was high to low,the formality
of the context was informal, and the task was reasonable.
49) 687/M-J/00:38:44--> 00:38:46
Johnny, try some scream cheese, it's awesome.
a) Context of situation:
Mavis offered Johnny to try some scream cheese.
b) Data interpretation:
She used imperative form because the distance between her and
Johnny was intimate, the status was high to low,the formality of
the context was informal, and the task was reasonable.
50) 694/J-D/00:39:00 --> 00:39:02
Relax.
a) Context of situation:
Drac was so worried that everyone would know the real identity
of Johnny, so Johnny asked him to relax.
b) Data interpretation:
Although the status of Johnny and Drac was low to high, he
used imperative form because the distance between him and
Drac was intimate, the formality was informal, the gender both
of them were male and the task was reasonable. 67
51) 703/J-Gm/00:39:26--> 00:39:30
Push them off!
a) Context of situation:
Johnny and friends would play a chicken fight game that the
mission was push off the enemy.
b) Data interpretation:
They were clearly in informal setting, so Jonathan used
imperative directive form. Moreover the distance of them was
intimate, the status was high to low, the task was a routineness.
52) 708/D-Everyone/00:39:42 --> 00:39:44
Okay, calm down with the fight chickens!
a) Context of situation:
Drac did not like what was happening. He asked everyone to
calm down with the chicken fight.
b) Data interpretation:
He used imperative form to direct everyone because the status
between them was high to low, the formality was informal, and
the task was reasonable.
53) 709/D-Everyone/00:39:44 --> 00:39:47
Everyone, stop the roughhousing!
a) Context of situation:
Drac did not like what was happening. He asked everyone to
stop the game because in his opinion it was roughhousing game. 68
b) Data interpretation:
He used imperative form with a thundered voice to direct
everyone to stop the game because had the highest power in
there, he was the owner of the hotel and the host.Besides, the
formality was informal, the speaker’s gender was male and the
task was reasonable.
54) 720/D-J/00:40:25--> 00:40:26
Climb out now.
a) Context of situation:
Dracula realized that Johnny’s makeup would be fade if he
submerge in the pool in a long time. He was so worried about it,
so he asked him to get out from the pool.
b) Data interpretation:
Dracula used imperative form because of many factors. His
status was higher than Jonathan, their solidarity between them
was intimate, the situation of the context was informal, the
gender both of them were male, and the request was something
reasonable.
55) 735/D-J/00:41:37--> 00:41:39
Look at me.
a) Context of situation: 69
Dracula intended to hypnotize Jonathan. He asked Jonathan to
look at his eyes and he would use his power to hypnotize him by
using eye contact.
b) Data interpretation:
Dracula used imperative form because of many factors. His
social status was higher than Jonathan, their solidarity was
intimate, the situation of the context was informal, the gender
both of them were male, and the request was something easy.
56) 738/D-J/00:41:49--> 00:41:52
Now go and never return.
a) Context of situation:
Drac guessed that his hypnotism run well and he asked Johnny
to go home.
b) Data interpretation:
Dracula used imperative form because of many factors. His
status was higher than Jonathan, their solidarity was intimate,
the formality of the context was informal, the gender both of
them were male, and the request was something reasonable.
57) 746/J-D/00:42:08--> 00:42:10
Here, let me just try and get them out real quick.
a) Context of situation:
Jonathan would take his contact lens to show the Dracula the
thing that blocked the hypnotism. 70
b) Data interpretation:
Although the status of the speaker (Jonathan) is lower than the
status of the addressee (Dracula), Jonathan used imperative form
because the relationship between them was intimate. Besides,
the context or setting was informal, the gender participants were
male and it was a routine task.
58) 748/J-D/D-J/00:42:13--> 00:42:15
Stop doing that. Please stop doing that!
a) Context of situation:
Dracula was scary to see Johnny peel off the contact lens. He
asked Jonny to stop doing that.
b) Data interpretation:
Dracula used imperative form because of many factors. His
status was higher than Jonathan, their solidarity was intimate,
the situation of the context was informal, the gender of them
were male, and the request was something simple.
59) 749/D-J/00:42:16--> 00:42:18
Fingers away from the eyeballs! Enough!
a) Context of situation:
Dracula was scary to see Johnny peel off the contact lens. He
asked Jonny to stop doing that.
b) Data interpretation: 71
Dracula used imperative form because of many factors. His
status was higher than Jonathan, their solidarity was intimate,
the situation of the context was informal, the gender of them
were male, and the request was something simple.
60) 750/D-J/00:42:19--> 00:42:21
Listen to me.
a) Context of situation:
Drac asked Jonathan to listen to him.
b) Data interpretation:
Dracula used imperative form because of many factors. His
social status was higher than Jonathan, their solidarity was
intimate, the formality of the context was informal, the gender
both of them were male, and the request was not something
difficult.
61) 754/D-J/00:42:39 --> 00:42:41
Be gone.
a) Context of situation:
Drac asked Jonathan to go away.
b) Data interpretation:
Dracula used imperative form of directive because his status was
higher than Jonathan, their social distance was intimate, the
situation of the context was informal, the gender of them were
male, and the request was something routine. 72
62) 759/J-M/00:42:58 --> 00:43:01
Please don't kill me.
a) Context of situation:
Jonathan saw a bat that he guessed it was Drac and he was scary
that Drac heard his curse.
b) Data interpretation:
It is common that someone will beg not to be hurt when a
dangerous threatening him. So Jonathan’s directive utterance
was a reasonable request that usually expressed in imperative
form.
63) 760/M-J/J-M/00:43:05--> 00:43:09
Follow me.
a) Context of situation:
Mavis asked Johnny to follow her.
b) Data interpretation:
Mavis used the imperative form of directive because the
distance between them was intimate, the formality of the context
was informal, and the request was a routine task.
64) 782/J-M/00:44:33 --> 00:44:35
Come on
a) Context of situation:
Johnny asked Mavis to get closer to him because he would show
her something. 73
b) Data interpretation:
The main reasons why he used imperative form are their
distance was intimate, the formality was informal, and the
request was a simple task.
65) 783/J-M/00:44:37 --> 00:44:39
Watch.
a) Context of situation:
Johnny asked Mavis to watch a sunrise.
b) Data interpretation:
Johnny used imperative form because the social distance
between him and Mavis was intimate, the formality was
informal, and the request was a simple task.
66) 816/D-J/00:47:09 --> 00:47:11
Stop!
a) Context of situation:
According to Drac, Johnny’s jobwas not effective so he
commanded him to stop.
b) Data interpretation:
Dracula used imperative form which pronounced with thundered
voice because he was angry. Furthermore, the power or social
status of Drac was higher than Jonathan, the context was
informal, the gender both of them was male and the task was
reasonable. 74
67) 817/D-J/00:47:11--> 00:47:13
Go to a corner, you're in a timeout!
a) Context of situation:
According to Drac, Johnny’s job was not effective, so he
commanded him to stop and he would do it by himself.
b) Data interpretation:
Dracula used imperative form which pronounced with thundered
voice because he was angry. Furthermore, the power or social
status of Drac was higher than Jonathan, the context was
informal, the gender both of them were male and the task was
reasonable.
68) 819/D-T/00:47:21 --> 00:47:25
Table 57, please move to position 23.
a) Context of situation:
Drac commanded the table to move.
b) Data interpretation:
The main reason he used imperative form is due to his power or
status. Dracula was a superior because he was the hotel owner
and the tables were the subordinate, so the status scale between
them was high to low. Moreover the command was a routine
task.
69) 820/J-D/D-J/00:47:29 --> 00:47:32
Face the wall. 75
a) Context of situation:
Jonathan was astonished with what happened that the table
could move itself according to the command.
b) Data interpretation:
The use of imperative form by Dracula was because of some
factors. The power or status scale was high to low, the situation
of the context was informal, the gender of them were male, and
the request was something routineness. In addition, Dracula was
still angry with Jonathan, so his utterance pronounced in rather
high of intonation.
70) 822/J-D/D-J/00:47:39 --> 00:47:41
Just let me do my work.
a) Context of situation:
Jonathan was amazed with Drac’s power.
b) Data interpretation:
Drac used imperative form because his power or status was
high, the situation of the context was informal, the gender both
of them were male, and the request was something routineness.
In addition, he was still angry with Jonathan.
71) 827/J-T/00:47:48 --> 00:47:49
36 up! 76
a) Context of situation:
Jonathan tried to move the table by commanding it like Dracula
did.
b) Data interpretation:
Although the distance of participant was distant, the speaker
used imperative because the status scale of participants was high
to low, the formality was informal, the speaker’s gender was
male and it was a routine task.
72) 830/J-T/00:48:08 --> 00:48:10
24 up!
a) Context of situation:
Jonathan tried to move the table by commanding it.
b) Data interpretation:
The speaker used imperative because participants’ social status
scale was high to low, the formality was informal, the speaker’s
gender was male and the task was a routine task.
73) 832/J-D/D-J/00:48:20 --> 00:48:24
Don't freak out, gravity face.
a) Context of situation:
Both Jonathan and Drac flew by riding table. They played
together. 77
b) Data interpretation:
The main factor why Drac used the imperative form is the
formality of the context was informal. In addition, the distance
of them was intimate. The distance become intimate again
because Drac was no longer angry. Other factors are the status
scale was high to low, the formality was informal, the speaker’s
gender were male and it was a reasonable task.
74) 834/D-T/00:48:26--> 00:48:28
56 and 43, to my side.
a) Context of situation:
Drac asked table number 56 and table number 43 to go to his
side.
b) Data interpretation:
The speaker used imperative form because the status scale of
him and addressees was high to low, the formality was informal,
the speaker’s gender was male and it was a reasonable task.
75) 839/D-T/00:49:02 --> 00:49:05
27, 45, 65, 76, 48, block his path.
a) Context of situation:
Drac asked table number 27, 45, 65, 76, and 48 to block
Johnny’s path. 78
b) Data interpretation:
The speaker used imperative form because the status scale of
him and addressees was high to low, the formality was informal,
the speaker’s gender was male and it was a reasonable task.
76) 840/D-T/00:49:06 --> 00:49:07
Block his path!
a) Context of situation:
Drac asked table number 27, 45, 65, 76, and 48 to block
Johnny’s path.
b) Data interpretation:
The speaker used imperative form because the status scale of the
participants was high to low, the formality was informal, the
speaker’s gender was male and it was a reasonable task.
77) 859/D-M/00:50:40--> 00:50:41
Hold that.
a) Context of situation:
Drac asked Mavis to hold the conversation because he would
seek for Johnny.
b) Data interpretation:
Drac used imperative form because the distance between he and
Mavis was intimate, the status scale was high to low, the
formality was informal, the speaker’s gender was male and it
was a reasonable task. 79
78) 962/J-D/00:57:27 --> 00:57:30
I command you to be the werewolf man!
a) Context of situation:
Drac and Jonathan were doing a role play. Jonathan pretended to
be Dracula to ask Drac to be werewolf man for joking.
b) Data interpretation:
The main factor makes Jonathan direct Drac used imperative
form was the formality of the context. The context was informal
because they were joking.
79) 1010/M-D/01:01:45--> 01:01:49
Tell me!
a) Context of situation:
Mavis got angry with his father. She asked Drac to tell the truth
with high tone of voice.
b) Data interpretation:
Mavis used imperative form to direct Drac, someone in higher
status because the distance between them was intimate, the
formality was informal and the request was reasonable. In
addition, Mavis used imperative form in high intonation because
she was angry. Someone who gets angry usually tends to use
high intonation. 80
80) 1078/D-Guests/01:07:23--> 01:07:25
Friends, please, stop.
a) Context of situation:
Drac asked all the quests to stop the uproar.
b) Data interpretation:
Drac used imperative form because distance between he and the
quests was intimate (it marked by calling “friends’ to all guests),
the status scale was high to low, the formality was informal, the
speaker’s gender was male and it was a reasonable task. In
additions, he used a gentle voice because he was begging them.
81) 1116/D-Wy/01:09:28 --> 01:09:29
Work your magic.
a) Context of situation:
Drac asked Wayne to use his magical smelling in searching
Johnny.
b) Data interpretation:
Drac used imperative form because distance between he and the
addressee was intimate, the status scale was high to low, the
formality was informal, the gender both of them were male and
the task was a reasonable task.
82) 1226/D-Everyone/01:18:42 --> 01:18:45
Quit your whining! 81
a) Context of situation:
Drac asked the passenger to stop their whining.
b) Data interpretation:
Drac used imperative form because the formality of the context
was informal, the gender of the speaker was male and the task
was a reasonable task.
83) 1249/D-M/01:20:17 --> 01:20:19
Go make your own paradise.
a) Context of situation:
Drac let Mavis to go to Hawaii or anywhere she wanted to go.
b) Data interpretation:
Drac used imperative form because distance between he and the
addressee was intimate, the status scale was high to low, the
formality was informal, the speaker’s gender was male and the
task was a reasonable task.
84) 1270/J-D/01:21:37 --> 01:21:39
Come on, just give it a try.
a) Context of situation:
Johnny asked Drac to join to sing and dance.
b) Data interpretation:
Johnny used imperative form to direct someone in higher status
because of many factors those are the distance between he and
the addressee was intimate, the formality was informal, the 82
gender both of the speaker and addressee were male and the task
was a reasonable task. b. You Imperative
The details explanation of utterances categorized as you
imperative are follows:
1) 315/D-M/00:19:04 --> 00:19:06
You eat your wormcakes.
a) Context of situation:
Drac asked Mavis to eat the cakes.
b) Data interpretation:
He used you imperative form because the distance between him
and Mavis was intimate, the status was high to low, the
formality context was informal and the task was not something
difficult.
2) 316/D-M/00:19:06 --> 00:19:09
You come down whenever you're ready, honey.
a) Context of situation:
Drac asked Mavis to come down whenever she was ready.
b) Data interpretation:
You imperative form is direct directive utterance. He used you-
imperative form because the distance between him and Mavis
was intimate, the status was high to low, the formality context
was informal and the task was not something difficult. 83
3) 642/M-J/00:35:45 --> 00:35:47
Johnny, you're coming, too.
a) Context of situation:
Mavis asked Johnny to come to the party.
b) Data interpretation:
Mavis used such form of directive because their solidarity was
intimate, the social context was informal, and the task was a
reasonable task.
4) 696/D-J/00:39:07 --> 00:39:10
You will say you are going in the pool and act excited.
a) Context of situation:
Drac was whispering Jonathan. He asked Jonathan to say to
other that he would go to pool and act excited.
b) Data interpretation:
You-imperative form is direct directive utterance. Drac used
you-imperative form because the distance between him and
Johnny was intimate, the status scale between them was high to
low, the formality context was informal, the gender both of them
were male and the task was not something difficult.
5) 697/D-J/00:39:11 --> 00:39:14
And then you will say you hurt your back and you have to leave. 84
a) Context of situation:
He was whispering Jonathan to pretend to others in order to go
out from the hotel.
b) Data interpretation:
You-imperative form is direct directive utterance. He used you-
imperative form because the distance between him and Johnny
was intimate, the status scale between them was high to low, the
formality context was informal, the gender both of them were
male and the task was not something difficult.
6) 751/D-J/00:42:23 --> 00:42:27
You are never to return here. You are to stay away and never tell
humans about this place.
a) Context of situation:
Drac was peevish because his efforts to expel Jonathan had not
been fare well.
b) Data interpretation:
“You are never to return here” and “You are to stay away and
never to return here” are you-imperative form. Dracula used
those form of directive because his status was higher than
Jonathan, their solidarity was intimate, the situation of the
context was informal, the gender of them were male, and the
request was something reasonable. 85
c. Interrogative With Modal Verb
The details explanation of utterances categorized as
interrogative with modal verb are as follows:
1) 691/D-J/00:38:53 --> 00:38:57
Johnny, can we party-plan talk for a minute?
a) Context of situation:
Drac did not let Jonathan talk too much to Mavis and his friends
because he worried if they would find out that Jonathan was a
human.
b) Data interpretation:
Drac used interrogative with modal verb, which is less direct
form of directive utterance because he changed the topic into a
formal topic, so the formality was formal. In the formal context,
directive utterance expressed in less direct form such
interrogative with modal verb.
2) 1051/M-D/01:05:07 --> 01:05:10
Dad, can you do me a favor?
a) Context of situation:
Mavis was sad. She wanted a help from Drac. She would ask
him to do something ordinary.
b) Data interpretation:
Mavis used interrogative with modal verb which is less direct
form of directive utterance because of some factors, those are 86
the status scale of them was low to high, the gender of the
speaker was female—that tend to use less direct form of
directive— and the action asked by her was not something
routine.
3) 1053/M-D/01:05:13--> 01:05:15
Will you erase my mind?
a) Context of situation:
Mavis asked his father to hypnotize her to erase her mind that
was something out of ordinary.
b) Data interpretation:
The main factor why Mavis used a less direct form of directive
is that the task requested by her was something out of ordinary.
Other factors are the status scale of them was low to high, and
the gender of the speaker was female—that tend to use less
direct form of directive. d. Interrogative With Tag
There is one utterance categorized as interrogative with modal
verb in the movie, the details explanation of it is as follows:
1) 640/D-Guest/00:35:41-> 00:35:43
We've got to stay on schedule, all right?
a) Context of situation:
Drac asked Mavis and the guests to start the party on the
schedule. 87
b) Data interpretation:
Drac directed others in the form of interrogative with tag
because the formality of the context was informal. e. Interrogative With Negative Modal
In the film there is no data directive utterance categorized as
interrogative with modal verb. f. Declarative
Here are the detail information of declarative form of directives
from the table above:
1) 13/D-M/00:02:05 --> 00:02:07
We never go out there.
a) Context of situation:
Mavis was anxious to know the condition outside the house look
like but Drac did not let her even to look out the door.
b) Data interpretation:
Commonly, looking out of the house through the window or
door is natural and not be banned by the parents to their children
as long as it would not danger them. But, in this film, Drac
banned his child even to see the view out of the house. The
Drac’s task is not reasonable so he conveyed it in declarative
form of directive.
2) 21/D-M/00:02:29 --> 00:02:32
Babyclaws, you don't need to be frightened. 88
a) Context of situation:
Mavis was frightened because of Drac’s story about the human.
Then, Drac calm down his daughter feeling by said that he
would always protect her like his promise to Mavis’ Mommy.
b) Data interpretation:
The gender of the addressee was a woman, woman usually
receives less direct form, so the speaker conveys the directive in
declarative form. Moreover, the situation of addressee in the
moment was frightened, she needed a protection or something
that make her feel better. Therefore, the speaker that was the
father said “Babyclaws, you don't need to be frightened”. It is
more comfortable to be heard than “Don’t be frightened”.
3) 60/D-all guests/00:05:53-> 00:06:00
l have personally designed a spectacular schedule of events, all
leading to my daughter's birthday extravaganza tomorrow.
a) Context of situation:
Drac gave invitation of her daughter’s birthday party to all the
guests of hotel.
b) Data interpretation:
A birthday party is not a daily agenda but it is held once a year,
so it is not a routine task. Therefore Drac directed others to
come with less direct form. Furthermore the social distance
between him and the guests was distant. 89
4) 191/D-M/00:11:43 --> 00:11:45
l said you can go.
a) Context of situation:
Dracula knew that when Mavis wanted to talk something to him,
it was about seeing around of the world out the hotel. In that
time, he let her to go.
b) Data interpretation:
Drac directed Mavis with declarative form “l said you can go”
because letting her to go out from the hotel to see the world was
not a routine task, so he used less direct directive such as
declarative form.
5) 221/D-M/00:12:57 --> 00:13:00
You could go there and be back in, like, 30 minutes or so.
a) Context of situation:
Dracula told to Mavis that there was a human village just a little
ways past the cemetery. He suggested her to go to this closest
village from their hotel instead of going to Hawaii.
b) Data interpretation:
Drac suggested Mavis to see the village by using declarative
form of directive. He used less direct directive such utterance
because his suggestion was not something routine.
6) 343/D-J/00:20:43 --> 00:20:45
You have to leave 90
a) Context of situation:
Drac realized that there was a human entering his hotel. He
asked him to leave the hotel.
b) Data interpretation:
Drac said “You have to leave” to other who he had not known
before a little bit high intonation. It is sarcastic. It happened
because Drac had higher status than the boy. Drac was the
owner of the hotel and the boy (Jonathan) as a comer that was
not expected by Drac. Furthermore the formality was informal
and the participants were between male and male.
7) 378/D-J/00:21:58 --> 00:22:00
You need to go.
a) Context of situation:
Drac asked Jonathan lo leave the hotel.
b) Data interpretation:
Drac used declarative form with rather high intonation because
Drac had higher status than Jonathan, the formality was informal
and the participants were between male and male.
8) 639/D-Guest/00:35:40-> 00:35:41
We're not doing any of that.
a) Context of situation:
All guests wanted to have dance contest that night but Dracula
did not allow them. 91
b) Data interpretation:
Dracula used such imperative with a little bit thundered voice
because of the social status and formality of the context. Drac
was the owner of the hotel, so he had the highest social status in
the hotel. Then, the formality of the context was informal.
9) 725/D-J/00:41:16--> 00:41:18
l told you to take it down.
a) Context of situation:
Dracula asked Jonathan to stop his activities in his hotel. b) Data interpretation:
Drac used a declarative form of directive in thundered voice
because he was peevish to Jonathan. Furthermore, the distance
between them was intimate, the social status of them was high to
low, the setting was informal, the gender both of them were
male, and the task was reasonable.
10) 812/D-J/00:46:52 --> 00:46:57
You can spend the entire day pulling them out and placing them,
party planner.
a) Context of situation:
Since Jonathan came back to the hotel, Drac asked him to
organize the table as the punishment for him. 92
b) Data interpretation:
Drac used declarative form because the solidarity of them at that
time was distant. The solidarity of them becomes distant
because he was angry, it was signaled by his calling to Jonathan
as a party planner. However, he pronounced the utterance with
thundered voice because he was angry. Moreover, the power or
social status of Drac was higher than Jonathan, and the gender
both of them were male.
11) 952/D-J/00:57:00 --> 00:57:03
You can sneak out after it's all done.
a) Context of situation:
Drac wanted Jonathan to stay in the hotel longer until the end of
the party.
b) Data interpretation:
Drac directed Jonathan in declarative form because the task
being requested was something rather difficult for Jonathan. In
addition, to beg someone to do something usually uses less
direct directive such as declarative.
12) 993/D-M/01:01:02 --> 01:01:04
No, you're not allowed to kiss.
a) Context of situation:
Drac did not allowed Mavis to kiss Johnny. 93
b) Data interpretation:
Drac used the declarative form with thundered voice because the
distance between him and his Mavis was intimate, the status
scale among them was high to low, the formality context was
informal, and the gender of the speaker was male. Moreover he
was angry to her. Someone who is angry normally uses high
tone of voice.
13) 1081/D-Guests/01:07:28 --> 01:07:31
l need you to help me find Johnny.
a) Context of situation:
Drac was begging his friends to find Johnny.
b) Data interpretation:
Drac used a less direct form of directive such this form because
his request was something ordinary. To help him to find a
human was not a reasonable thing, so he begged his friend to do
that. g. Hint
Hint is the least direct category of directive. Addressees usually
must infer what intent of speaker’s word appropriate behavior in the
context because directive intent is not directly. Here are the details
explanation of utterances categorized as hint directives:
1) 71/D-G/00:06:16 --> 00:06:18
Mr. Ghouligan! 94
a) Context of situation:
The armor, a monster worked as security of the hotel, told Drac
that there was a problem in the plumb. Mr. Ghouligan was a
zombie monster that works as cleaning service in the hotel.
b) Data interpretation:
When Drac called Ghouligan, it means that there was something
to do by Ghouligan as a cleaning service. Calling the name of
cleaning service by the superior is included clear-cut. The word
“Mr. Ghouligan!” by Drac, means “Mr. Ghouligan! Come here!
There is a task for you”. It is hint directive because the task
being requested is not said directly. Drac used this form of
directive because of his social status. He had the highest social
status in the hotel.
2) 76/D-WK/00:06:38 --> 00:06:40
Not now, is that any way to behave?
a) Context of situation:
Wayne came to the hotel with his big family. He had many
children. The children were playing in the hall with no order and
make it was untidy. Then a child of Wayne’s bit Drac’s cloth.
b) Data interpretation:
The utterance “Not now, is that any way to behave” is a hint
directive that means “You should not bite my cloth”. Hint is a
less direct way to direct someone. Drac used this form because 95
the addressee had distant solidarity with him. Furthermore, Drac
used this less direct directive to express his affection to the
child.
3) 77/D-WK/00:06:40 --> 00:06:42
This is a hotel, not a cemetery.
a) Context of situation:
This utterance was still has the same context with utterance
before. The Werewolf children were playing in the hall with no
order and made it untidy. Then a child bit Drac’s cloth.
b) Data interpretation:
The utterance “This is a hotel, not a cemetery” is a hint directive
that means “This is a hotel, you should not play with no order
like this”. Drac use this form because the kid had distant
solidarity with him.
4) 85/D-H/00:06:55-> 00:06:56
Housekeeping!
a) Context of situation:
Someone whom was called by Drac as housekeeping was a
witch that became the maid or cleaning service in the hotel. He
called her for asking her to clean up the room.
b) Data interpretation:
The purposes of calling the witch is same with the situation
when Drac called Ghouligan, those were to give task to clean or 96
settle something. Calling a cleaning service by the superior is
included clear-cut. The word “Housekeeping!” pronounced by
Drac, means “Housekeeping, Come here! Clean up the room,
please!” It is hint directive because the task being requested is
not said directly, but the addressee understand because it is a
behavior or a routine task. Drac used this form of directive
because of his social status. He had the highest social status in
the hotel.
5) 95/D-Z/00:07:30 --> 00:07:32
Does that look like Frankenstein's head?
a) Context of situation:
Frankenstein is a monster that can break the parts of his body
and unite them again to be whole body. At the moment, some
zombie was trying to help Frankenstein to unite his body but
they put the arm on the wrong place, they put it on the neck.
b) Data interpretation:
“Does that look like Frankenstein's head?” is a hint directive
that means “That is not Frankenstein's head. Put the body part
on the right place”. Although this directive utterance is
expressed in hint, it belong to impolite way because he
expressed it in high tone of voice. It is because the utterance was
pronounced by the superior to the subordinate, or in other 97
words, the social status of speaker was higher than the
addressees’ is low.
6) 129/D-H/00:09:01-> 00:09:02
Housekeeping!
a) Context of situation:
Frankenstein farted behind Murray, so it made others feel
uncomfortable.
b) Data interpretation:
The purposes of calling the housekeeping was to give task to
clean up the room from the bad smell. Calling a cleaning service
by the superior belongs to clear-cut. The word “Housekeeping!”
pronounced by Drac, means “Housekeeping, Come here! Clean
up the room, please!” It is hint directive because the task being
requested is not said directly, but the addressee understands
because it is a behavior or a routine task. Drac used this form of
directive because of his social status. He had the highest social
status in the hotel.
7) 212/213/D-M/00:12:28--> 00:12:35
Look, honey, l know you're excited, but everyone has gone to great
lengths to come see you on your birthday.
a) Context of situation:
Drac wanted Mavis to tow her desire to go to Hawaii. 98
b) Data interpretation:
The form of directive used by Drac in that situation is hint. The
directive intent was conveyed indirectly, Drac said “Look,
honey, l know you're excited, but everyone has gone to great
lengths to come see you on your birthday.” to convey his direct
intent “Don’t go out now.” The reason why Drac used this form
of directive is because the request—to tow the desire to go out
to Hawaii—was too difficult for Mavis.
8) 274/M-Z/00:16:34 --> 00:16:35
Please. l've never hurt anyone.
a) Context of situation:
The mobs was getting closer to Mavis with the torches,
pitchforks, and garlics. Mavis was so scared because they
looked like that they would hurt her.
b) Data interpretation:
That utterance is a hint which means “Don’t hurt me, please.”
She used such utterance because she had distant solidarity with
the addressees.
9) 283/D-Z/00:17:22 --> 00:17:26
Hey. You don't need a mannequin.
a) Context of situation:
Drac saw one of the Zombies drag a mannequin. 99
b) Data interpretation:
The utterance “You don't need a mannequin.” is a hint that has a
meaning “Don’t bring that mannequin.” Although it is a hint
form, Drac pronounced it with a little shout because the
addressee was his employee or someone in a lower status than
him. Furthermore they were in informal context.
10) 447/D-J/00:25:55--> 00:25:58
lt's impossible for me to think with all your noise.
a) Context of situation:
Dracula wanted Jonathan to stop his twaddle.
b) Data interpretation:
Drac used that utterance to reinforce him to stop talking. “lt's
impossible for me to think with all your noise” has meaning
“Please, silence”. He used hint form to Jonathan who was a
fussy man, so it was rather a little bit difficult for Jonathan to
stop his talk.
11) 678/D-Q/00:38:22 --> 00:38:23 l'll take 50 omelets.
a) Context of situation:
Esmeralda smelled a human again. Drac asked Quasimodo to
serve meals for shift his attention not to what Esmeralda’s had
said. 100
b) Data interpretation:
Drac used such hint with high tone of voice to direct
Quasimodo. It is because he was a boss and Quasimodo was his
employee, so the status between them was high to low. Other
relevance factors are the formality of the context that was
informal and the task that was routineness.
12) 821/D-T/00:47:32 --> 00:47:37
17 to 48. 16 to 47. 19 to 50.
a) Context of situation:
Dracula was commanding the tables to move.
b) Data interpretation:
The utterances above are hint or less obvious directive which
form is clear-cut. Clear-cut is an utterance that interpreted
accurately as a directive because of the behavior. The utterance
“17 to 48” means “Table 17, please move to position 48”. The
relevance factors of using this form by Drac are the status of Drac
that was higher than tables, the formality that was informal, and the
task that was a routine task.
13) 823/D-T/00:47:41 --> 00:47:42
29 to 35.
a) Context of situation:
Dracula was commanding the table to move. 101
b) Data interpretation:
The utterances above are hint or less obvious directive that the
form is clear-cut. The utterance “29 to 35” means “Table 29,
please move to position 35”. The relevance factors of using this
form by Drac are the status of Drac was higher than the tables, the
formality was informal, and the task was a routine task.
14) 824/D-T/00:47:42 --> 00:47:44
42 to 18. 10 to 44.
a) Context of situation:
Dracula was commanding the tables to move.
b) Data interpretation:
The utterances above are hint or less obvious directive that the
form is clear-cut. The utterance “42 to 18” means “Table 42,
please move to position 18”. The relevance factors of using this
form by Drac are the status of Drac was higher than the tables, the
formality was informal, and the task was a routine task.
15) 826/D-T/00:47:47 --> 00:47:48
39 to 24.
a) Context of situation:
Dracula was commanding the table to move.
b) Data interpretation:
The utterances above are hint or less obvious directive that the
form is clear-cut. The utterance “39 to 24” means “Table 39, 102
please move to position 24”. The relevance factors of using this
form by Drac are the status of Drac was higher than the tables, the
formality was informal, and the task was a routine task.
16) 828/D-T/00:47:50 --> 00:47:51
29 to 35.
a) Context of situation:
Dracula was commanding the table to move.
b) Data interpretation:
The utterances above are hint or less obvious directive that the
form is clear-cut. The utterance “29 to 35” means “Table 29,
please move to position 35”. The relevance factors of using this
form by Drac are the status of Drac was higher than the tables, the
formality was informal, and the task was a routine task.
17) 829/D-T/00:48:00--> 00:48:0
31 to 19.
a) Context of situation:
Dracula was commanding the table to move.
b) Data interpretation:
The utterances above are hint or less obvious directive that the
form is clear-cu. The utterance “31 to 19” means “Table 31,
please move to position 19”. The relevance factors of using this
form by Drac are the status of Drac was higher than the tables, the
formality was informal, and the task was a routine task. 103
18) 831/D-T/00:48:10 --> 00:48:12
7 to 25. 14 to 30.
a) Context of situation:
Dracula was commanding the table to move.
b) Data interpretation:
The utterances above are hint or less obvious directive that the
form is clear-cut. The utterance “7 to 25” means “Table 7,
please move to position 25”. The relevance factors of using this
form by Drac are the status of Drac was higher than the tables, the
formality was informal, and the task was a routine task.
19) 951/D-J/00:56:57 --> 00:57:00
l don't want to ruin her birthday party.
a) Context of situation:
Drac did not let Jonathan to go at that time because he did not
want to make her daughter sad if Jonathan did not attend her
birthday party.
b) Data interpretation:
Drac’s utterance “l don't want to ruin her birthday party” is a
hint form of directive which convey direct intent “Don’t go out
now.” The reason why Drac used this form of directive is
because the request was something difficult for Jonathan. 104
Based on the discussion above, the researcher may conclude that
types of directive utterance being analyzed are imperative, you-imperative,
interrogative with modal verb, interrogative with tag, interrogative with
negative modal, declarative, and hint or less obvious directive.
The main characters of Hotel Transylvania movie are Dracula,
Mavis, and Jonathan, performed 126 utterances categorized as directive
utterance. From that data there are 84 utterances or 66.67 % data belong to
imperative form, 19 utterances or 15.08 % data belong to hint, 13
utterances or 10.32 % data belong to declarative form, 6 utterances or 4.76
% data belong to you imperative form, 3 utterances or 2.38 % data belong
to interrogative with modal verb form, 1 utterance or 0.79 % datum
belongs to interrogative with tag form, and there is none of data belongs to
interrogative with negative modal form. It is can also be conclude that 19
utterances or 15.08 % data belong to less obvious directive, and 107
utterances or 84.92 % data belong to obvious directive.
2. The Application of Directive Utterance Found in Hotel Transylvania
Movie in Teaching Speaking
Learning is acquiring or getting of knowledge of subject or skill by
study, experience, or instruction. While teaching, which cannot be defined
apart from learning, is the activities for guiding and facilitating learning,
enabling the learner to learn, and setting the condition for learning (Brown,
2000:7). So, teaching speaking means guiding and facilitating the students 105
to master speaking skill by providing the knowledge, giving the instruction, and setting the condition for learning.
Directive utterance found in movie can be applied not only in the interaction between teacher and student, but also in teaching English especially in teaching speaking. More specific is teaching speaking dealing with directing someone to do something or giving instruction such as command and request expression that are the material of teaching speaking at the tenth grade of Senior High School. The types of directive utterances deals with command and request expression is obvious directive. The teacher can use movie’s obvious directive utterance to show how to direct someone in an appropriate way by considering social dimension such as distance, status, and formality.
Moreover, in teaching speaking teacher needs certain method and media to make the teaching learning process more interesting. Particularly, in teaching expression, teacher should provide not only a drilling method but also an attractive method. The method that suitable for teaching command and request expression is by using role play. To make the learning more interesting, teacher may enclose movie as a media. Teacher may use movie to show the examples of request and command expression as well as to bring the fun and interesting atmosphere in the class.
The strengths of applying movie’s directive utterance in the speaking class are the students will be more motivated and interested in studying the material, as well as they will enjoy the lesson because they do 106
not only learning the material but also refreshing their mind by the story.
In addition, by watching movie, the students can learn how to pronounce
the word correctly, get more vocabulary, learn grammar, idiom, and also
may learn culture in the movie. It is also possible for students to get moral
value found in the movie. While, the weakness of applying movie’s
directive utterance is when the students cannot set up their mind to the
material but only focus on the story, so they may not find the important
part of the movie that is directive utterances performed by the characters.
In order to make the explanation clearer, the researcher made the
example of lesson plan to teach command and request expression.
LESSON PLAN
Subject : English
Class/Semester : X/1
Skill : Speaking
Theme : Expressing Command and Request
Time Allocation : 2 x 45 Minutes
A. Standard of Competence
Expressing meaning in transactional and interpersonal conversation in
the daily context.
B. Basic Competence
3.2 Expressing meaning in transactional (to get things done) and
interpersonal (socializing) conversation in formal and informal by 107
using a variety of spoken language accurately, fluently, and
acceptable in the context of daily life that involves expressions of
happiness, affection, sympathy, and commanding
C. Indicators
1. Identifying the meaning of command and request expressions.
2. Pronouncing the command and request expressions accurately and
fluently.
3. Using command and request expressions.
4. Responding command and request expressions.
D. Learning Objectives
1. Students are able to identify the meaning of command and request
expressions.
2. Students are able to pronounce the command and request
expressions accurately and fluently.
3. Students are able to use command and request expressions.
4. Students are able to respond command and request expressions.
E. Learning Material
a. Material of Command and request expressions
Expressing Command:
- Sit down! - Don’t be lazy!
- Run quickly! - Don’t forget your homework!
- Go there! - Do not try it at home!
- Close the door! - Be good to parents! 108
- Be love to victim!
Expressing request:
- Can you help me to open the window, please?
- Can you help me to shut down the computer, please?
- Could you leave me alone?
- Could you help me to turn on the lamp, please?
- Would you like to order meatball for me, please?
- Would you please give me a hand?
- Would you mind going outside for a moment?
Responses for commands and requests:
Positive responses: Negative responses:
a. All right/OK a. I’m sorry I can’t
b. Certainly b. Sorry, I can’t
c. Yes, of course c. I’m sorry, but I have to …..
d. Sure no problem b. Examples of Dialog Containing Expressions of Command and
Request:
Ardi : It’s hot here. Isn’t it?
Banu : Yes, it is. I think it will help if we open a window.
Ardi : That’s right. Will you open it, please?
Banu : Yes, certainly.
(a minutes later)
Ardi : Well, it’s ok now. 109
Banu : What about using the fan?
Ardi : That’s a good idea. It will be more comfortable.
Would you switchit on?
Banu : All right. I’ll try.
Ardi : Does it work?
Banu : Yes, it cooler now.
F. Teaching Method
- Role play
G. Step of Teaching
1. Opening
- Teacher greets students.
- Teacher checks the students’ attendance.
- Teacher conveys the learning objectives.
- Teacher giving warming up by asking to the students how to
direct someone.
2. Main Activities
a. Exploration:
- Teacher explains the material of command and request
expressions
- Teacher shows the movie and asks the students to identify
utterances belong to command and request expressions.
b. Elaboration 110
- Students write down utterances expressing command and
request which are found in the movie on the whiteboard.
- Teacher asks student to practice the utterances orally, while
others checking the pronunciation.
- Teacher shows other examples in a dialogue.
- Students in pair practicing the dialogue in front of the class
while others checking the pronunciation.
- Teacher asks the students to work in pair to make their own
dialogue based on situation given by the teacher.
- Teacher checks the students’ intonations, pronunciations, and
fluency.
- Teacher asks the couple students to give some questions based
on their performance to the other students.
c. Confirmation
- Teacher asks the students whether they understand or not.
- Teacher checks students understanding by asking them some
questions.
3. Closing
- Teacher and students conclude the material.
- Teacher gives homeworks to the students.
- Teacher informs the next activities.
- Teacher closes the meeting. 111
H. Tools and Media
1. Tools : Laptop, LCD projector, whiteboard,
Board marker
2. Media : Power Point, Movie
I. Learning Resources
English for Senior High School book
J. Assessment
- Spoken test
K. Scoring
Score Category and Criteria Communication almost always effective: speech almost never marked by non-native characteristics. Functions performed clearly and effectively 60 Appropriate response to audience/situation Coherent, with effective use of cohesive devices Almost always accurate pronunciation, grammar, fluency, and vocabulary Communication generally always effective: task performed competently, successful use of compensatory strategies; speech sometimes marked by non-native characteristics. 50 Functions generally performed clearly and effectively Generally appropriate response to audience/situation Coherent, with some effective use of cohesive devices Generally accurate pronunciation, grammar, fluency, and vocabulary 40 Communication somewhat effective: task performed 112
somewhat competently, some successful use of compensatory strategies; speech regularly marked by non-native characteristics. Functions somewhat performed clearly and effectively somewhat appropriate response to audience/situation somewhat coherent, with some effective use of cohesive devices somewhat accurate pronunciation, grammar, fluency, and vocabulary Communication generally not effective: task generally performed poorly, ineffective use of compensatory strategies; speech very frequently marked by non-native characteristics. 30 Functions generally performed unclearly and ineffectively Generally inappropriate response to audience/situation Generally incoherent, with little use of cohesive devices Generally inaccurate pronunciation, grammar, fluency, and vocabulary No effective communication: no evidence of ability to perform performed task, no effective use of compensatory strategies; speech almost always marked by non-native characteristics. No evidence that functions were performed 20 Incoherent, with no use of cohesive devices No evidence of ability to respond appropriately to audience/situation Almost always inaccurate pronunciation, grammar, fluency, and vocabulary 113
CHAPTER V
CONCLUSION AND SUGGESTION
In this chapter the researcher presents the conclusion and suggestion dealing with the finding of data analysis. It presents the summary of the finding which is analyzed in the previous chapter.
1. Conclusion
After analyzing the utterance which found in the movie entitled Hotel
Transylvania, the researcher is able to draw some conclusions, those are as
follows:
1. There are 126 utterances said by the main characters of Hotel Transylvania
movie that categorized as directive utterances.
2. Based on Holmes theory, the researcher found 84 utterances (66.67 %
data) belong to imperative form, 19 utterances (15.08 % data) belong to
hint, 13 utterances (10.32 % data) belong to declarative form, 6 utterances
(4.76 % data) belong to you imperative form, 3 utterances (2.38 % data)
belong to interrogative with modal verb form, 1 utterances (0.79 % datum)
belongs to interrogative with tag form, and there is none of data belongs to
interrogative with negative modal form. It is can also be concluded that 19
utterances (15.08 % data) belong to less obvious directive, and 107
utterances (84.92 % data) belong to obvious directive.
3. Directive utterance found in the movie can be applied in teaching speaking
especially in the material command and request expressions that is taught
113 114
at the tenth grade of Senior High School. Directive utterance deals with the
material is categorized as obvious directive. The teacher can use the movie
to show command and request expressions. Besides, it is also possible for
teacher guide students to learn the vocabulary, pronunciation, and
grammar as well as idiom to give them more knowledge about English.
2. Suggestions
1. For the Teacher
The teacher should use this study as source of teaching speaking
especially in material related to directive utterance such as command
and request expressions.
2. For the Students
The students should learn about expression and other linguistics field
from the movie to master English. The students are also expected to
know the moral value contain in the movie.
3. For the Other Researchers
The other researcher should use this research as their reference in
conducting research in similar or related topic. It is also expected that
other researchers continue the study of directive utterance in a different
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Yule, George. 2006. The Study of Language. New York: Cambridge University Press APPENDICES
Data Sheet: The Category of Directive Utterances and the Social Factors In Using Directive Utterances
Category of Directive Utterance Social Factors in Using Directive Utterance Obvious Directive Utterance No. Routine- Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 4/D-M/00:01:16--> 00:01:19 1 v v v v v v Hush, little vampire, don't say a word. 2 13/D-M/00:02:05 --> 00:02:07 v v v v v v We never go out there. 3 20/M-D/00:02:2 --> 00:02:29 v v v v v v Don't take my candy. 21/D-M/00:02:29 --> 00:02:32 4 v v v v v v Babyclaws, you don't need to be frightened. 24/D-M/00:02:43 --> 00:02:48 5 v v v v v v Let me wipe all your poop away. 6 32/D-M/00:03:12 --> 00:03:14 v v v v v v Just bend the legs and push off. 7 33/D-M/00:03:14 --> 00:03:16 v v v v v v Trust me, mouse.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - - I Ds - Fr In R NR
-
-
F
L
H L
H M F
M
Less Obvious/HintLess 8 35/D-M/00:03:21--> 00:03:22 v v v v v v Look at you! 9 36/D-M/00:03:22 --> 00:03:23 v v v v v v Faster, baby! Faster! 10 59/D-all guests/00:05:52--> v v v v v v v 00:05:53 Take an itinerary. 60/D-all guests/00:05:53-> 00:06:00 11 l have personally designed v v v v v v v a spectacular schedule of events, all leading to my daughter's birthday extravaganza tomorrow. 12 71/D-G/00:06:16 --> 00:06:18 v v v v v v Mr. Ghouligan! 13 76/D-WK/00:06:38 --> 00:06:40 v v v v v v Not now, is that any way to behave?
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 14 77/D-WK/00:06:40 --> 00:06:42 v v v v v v This is a hotel, not a cemetery. 15 84/ D-Wy/00:06:53 --> 00:06:55 v v v v v v Let me just clean up their filth. 16 85/D-H/00:06:55-> 00:06:56 v v v v v v Housekeeping! 95/D-Z/00:07:30 --> 00:07:32 17 v v v v v Does that look like v Frankenstein's head? 18 105/D-IM/00:07:51->00:07:53 v v v v v v Okay, you win. Hold this bacon. 19 129/D-H/00:09:01-> 00:09:02 v v v v v v Housekeeping!
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 175/D-SH/00:11:08-> 00:11:12 20 I got it covered. Please, relax. v v v v v v Just do your job. 21 183/M-D/00:11:27--> 00:11:29 v v v v v v Dad, please, let me speak. 22 191/D-M/00:11:43 --> 00:11:45 v v v v v v l said you can go. 23 197/D-M/00:12:01--> 00:12:02 v v v v v v Whoa. Stop. 24 198/D-M/00:12:02 --> 00:12:04 v v v v v v Wait a second, sweet fangs.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 212/213/D-M/00:12:28--> 00:12:35 25 Look, honey, l know you're v v v v v v excited, but everyone has gone to great lengths to come see you on your birthday. 26 218/D-M/00:12:47 --> 00:12:50 v v v v v v Come on. No, no, don't do that. 219/D-M/00:12:50--> 00:12:52 27 Don't give me the pouty bad v v v v v v face. 221/D-M/00:12:57 --> 00:13:00 28 You could go there and be back v v v v v v in, like, 30 minutes or so. 272/M-Z/Z-M/00:16:10 --> 29 00:16:12 v v v v v v -Calm down, now. -Candy.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 30 274/M-Z/00:16:34 --> 00:16:35 v v v v v v Please. l've never hurt anyone. 282/D-Z/00:17:16 --> 00:17:18 31 All right, everybody, get back v v v v v v to work now. 32 283/D-Z/00:17:22 --> 00:17:26 v v v v v v Hey. You don't need a mannequin. 33 284/D-Z/00:17:26--> 00:17:28 v v v v v v Leave the mannequin here. Come on. 34 287/D-SH/00:17:53 --> 00:17:55 v v v v v v Quiet. 35 289/M-D/00:17:59 --> 00:18:00 v v v v v v Come in, Dad. 36 299/D-M/00:18:17 --> 00:18:19 v v v v v v What? Look at me. 37 307/D-M/00:18:44 --> 00:18:45 v v v v v v Look what l brought you.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 38 309/D-M/00:18:49 --> 00:18:50 v v v v v v Don't be sad anymore. 39 310/D-M/00:18:51 --> 00:18:55 v v v v v v Remember, this is the year we open Mommy's present for you. 40 315/D-M/00:19:04 --> 00:19:06 v v v v v v You eat your wormcakes. 41 316/D-M/00:19:06 --> 00:19:09 v v v v v v You come down whenever you're ready, honey. 42 343/D-J/00:20:43 --> 00:20:45 v v v v v v You have to leave. 43 363/D-J/00:21:25 --> 00:21:26 v v v v v v Quiet, you fool. 44 375/J-D/00:21:47 --> 00:21:48 v v v v v v Here, try it. 45 378/D-J/00:21:58 --> 00:22:00 v v v v v v You need to go. 46 405/J-Everyone/00:23:09 --> 00:23:10 v v v v v v v -Look at me!
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess
47 442/J-D/00:25:42 --> 00:25:44 v v v v v v Please don't kill me. l'm so young. 48 446/D-J/00:25:54 --> 00:25:55 v v v v v v Shut up already. 49 447/D-J/00:25:55--> 00:25:58 v v v v v v lt's impossible for me to think with all your noise. 50 448/D-Gn/00:25:58 --> 00:26:00 v v v v v v Sorry, Glen. Go back to sleep. 51 468/D-J/00:27:13 --> 00:27:16 v v v v v v Okay, hop on my back. We're leaving. 52 471/J-D/00:27:20--> 00:27:23 v v v v v v This is insane. Wait. Wait, l want to stay. 53 479/J-D/00:27:41--> 00:27:43 v v v v v v Look, you have something on your face.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 54 480/D-J/00:27:43 --> 00:27:47 v v v v v v Play along if you ever want to see your precious backpack. 55 504/J-A/00:28:52 --> 00:28:53 v v v v v v Whoa, look at my face. 506/M-D/00:28:58 --> 00:29:00 56 Good. Then go check on the v v v v v v emergency, and l'll keep him company. 512/SH-D/D-SH/00:29:14--> 57 00:29:16 v v v v v v -Good one. -Shut up! 58 521/D-J/00:29:41 --> 00:29:42 v v v v v v Follow me. 59 548/D-J/00:31:26 --> 00:31:27 v v v v v v Don't move.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 552/D-Wy F,Mr /00:31:35--> 60 00:31:36 v v v v v v Okay. Put down Zombie Mozart, 61 560/D-F/00:32:02 --> 00:32:03 v v v v v v Don't ask me again! 619/J-F,Mr,Wy,IM /00:34:49--> 62 00:34:51 v v v v v v Whoa, whoa, whoa. Hold on, huys. 620/J-F,Mr,Wy/00:34:51,548 --> 63 v v v v v v 00:34:52,757 Stop. 64 624/J-F,Mr,Wy/00:34:59,181 --> v v v v v v 00:35:00,681 Here, let me show you. 65 625/J-Wy/00:35:00--> 00:35:03 v v v v v v Werewolf man, give me a jam!
Category of Directive Utterance
Social Factor in Using Directive Utterance Obvious Directive Utterance
No. Data Routine- Distance Status Formality Gender ness I YI IMV IT INM D
F
L
H L M F
H
- M
-
- - - -
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 66 631/J-Guests/00:35:16-> v v v v v v v 00:35:19 -Say 118! 67 639/D-Guests/00:35:40-> v v v v v v v 00:35:41 We're not doing any of that. 640/D-Guests/00:35:41-> 68 00:35:43 v v v v v v v We've got to stay on schedule, all right? 642/M-J/J-M/00:35:45 --> 69 00:35:47 v v v v v v -Johnny, you're coming, too. -l don't know. 70 678/D-Q/00:38:22 --> 00:38:23 v v v v v v You know what? l'll take 50 omelets. 685/D-M/00:38:38--> 00:38:43 71 Look, love droppings, l brought v v v v v v you a bagel with your favorite, scream cheese.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 72 687/M-J/00:38:44--> 00:38:46 v v v v v v Johnny, try some scream cheese, it's awesome. 73 691/D-J/00:38:53 --> 00:38:57 v v v v v v Johnny, can we party-plan talk for a minute? 74 694/J-D/00:39:00 --> 00:39:02 v v v v v v Relax. No one suspects anything. 696/D-J/00:39:07 --> 00:39:10 75 Just wrap it up. You will say you v v v v v v are going in the pool and act excited. 697/D-J/00:39:11 --> 00:39:14 76 And then you will say you hurt v v v v v V your back and you have to leave. 77 703/J-Gm/00:39:26--> 00:39:30 v v v v v v Here we go. Chicken fight! Push them off!
Category of Directive Utterance Social Factor in Using Directive Utterance
Obvious Directive Utterance No. Data Routine- Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 708/D-Everyone/00:39:42 --> 78 00:39:44 v v v v v v v Okay, calm down with the fight chickens! 709/D-Everyone/00:39:44 --> 79 00:39:47 v v v v v v v Everyone, stop the roughhousing! 80 720/D-J/00:40:25--> 00:40:26 v v v v v v Climb out now. 81 725/D-J/00:41:16--> 00:41:18 v v v v v v l told you to take it down. 82 735/D-J/00:41:37--> 00:41:39 v v v v v v Look at me. 83 738/D-J/00:41:49--> 00:41:52 v v v v v v Now go and never return. 84 746/J-D/00:42:08--> 00:42:10 v v v v v v Here, let me just try and get them out real quick.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 748/J-D/D-J/00:42:13--> 85 00:42:15 v v v v v v -Almost got it. -Stop doing that. Please stop doing that! 86 749/D-J/00:42:16--> 00:42:18 v v v v v v Fingers away from the eyeballs! Enough! 87 750/D-J/00:42:19--> 00:42:21 v v v v v v Listen to me. 751/D-J/00:42:21 --> 00:42:27 88 You are never to return here. v v v v v v You are to stay away and never tell humans about this place. 89 754/D-J/00:42:39 --> 00:42:41 v v v v v v Be gone. 759/J-M/00:42:58 --> 00:43:01 90 Oh, my God. Count Dracula. v v v v v v Please don't kill me. l'm leaving, l'm leaving.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - - I Ds - Fr In R NR
-
-
F
L
H L
H M F
M
Less Obvious/HintLess 760/M-J/J-M/00:43:05--> 00:43:09 91 -Follow me. v v v v v v -No, no, Mavis, l can't. l have to leave. 92 782/J-M/00:44:33 --> 00:44:35 v v v v v v Come on. l have an idea. 93 783/J-M/00:44:37 --> 00:44:39 v v v v v v Watch. 812/D-J/00:46:52 --> 00:46:57 94 You can spend the entire day v v v v v v pulling them out and placing them, party planner. 95 816/D-J/00:47:09 --> 00:47:11 v v v v v v Enough! Enough! Stop! 96 817/D-J/00:47:11--> 00:47:13 v v v v v v Go to a corner, you're in a timeout! 97 819/D-T/00:47:21 --> 00:47:25 v v v v v v Okay. Table 57, please move to position 23.
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 820/J-D/D-J/00:47:29 --> 98 00:47:32 v v v v v v -That is cool. -Face the wall. 99 821/D-T/00:47:32 --> 00:47:37 v v v v v 17 to 48. 16 to 47. 19 to 50. 822/J-D/D-J/00:47:39 --> 100 00:47:41 v v v v v v -Awesomeness. -Just let me do my work. 101 823/D-T/00:47:41 --> 00:47:42 v v v v v 29 to 35. 102 824/D-T/00:47:42 --> 00:47:44 v v v v v 42 to 18. 10 to 44. 103 826/D-T/00:47:47 --> 00:47:48 v v v v v 39 to 24. 104 827/J-T/00:47:48 --> 00:47:49 v v v v v 36 up!
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 105 828/D-T/00:47:50 --> 00:47:51 v v v v v 29 to 35. 106 829/D-T/00:48:00--> 00:48:0 v v v v v 31 to 19. 107 830/J-T/00:48:08 --> 00:48:10 v v v v v 24 up! 108 831/D-T/00:48:10 --> 00:48:12 v v v v v 7 to 25. 14 to 30. 832/J-D/D-J/00:48:20 --> 109 00:48:24 v v v v v V -Where'd you go, grandpa? -Don't freak out, gravity face. 110 834/D-T/00:48:26--> 00:48:28 v v v v V 56 and 43, to my side. 111 839/D-T/00:49:02 --> 00:49:05 v v v v V 27, 45, 65, 76, 48, block his path. 112 840/D-T/00:49:06 --> 00:49:07 v v v v V Block his path!
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Obvious/HintLess 113 859/D-M/00:50:40--> 00:50:41 v v v v v v Hold that. 114 951/D-J/00:56:57 --> 00:57:00 v v v v v v l don't want to ruin her birthday party. 115 952/D-J/00:57:00 --> 00:57:03 v v v v v v You can sneak out after it's all done. 116 962/J-D/00:57:27 --> 00:57:30 v v v v v v l command you to be the werewolf man! 117 993/D-M/01:01:02 --> 01:01:04 v v v v v v No, you're not allowed to kiss. 118 1010/M-D/01:01:45--> 01:01:49 v v v v v v What exactly did you have to do? Tell me! 119 1051/M-D/01:05:07 --> 01:05:10 v v v v v v Dad, can you do me a favor?
Category of Directive Utterance Social Factor in Using Directive Utterance Obvious Directive Utterance
Routine- No. Data Distance Status Formality Gender ness I YI IMV IT INM D
Obvious/Hint
F
L
L M F
H
H
- M
-
- - -
-
I Ds - Fr In R NR
-
F
L
H L
H M F
M
Less Less 120 1053/M-D/01:05:13--> 01:05:15 v v v v v v Will you erase my mind? 121 1078/D-Guests/01:07:23--> v v v v v v v 01:07:25 Friends, please, stop. 1081/D-Guests/01:07:28 --> 122 01:07:31 v v v v v v v l need you to help me find Johnny. 123 1116/D-Wy/01:09:28 --> v v v v v v 01:09:29 Work your magic. 1226/D-Everyone/01:18:42 --> 124 01:18:45 v v v v v v v Quit your whining! I'm burning up out here! 125 1249/D-M/01:20:17 --> 01:20:19 v v v v v v Go make your own paradise. 126 1270/J-D/01:21:37 --> 01:21:39 v v v v v v Come on, just give it a try.
1/D-M/00:01:06,817 --> 00:01:07,942 and jumped out from under their bed." No, no, no, no, no. 17/M-D/D-M/00:02:18,972 --> 00:02:21,307 3/D-M/00:01:10,779 --> 00:01:13,906 -l'm scared! l didn't mean to startle you, my little baby. -"And burned their clothes
4/D-M/00:01:16,160 --> 00:01:19,996 18/D-M/00:02:21,391 --> 00:02:23,309 Hush, little vampire, don't say a word "and bit their toes!
5/D-M/00:01:20,122 --> 00:01:23,291 19/D-M/00:02:23,393 --> 00:02:25,520 Papa's gonna bite the head off a bird "And took their candy!"
6/D-M/00:01:28,172 --> 00:01:30,506 20/M-D/00:02:27,898 --> 00:02:29,398 Peek-a-boo! Don't take my candy.
2/D-M/00:01:09,403 --> 00:01:10,653 21/D-M/00:02:29,525 --> 00:02:32,485 l vant to kiss your tush. Babyclaws, you don't need to be frightened.
7/D-M/00:01:31,008 --> 00:01:32,633 22/D-M/00:02:32,569 --> 00:02:37,240 l vant to kiss your tush! l promised your mommy l would protect you forever. 8/D-Fm/00:01:44,980 --> 00:01:47,774 Nice, but maybe a little more square footage. 23/D-M/00:02:40,202 --> 00:02:43,579 My beautiful May-vay 9/D-Fm/00:01:47,858 --> 00:01:50,943 l want a lot of monsters here. 24/D-M/00:02:43,705 --> 00:02:48,167 Let me wipe all your poop away 10/D-M/00:01:57,326 --> 00:01:59,202 l'm gonna get you, little Mavis. 25/D-M/00:02:48,252 --> 00:02:52,088 Those humans are nas-tay 11/D-M/00:01:59,328 --> 00:02:01,537 l'm gonna get you! 26/D-M/00:02:52,172 --> 00:02:56,259 So with Daddy you wiII stay 12/M-D/00:02:03,207 --> 00:02:05,374 What out there? 27/D-M/00:02:56,385 --> 00:03:00,680 And if a human tries to harm you 13/D-M/00:02:05,501 --> 00:02:07,877 We never go out there. 28/D-M/00:03:00,764 --> 00:03:02,348 l'll simply say... 14/D-M/00:02:07,961 --> 00:02:09,295 Ever. 29/D-M/00:03:05,602 --> 00:03:08,688 Because you're Daddy's girl 15/D-M/00:02:11,048 --> 00:02:14,967 "And then the monsters ran away 30/D-M/00:03:08,772 --> 00:03:10,857 and were forced into hiding. Daddy's girl
16/D-M/00:02:15,052 --> 00:02:18,888 31/D-M/00:03:10,941 --> 00:03:12,108 "But Harry the Human found them l'm your Vlad-y daddy...
You got the Land of the Undead 32/D-M/00:03:12,234 --> 00:03:14,694 on the perimeters. Just bend the legs and push off. 48/Fm-D/00:03:54,484 --> 00:03:59,113 33/D-M/00:03:14,778 --> 00:03:16,863 Any humans daring to even look over there Trust me, mouse. will run away real quick.
34/M-D/00:03:19,783 --> 00:03:21,117 49/Fm-D/00:04:13,503 --> 00:04:15,087 l can fly! l can fly! But, of course, be smart.
35/D-M/00:03:21,201 --> 00:03:22,201 50/Fm-D/00:04:15,172 --> 00:04:17,590 Look at you! No bonfires, no firework shows.
36/D-M/00:03:22,286 --> 00:03:23,870 51/D-Fm/00:04:17,674 --> 00:04:20,593 Faster, baby! Faster! Yeah, yeah, no, no. No fire, l get it, l get it.
37/D-M/00:03:24,288 --> 00:03:26,414 52/D-Mt/00:04:24,306 --> 00:04:26,182 You got it, my little voodoo doll! lt's time, my darling Martha.
38/Fm-D/00:03:32,421 --> 00:03:34,213 53/ D-Mt/00:04:26,308 --> 00:04:29,685 Excuse me, sir. The place we always talked about for Mavis.
39/D-Fm/00:03:34,298 --> 00:03:35,923 54/D-Mt/00:04:29,811 --> 00:04:32,813 What? What? No one will ever harm her here.
40/M-D/00:03:36,466 --> 00:03:37,884 55/Wy-Driver/00:05:25,242 --> 00:05:27,994 l'm okay. Yeah, it's a mess back there.
41/Fm-D/00:03:37,968 --> 00:03:39,719 56/D-all guests/00:05:42,342 --> 00:05:45,761 lt's ready. Welcome to Hotel Transylvania!
42/D-Fm/00:03:41,805 --> 00:03:43,139 57/D-all guests/00:05:47,848 --> 00:05:50,307 Looks good. Human-free since 1898.
43/D-Fm/00:03:43,223 --> 00:03:45,057 58/D-all guests/00:05:50,434 --> 00:05:51,934 Only monsters can get in? Your safest destination.
44/Fm-D/00:03:45,142 --> 00:03:46,559 59/D-all guests/00:05:52,019 --> 00:05:53,227 Absolutely. Take an itinerary.
45/Fm-D/00:03:46,643 --> 00:03:48,477 60/D-all guests/00:05:53,311 --> 00:05:56,230 lt's hidden real nicely. l have personally designed a spectacular schedule of events, 46/Fm-D/00:03:48,562 --> 00:03:51,480 You got 400 acres of haunted forest in front of 61/D-all guests/00:05:56,314 --> 00:06:00,151 you. all leading to my daughter's birthday extravaganza tomorrow. 47/Fm-D/00:03:51,565 --> 00:03:54,400
62/GM-D/00:06:00,277 --> 00:06:02,528 77/D-WK/00:06:40,567 --> 00:06:42,902 We always look forward This is a hotel, not a cemetery. to coming every year, Count. 78/WK-D/00:06:42,986 --> 00:06:44,987 63/GM-D/00:06:02,612 --> 00:06:04,447 Sorry, Uncle Drac. We enjoy the safety so much. 79/Wy-D/00:06:45,906 --> 00:06:47,156 64/ D-GM/00:06:04,573 --> 00:06:06,782 Drac! How are you? Of course. That's why we built it. 80/D-Wy/00:06:47,240 --> 00:06:48,574 65/D-Guest/00:06:06,908 --> 00:06:08,492 Wayne, my old friend! Yes, good evening. 81/Wy-D/00:06:48,658 --> 00:06:49,992 66/D-Ma/00:06:08,618 --> 00:06:09,618 Couldn't wait for this weekend. Thank you, Marty. 82/Wy-D/00:06:50,077 --> 00:06:51,994 67/D-Ma/00:06:09,745 --> 00:06:11,996 Always great to be out of You look pale, as well. the shadows for a couple days.
68/A-D/00:06:12,122 --> 00:06:13,664 83/D-Wy/00:06:52,079 --> 00:06:53,537 Sir, sir, sir! The family looks beautiful.
69/A-D/00:06:13,749 --> 00:06:15,207 84/ D-Wy/00:06:53,663 --> 00:06:55,414 We have an urgent plumbing issue. Let me just clean up their filth.
70/D-A/00:06:15,292 --> 00:06:16,584 85/D-H/00:06:55,499 --> 00:06:56,665 Plumbing? On it. Housekeeping!
71/D-G/00:06:16,668 --> 00:06:18,669 86/D-F/00:07:13,725 --> 00:07:15,434 Mr. Ghouligan! Frankie, my boy! Look at you!
72/A-D/00:06:18,754 --> 00:06:21,881 87/D-F/00:07:15,519 --> 00:07:17,812 There is a clogged toilet in room 348. Still traveling by mail, Mr. Cheapo, huh?
73/D-B/00:06:23,341 --> 00:06:25,634 88/F-D/00:07:17,896 --> 00:07:19,063 lt's okay. lt's not a money thing. We all get stomach aches, Mr. Bigfoot. 89/F-D/00:07:19,189 --> 00:07:20,606 74/Wy-WK/00:06:33,435 --> 00:06:34,894 l have a plane phobia, okay? Hey, kids, reel it in. 90/F-D/00:07:20,690 --> 00:07:22,650 75/Wy-WK/00:06:34,978 --> 00:06:37,354 l mean, at any moment, You're only supposed to make those engines could catch... Mom and Dad miserable. 91/Wy-F/00:07:22,734 --> 00:07:24,193 76/D-WK/00:06:38,648 --> 00:06:40,483 Fire! Yeah, yeah. Now, now, is that any way to behave? 92/Wy-F/00:07:24,277 --> 00:07:25,611
"Fire bad." 108/Mr-Guests/00:08:02,899 --> 00:08:05,734 Here comes the party! 93/Wy-F/00:07:25,695 --> 00:07:27,613 We know. 109/D-Mr/00:08:06,319 --> 00:08:07,903 Hello, Murray! 94/D-Z/00:07:27,948 --> 00:07:30,116 Augustus, Porridge Head, come on! 110/Mr-D/00:08:07,988 --> 00:08:09,947 Drac, what's up, buddy? 95/D-Z/00:07:30,200 --> 00:07:32,243 Does that look like Frankenstein's head? 111/D-Mr/00:08:10,073 --> 00:08:11,949 The sand, Murray, the sand! 96/Wy-D/00:07:32,452 --> 00:07:33,994 Hey, Drac, buddy, what's 112/D-Mr/00:08:12,075 --> 00:08:13,325 going on with your cape there? Always with the sand.
97/D-Wy/00:07:34,079 --> 00:07:35,162 113/Mr-Wy-W-F/00:08:15,579 --> What do you mean? 00:08:18,080 Wolfie! Wanda! Frank! 98/D-Wy/00:07:35,247 --> 00:07:36,539 Who pinched me? 114/Mr-F/00:08:21,418 --> 00:08:22,543 l love this guy. 99/IM-D/00:07:36,623 --> 00:07:38,582 Guilty. You're irresistible. 115/Mr-F/00:08:22,627 --> 00:08:24,336 He always bringing it full tilt. 100/D-IM/00:07:38,708 --> 00:07:40,876 Yes, very amusing, lnvisible Man. 116/Mr-F/00:08:24,421 --> 00:08:25,713 You're looking skinny, too. 101/D-IM/00:07:40,961 --> 00:07:43,963 Hello. Great to "see" you. 117/Mr-F/00:08:25,797 --> 00:08:27,590 Now that you're just a head. 102/IM-D/00:07:44,714 --> 00:07:46,382 Never gets old. 118/F-Mr/00:08:27,674 --> 00:08:30,092 Okay, you'll pay for that. 103/IM-D/00:07:48,635 --> 00:07:49,718 Missed me. 119/Mr-D/00:08:32,179 --> 00:08:33,304 So what's up, Drac? 104/IM-D/00:07:50,595 --> 00:07:51,637 Missed me, missed me, missed me. 120/Mr-D/00:08:33,430 --> 00:08:35,306 The hotel is looking off the hook. 105/D-IM/00:07:51,721 --> 00:07:53,806 Okay, you win. Hold this bacon. 121/F-Wy/00:08:35,807 --> 00:08:37,766 Hey, guys, watch this. 106/IM-D/00:07:53,890 --> 00:07:55,141 Why am l holding bacon... 122/Mr-D/00:08:40,478 --> 00:08:42,146 By the way, you were right 107/IM-D/00:07:56,268 --> 00:07:57,893 about those directions. No! Get them off! 123/D-Mr/00:08:42,230 --> 00:08:43,272
Oh, good, good. of refuge from them!
124/Mr-D/00:08:43,523 --> 00:08:45,107 138/D-all guests/00:09:38,495 --> Yeah, l took the Tigris 00:09:40,246 These are recent human images 125/Mr-D/00:08:45,192 --> 00:08:48,110 through the Nile, and there 139/D-all guests/00:09:40,330 --> was absolutely no traffic. 00:09:42,498 our surveillance has uncovered. 126/D-Mr/00:08:54,492 --> 00:08:55,659 You're kidding me. 140/D-all guests/00:09:42,582 --> 00:09:45,834 127/D-Mr/00:08:55,785 --> 00:08:57,077 They are getting fatter so as to overpower us. Right in my lobby? 141/D-all guests/00:09:45,961 --> 128/Mr-D/00:08:57,162 --> 00:08:59,788 00:09:47,836 Drac, l swear, man, l don't run like that. And they are wearing less clothing,
129/D-H/00:09:01,333 --> 00:09:02,458 142/D-all guests/00:09:47,921 --> Housekeeping! 00:09:50,089 allowing more movement to strangle us 130/Mr-MW/00:09:09,466 --> 00:09:11,884 l was not the cause of that. 143/D-all guests/00:09:50,173 --> 00:09:53,259 131/Sp-D/00:09:14,012 --> 00:09:15,221 or cut open our heads and put candy in them. We're ready! 144/D-all guests/00:09:53,343 --> 132/W-D/00:09:19,226 --> 00:09:21,644 00:09:54,843 lf only Martha were here to see this. But they will never
133/D-W/00:09:21,728 --> 00:09:23,979 145/D-all guests/00:09:54,928 --> She's always here, Wanda. 00:09:56,178 find us here. 134/D-all guests/00:09:24,189 --> 00:09:25,564 146/D-all guests/00:09:56,263 --> Okay, friends, 00:09:58,555 Evil villain, you will never win! 135/D-all guests/00:09:25,649 --> 00:09:28,734 147/D-all guests/00:09:58,640 --> l am so glad you are here to celebrate. 00:10:01,350 Okie doke. The fun starts in 30 minutes. 136/D-all guests/00:09:28,818 --> 00:09:31,987 148/D-all guests/00:10:01,434 --> Another birthday for my sweet little Mavis, 00:10:03,519 Right now, l have to see my little girl. 137/D-all guests/00:09:32,072 --> 00:09:36,742 149/F-D/00:10:03,603 --> 00:10:05,396 and another successful year She's not so little anymore!
150/D-F/00:10:05,480 --> 00:10:06,563 164/M-herself/00:10:39,556 --> 00:10:41,932 Yes, she is! and you specifically said that you gave me your word. 151/Ec-everyone/00:10:10,235 --> 00:10:11,443 165/SH-D/00:10:45,895 --> 00:10:47,563 What's going on out there? Do not disturb.
152/Ec-F/00:10:11,528 --> 00:10:13,070 166/SH-D/00:10:47,647 --> 00:10:48,856 Are we at the hotel? -Do not disturb. -Do not disturb. 153/Ec-F/00:10:13,154 --> 00:10:16,282 Frank, did you book us 167/SH-D/00:10:48,940 --> 00:10:50,065 for a tandem massage? Do not disturb.
154/Ec-F/00:10:16,366 --> 00:10:18,534 168/SH-D/00:10:50,150 --> 00:10:51,442 Did you get us a table at Hunchback's? -Do not disturb. -Do not disturb. 155/Ec-F/00:10:18,618 --> 00:10:20,119 Did you do anything? 169 /SH-D/H-D/00:10:51,526 --> 00:10:53,610 -Do not disturb. 156/IM-Ec/00:10:21,329 --> 00:10:22,579 -Good morning, Your Eminence. You're welcome. 170/SH-H/00:10:53,695 --> 00:10:55,863 157/Ec-everyone/00:10:22,664 --> Maid, clean up this room! 00:10:23,706 What's going on? 171/SH-D/00:10:57,157 --> 00:10:59,742 lt's you. Glad you could make it. 158/M-herself/00:10:25,041 --> 00:10:26,458 Dad, you said that 172/D-SH/SH-D/00:10:59,826 --> 00:11:01,994 159//M-herself/00:10:26,543 --> 00:10:29,378 -ls she up yet? when l turned 118, -She's up. l could go out into the world 173/SH-D/00:11:02,078 --> 00:11:06,707 160/M-herself/00:10:29,462 --> 00:10:32,381 She's ready to go. And by "go," l mean go. like every other adult that gets As in, go check the world out. to come and go from this hotel. 174/SH-D/00:11:06,791 --> 00:11:08,751 161/M-herself/00:10:32,465 --> 00:10:35,134 What you gonna do? What you gonna say? "But, Mavey Wavey, it's not safe. Bleh, bleh-bleh." 175/D-SH/00:11:08,835 --> 00:11:12,254 l got it covered. Please, relax. 162/M-herself/00:10:35,218 --> 00:10:37,553 Just do your job. Dad, 30 years ago, you promised. 176/D-M/00:11:13,298 --> 00:11:15,215 163/M-herself/00:10:37,637 --> 00:10:39,471 Good morning, Mavey Wavey! l remember, we were both eating mice,
177/D-M/00:11:15,300 --> 00:11:17,259 You're just playing with me. Happy birthday, my little mouse! 193/D-M/00:11:46,873 --> 00:11:49,458 178/M-D/00:11:17,344 --> 00:11:18,510 No, no, no, no. Thank you, Dad. You're old enough to drive a hearse now,
179/M-D/00:11:18,595 --> 00:11:20,262 194/D-M/00:11:49,542 --> 00:11:51,543 l know it's my birthday. you're old enough to make your own choices. 180/D-M/00:11:20,347 --> 00:11:22,848 l have so much fun planned. 195/D-M/00:11:51,628 --> 00:11:52,878 You can go. 181/D-M/00:11:22,932 --> 00:11:25,768 But first, we go catch 196/M-D/00:11:52,962 --> 00:11:55,714 some scorpions together, Holy rabies! Holy rabies!
182/D-M/00:11:25,852 --> 00:11:27,603 197/D-M/00:12:01,054 --> 00:12:02,221 just the two of us, yes, dead-ums? Whoa. Stop.
183/M-D/00:11:27,687 --> 00:11:29,772 198/D-M/00:12:02,305 --> 00:12:04,098 Dad, please, let me speak. Wait a second, sweet fangs.
184/M-D/00:11:29,856 --> 00:11:31,523 199/D-M/00:12:04,182 --> 00:12:05,557 There's something we have to talk about. Where are you going?
185/D-M/00:11:31,608 --> 00:11:34,109 200/M-D/00:12:05,642 --> 00:12:07,518 You want to go out into the world. You can. Oh, well, l'm going to paradise,
186/M-D/00:11:35,278 --> 00:11:36,612 201//M-D/00:12:07,602 --> 00:12:09,937 l knew you were gonna say that. and this is just some stuff that l thought l would need. 187/M-D/00:11:36,696 --> 00:11:38,530 But, Dad, you gave me your word, 202/D-M/M-D/00:12:10,021 --> 00:12:12,272 -Paradise? 188/M-D/00:11:38,615 --> 00:11:41,075 -Yeah, you know. and you know that l know that a Dracula's word is sacred. 203/M-D/00:12:12,357 --> 00:12:14,608 lt's that place out there 189/M-D/00:11:41,159 --> 00:11:42,743 where you and Mom met. That our trust is the core of our... 204/M-D/00:12:15,068 --> 00:12:16,276 190/M-D/00:11:42,827 --> 00:11:43,911 Auntie Wanda says you two Wait, what? 205/M-D/00:12:16,361 --> 00:12:18,320 191/D-M/00:11:43,995 --> 00:11:45,454 were just like, Zing! l said you can go. 206/D-M/00:12:18,405 --> 00:12:19,988 192/M-D/00:11:45,538 --> 00:11:46,789 l don't know from "Zing."
221/D-M/00:12:57,902 --> 00:13:00,988 207/D-M/00:12:20,073 --> 00:12:21,865 You could go there and be back Where did you find that card? in, like, 30 minutes or so.
208/M-D/00:12:21,950 --> 00:12:23,450 222/D-M/00:13:01,072 --> 00:13:03,991 ln one of your drawers. lt should be plenty for your first time.
209/M-D/00:12:23,535 --> 00:12:25,369 223/M-D/00:13:04,075 --> 00:13:06,952 Why won't you ever tell me Well, it's not Ha-wee-wee, but l guess about how you met? 224/M-D/00:13:07,036 --> 00:13:09,663 210/D-M/00:12:25,453 --> 00:12:26,954 it's still technically out there. lt's actually Hawaii. 225/M-D/00:13:09,747 --> 00:13:12,040 211/M-D/00:12:27,038 --> 00:12:28,122 Okay, okay, okay! Ha-what-what? 226/M-D/00:13:16,546 --> 00:13:17,754 212/D-M/00:12:28,832 --> 00:12:31,333 Thanks for trusting me. Look, honey, l know you're excited, 227/D-M/00:13:17,881 --> 00:13:19,506 213/D-M/00:12:31,418 --> 00:12:35,003 Of course, my little one. but everyone has gone to great lengths to come see you on your birthday. 228/D-M/00:13:19,591 --> 00:13:21,550 l gave you my word. 214/M-D/00:12:35,505 --> 00:12:37,589 l know. They always do. 229/W,Wy,Mr,F,IM-M/00:13:23,094 --> 00:13:24,303 215/M-D/00:12:37,966 --> 00:12:40,551 Hey, honey! But aren't l getting a little old for these parties? 230/M- W,Wy,Mr,F.IM /00:13:24,387 --> 00:13:25,971 216/M-D/00:12:40,635 --> 00:12:44,388 Hey, guys. l love them, but l really want to see new things. 231/F-M/00:13:26,055 --> 00:13:27,931 You excited about tomorrow? 217/M-D/00:12:44,472 --> 00:12:46,557 Maybe meet somebody my age. 232/M-F/00:13:28,057 --> 00:13:29,641 Not as excited as l am right now. 218/D-M/00:12:47,892 --> 00:12:50,310 Come on. No, no, don't do that. 233/M- W,Wy,Mr,F.IM/00:13:29,726 --> 00:13:31,643 219/D-M/00:12:50,395 --> 00:12:52,896 You're not gonna believe this, Don't give me the pouty bad face. but Dad is letting me
220/D-M/00:12:53,231 --> 00:12:57,818 234/M-W,Wy,Mr,F,IM/00:13:31,728 --> Okay, there is a human village 00:13:33,479 just a little ways past the cemetery. go out on my own to see a human village!
235/W,Wy,Mr,F,IM-M/00:13:33,563 --> 00:13:34,605 250/Wy-M/00:14:02,592 --> 00:14:04,885 What? lt's more fun to just observe from under a house. 236/Ec-D/00:13:34,731 --> 00:13:36,773 Excuse me. Drac! 251/F-Wy,W,IM,Mr/00:14:04,969 --> 00:14:06,762 237/Ec-D/00:13:36,900 --> 00:13:37,983 Guys, guys. She can handle it. Have you lost it? 252/F-Wy,W,IM,Mr/00:14:06,846 --> 238/Ec-D/00:13:38,067 --> 00:13:39,651 00:14:09,056 Letting your own daughter out there She's a Dracula, for Pete's sake.
239/Ec-D/00:13:39,736 --> 00:13:42,237 253/F-M/00:14:09,140 --> 00:14:11,475 with those horrible humans But seriously, watch out for fire. you always tell us about? 254/F-M/00:14:11,601 --> 00:14:13,435 240/Ec-D/00:13:42,322 --> 00:13:44,406 Fire bad. That's why you built this place. 255/M- Wy,W,IM,Mr,F,D/ 241/Ec-D/00:13:44,491 --> 00:13:46,450 00:14:23,488 --> 00:14:24,863 They hate us. They're vicious. Bye, everyone.
242/Ec-D/00:13:46,576 --> 00:13:48,368 256/F-D/00:14:38,169 --> 00:14:40,754 And they're very loud! Drac, l can't believe how calm you are about her leaving. 243/M-Ec/00:13:48,453 --> 00:13:50,787 Auntie Eunice, maybe they've changed. 257/F-D/00:14:40,838 --> 00:14:42,256 l'm proud of you. 244/M-Ec/00:13:50,914 --> 00:13:53,540 l'm just gonna fly down 258/F-D/00:14:42,340 --> 00:14:44,550 the street and see how it goes. Drac? Drac?
245/W-M/00:13:53,625 --> 00:13:55,501 259/F-D/00:14:44,634 --> 00:14:46,260 Okay, honey, be safe. Where did Drac go?
246/W-M/00:13:55,585 --> 00:13:57,461 260/M-herself/00:14:52,308 --> 00:14:54,560 Bring warm clothes and a sword. This is awesome!
247/IM-M/00:13:57,587 --> 00:13:58,795 261/M-herself/ And look out for pitchforks. 00:14:56,521 --> 00:14:58,897 There's the cemetery, just like Dad said. 248/Mr-M/00:13:58,922 --> 00:14:01,131 Don't you let anyone 262/M/00:15:33,433 --> 00:15:34,683 scoop your brains out, either. Hello?
249/Wy-M/00:14:01,257 --> 00:14:02,466 263/M/00:15:36,519 --> 00:15:38,103 Maybe stay in the shadows. Anybody out there?
Holy rabies, you're on fire. 264/Z-M/00:15:47,697 --> 00:15:49,823 -Vampire. 278/M-Z/00:16:52,887 --> 00:16:54,763 -Bite toes! Can l do anything? Can l help you?
265/M-Z/00:15:51,034 --> 00:15:52,618 279/M-herself/00:16:56,140 --> 00:17:00,352 Hi, humans. Dad was right.
266/M-Z/00:15:55,538 --> 00:15:59,207 280/D-himself/00:17:07,568 --> 00:17:10,112 Everything okay? lt worked. My name is Mavis Dracula, and l... 281/D-himself/00:17:10,196 --> 00:17:14,324 267/Z-M/00:15:59,292 --> 00:16:00,542 Now my baby will be safe forever. Vampire. 282/D-Z/00:17:16,536 --> 00:17:18,995 268/Z-M/M-Z/00:16:00,627 --> 00:16:02,336 All right, everybody, get back to work now. -Burn clothes. -Burn my clothes? 283/D-Z/00:17:22,875 --> 00:17:26,545 Hey. You don't need a mannequin. 269/M-Z/Z-M/00:16:02,420 --> 00:16:04,546 -Really? 284/D-Z/00:17:26,629 --> 00:17:28,463 -Vampire! Leave the mannequin here. Come on.
270/Z-M/ 285/SH-D/00:17:50,194 --> 00:17:51,278 00:16:04,631 --> 00:16:08,008 Where you been? -We take your candy. -Candy! 286/SH-D/00:17:51,362 --> 00:17:53,196 Why you sneaking around? 271/M-Z/00:16:08,259 --> 00:16:10,636 l'm friendly. l really am. 287/D-SH/00:17:53,740 --> 00:17:55,449 Quiet. 272/M-Z/Z-M/00:16:10,762 --> 00:16:12,554 -Calm down, now. 288/D-M/00:17:55,533 --> 00:17:59,286 -Candy. Sweetheart, have you returned so soon?
273/M-Z/00:16:12,889 --> 00:16:14,890 289/M-D/00:17:59,370 --> 00:18:00,620 l just wanted to say hi. Come in, Dad.
274/M-Z/00:16:34,077 --> 00:16:35,243 290/D-M/00:18:00,705 --> 00:18:02,622 Please. l've never hurt anyone. How'd it go? How was the big world?
275/M-Z/00:16:35,328 --> 00:16:37,371 291/D-M/00:18:02,707 --> 00:18:04,332 l'm homeschooled. How was it out there?
276/M-Z/00:16:37,455 --> 00:16:39,456 292/M-D/00:18:04,417 --> 00:18:05,667 ls that garlic? lt was okay, Dad.
277/M-Z/00:16:51,469 --> 00:16:52,803 293/D-M/00:18:05,752 --> 00:18:07,335
What? What's the matter? 309/D-M/00:18:49,253 --> 00:18:50,962 294/M-D/00:18:07,420 --> 00:18:09,171 Don't be sad anymore. Dad, you were right. 310/D-M/00:18:51,047 --> 00:18:55,550 295/M-D/00:18:09,255 --> 00:18:10,714 Remember, this is the year Humans are awful. we open Mommy's present for you.
296/M-D/00:18:10,798 --> 00:18:12,591 311/M-D/00:18:55,635 --> 00:18:57,219 They were everything you said. What did she get me?
297/M-D/D-M/00:18:12,675 --> 00:18:14,843 312/D-M/00:18:57,303 --> 00:18:58,470 -They wanted to bite my toes. We'll see. -Your toes? 313/D-M/00:18:58,554 --> 00:19:02,724 298/M-D/00:18:14,927 --> 00:18:16,970 She said never to open until you're 118. And they had garlic on bread. 314/ D-M/00:19:02,809 --> 00:19:04,684 299/D-M/00:18:17,054 --> 00:18:19,014 We've waited this long. What? Look at me. 315/D-M/00:19:04,769 --> 00:19:06,061 300/D-M/00:18:19,098 --> 00:18:22,476 You eat your wormcakes. l'm getting goose bumps, l'm so scared. 316/D-M/00:19:06,145 --> 00:19:09,189 301/D-M/00:18:24,937 --> 00:18:26,688 You come down l'm so sorry, sweetheart. whenever you're ready, honey.
302/D-M/00:18:26,773 --> 00:18:29,316 317/SH-D/00:19:13,236 --> 00:19:14,444 l hate that you had to see that. What did you do?
303/M-D/00:18:29,400 --> 00:18:31,902 318/D-SH/00:19:14,529 --> 00:19:15,612 l'm so sorry l doubted you. What l had to.
304/M-D/00:18:33,362 --> 00:18:36,281 319/D-SH/00:19:16,948 --> 00:19:18,490 l'll never leave here again. She'll thank me one day.
305/D-M/00:18:36,365 --> 00:18:39,659 320/SH-D/00:19:18,574 --> 00:19:22,077 Okay. Okay. Yeah, that's what the guy who shrunk my head said. 306/D-M/00:18:39,744 --> 00:18:44,414 Look, Daddy's going to make you 321/D-Z/00:19:34,924 --> 00:19:36,591 the bestest birthday ever. Yes, what do you want, a cookie?
307/D-M/00:18:44,499 --> 00:18:45,832 322/D-Z/00:19:36,676 --> 00:19:37,843 Look what l brought you. You did all right, man.
308/M-D/00:18:45,917 --> 00:18:47,751 323/D-Z/00:19:37,927 --> 00:19:39,177 Your wormcakes. Move on already.
324/J/00:19:44,976 --> 00:19:46,184 338/J-D/00:20:32,565 --> 00:20:34,649 Yeah. You meet so many awesome people in the youth hostels. 325/Z/00:19:48,521 --> 00:19:50,689 Vampire! Vampire! 339//J-D/00:20:34,734 --> 00:20:38,612 Hey, speaking of awesome, 326/D/00:19:50,773 --> 00:19:52,107 that cape thing is killing it. A human. 340/J-D/00:20:38,696 --> 00:20:40,447 327/D-J/00:19:54,902 --> 00:19:57,112 ls there, like, a costume party here? Who are you? And how did you find this place? 341/D-himself/00:20:40,531 --> 00:20:41,656 What have l done? 328/J-D/00:19:57,196 --> 00:19:58,572 l'm Jonathan. 342/ D-himself/00:20:41,741 --> 00:20:43,408 This is all my fault. 329/J-D/00:19:58,656 --> 00:20:00,532 And l was just mountain 343/D-J/00:20:43,993 --> 00:20:45,327 climbing with some dudes... You have to leave.
330/J-D00:20:01,951 --> 00:20:04,244 344/D/GM-D/00:20:45,912 --> 00:20:47,454 ...and heard this story about a spooky forest. -Oh, no. -Excuse me. 331/J’s friend-J/00:20:06,956 --> 00:20:10,125 And who's not going to go 345/GM-D/00:20:47,580 --> 00:20:50,165 into a spooky forest, right? One of your piranhas in the lake is very rude.
332/J-D/00:20:12,295 --> 00:20:15,380 346/GM-D/00:20:50,249 --> 00:20:51,791 So, then I see He ate my sister-in-law. these goofy-looking dudes on fire. 347/D-GM/00:20:51,876 --> 00:20:53,293 333/J-D/00:20:17,717 --> 00:20:21,928 Be right with you. And l just kind of followed them to this, like, amazing castle. 348/Hy-D/00:20:54,003 --> 00:20:57,005 Mr. Dracula, we asked for a room 334/Fm-D/00:20:23,723 --> 00:20:25,307 with a view of the pool. But, of course, be smart. 349/Hy-D/00:20:57,089 --> 00:20:58,965 335/Fm-D/00:20:25,391 --> 00:20:28,393 The room's fine. We want to book a massage. No bonfires, no firework shows. 350/Hy-D/00:20:59,050 --> 00:21:00,216 336/D-J/J-D/00:20:28,728 --> 00:20:31,104 -Yes, Swedish. -How many of you are there? -Shiatsu. -Just me. 351/Hy-D/00:21:00,301 --> 00:21:01,635 337/J-D/00:20:31,188 --> 00:20:32,480 -Aromatherapy. l like to hit it alone. -Lower back.
365/D-J/00:21:29,080 --> 00:21:30,413 352/Hy-D/00:21:01,719 --> 00:21:02,844 Your pitchforks? -Do you have hot-stone? -We want a massage. 366/D-J/00:21:32,416 --> 00:21:33,917 l can't breathe. 353/D-Hy/Hy-D/00:21:02,929 --> 00:21:04,596 367/D-J/00:21:34,001 --> 00:21:35,502 -l'll get back to you, Mr. Hydraberg. lt's killing me. -l hope so. 368/J-D/00:21:35,586 --> 00:21:38,129 354/Hy-D/00:21:04,680 --> 00:21:06,014 Yeah, definitely due for a fluff and fold. -l doubt it. -See that you do. 369/D-J/00:21:38,214 --> 00:21:39,464 What is this? 355/Hy-D/00:21:06,098 --> 00:21:07,933 -That's Ms. Hydraberg. 370/D-J/00:21:39,590 --> 00:21:40,799 -Thanks. A torture device?
356/D-Hy/00:21:08,017 --> 00:21:09,851 371/D-J/00:21:40,883 --> 00:21:42,550 -Yes, nice to see you. A secret mind controller? -Dude, seriously, what's up? 372/D-J/00:21:42,635 --> 00:21:44,469 357/IM-D/00:21:09,936 --> 00:21:11,603 You won't read my thoughts. lt's kind of funky to breathe under here. 373/D-J/00:21:44,553 --> 00:21:45,762 358/F-D/00:21:11,687 --> 00:21:14,314 l won't let you. Drac. Hey, Drac. How'd it go with Mavey? 374/J-D/00:21:45,846 --> 00:21:47,430 359/F-D/00:21:14,398 --> 00:21:16,691 Dude, it's just music. Hey. Where'd you go? 375/J-D/00:21:47,515 --> 00:21:48,807 360/J-D/00:21:19,195 --> 00:21:20,278 Here, try it. Wow! 376/D-J/00:21:51,894 --> 00:21:54,562 361/J-D/00:21:20,363 --> 00:21:22,280 lt's taking my soul! This room's kind of small for a big castle. 377/J-D/00:21:55,731 --> 00:21:58,900 362/J-D/00:21:22,365 --> 00:21:25,241 What? lt's a good jam. Don't be a grandpa. No bed, but check out these awesome dustpans they give you. 378/D-J/00:21:58,985 --> 00:22:00,485 You need to go. 363/D-J/00:21:25,368 --> 00:21:26,743 Quiet, you fool. 379/D-J/00:22:00,569 --> 00:22:05,448 No human has ever entered this castle. 364/D-J/00:21:26,827 --> 00:21:28,995 And if someone should see you, What weapons are you keeping in this container? 380/D-J/00:22:05,533 --> 00:22:11,496 the safety of the hotel, the sanctuary,
no one would ever come again. 395/J-D/00:22:42,319 --> 00:22:44,029 381/J-D/00:22:11,580 --> 00:22:13,540 Check out these awesome costumes. Yeah, go for it. 396/D-himself/00:22:44,196 --> 00:22:45,780 382/J-D/00:22:13,624 --> 00:22:15,583 Costumes. "Ever come again!" 397/J-D/00:22:46,574 --> 00:22:49,576 383/J-D/00:22:15,668 --> 00:22:18,962 What's this? Sorry, man. l love your Dracula voice. lt's so over the top. l just can't be without my backpack.
384/D-J/00:22:19,130 --> 00:22:23,758 398 /J-D/ D-J /00:22:49,660 --> 00:22:52,162 And Mavis, if she saw you, -You know, everything l own's in there. she would know that l lied. No! -lt'll be right here.
385/J-D/00:22:23,843 --> 00:22:25,719 399/J-D/00:22:52,246 --> 00:22:54,831 Who's Mavis? ls this her room? Okay, l just... l love my backpack.
386/J-D/00:22:25,803 --> 00:22:26,886 400/J-D/00:22:54,915 --> 00:22:56,416 l'm good with a roommate. Whoa. Hey, what are you doing?
387/J-D/00:22:26,971 --> 00:22:29,055 401/J-D/00:22:56,500 --> 00:22:58,501 l had six brothers growing up, What are you... so l could totally share. What are you doing to my hair?
388/D-himself/00:22:29,140 --> 00:22:30,265 402/J-D/00:22:58,586 --> 00:23:01,046 l can't kill him. Stop. Oh, wait, that tickles.
389/D-himself/00:22:30,349 --> 00:22:32,517 403/J-D/00:23:01,130 --> 00:23:03,339 lt would set monsters back Come on, man. hundreds of years. 404/J-Everyone/00:23:06,969 --> 00:23:09,012 390/J-D/00:22:32,601 --> 00:22:34,269 Check it out. l'm a Franken-homie. One time, in Hamburg, l roomed with this dude 405/D,J-Everyone/00:23:09,096 --> 00:23:10,889 391/J-D/00:22:34,353 --> 00:22:35,854 -Yes, hello. who l caught stealing my shampoo. -Look at me!
392/J-D/00:22:35,938 --> 00:22:39,190 406/D-Everyone/00:23:10,973 --> l said, "Whoa, man," and he threw 00:23:14,976 a flower pot at me, but he was cool. This is totally normal, not a problem here. This is just a monster with me. 393/D-J/00:22:39,275 --> 00:22:40,650 What are you babbling about? 407/J-Everyone/00:23:15,102 --> 00:23:16,686 Man, everybody stepped it up tonight. 394/J-D/00:22:40,735 --> 00:22:42,235 What? Whoa. 408/J-D/00:23:17,480 --> 00:23:20,523
Wait, why are we going to the front door? 423/J-SW/00:23:59,313 --> 00:24:01,564 Are we leaving? Like, l could just put my hand right through... 409/Q-D/00:23:20,608 --> 00:23:22,692 Bonjour, Dracula! 424/SM-J/00:24:03,442 --> 00:24:04,609 What do you think you're doing? 410/J-Q/00:23:22,777 --> 00:23:24,527 Hey, Sniffy. What's going on? 425/J-SM/00:24:04,860 --> 00:24:07,779 She's real. You're real! 411/D-Q/00:23:24,612 --> 00:23:26,446 Not right now, Quasimodo. 426/SM-J/00:24:07,947 --> 00:24:11,699 Yeah, and l'll give you a real beating. 412/Q-E/00:23:29,450 --> 00:23:30,825 Keep your hands out of my wife! What? 427/D-himself/00:24:15,913 --> 00:24:17,163 413/Q-E/00:23:30,910 --> 00:23:32,202 Oh, no. No. Don't be absurd. 428/W-M/00:24:55,870 --> 00:24:57,537 414/Q-E/00:23:32,286 --> 00:23:35,080 Honey, l just didn't know where you were. lt's not a human, but Monsieur Dracula. 429/W-M/00:24:57,621 --> 00:24:59,622 415/D-Q/00:23:35,206 --> 00:23:37,207 We thought you were still out. How ridiculous. lt's me. 430/M-W/00:24:59,707 --> 00:25:02,292 416/Q-D/D-Q/00:23:40,753 --> 00:23:43,338 Oh, no. l don't know why l ever wanted to -The devilled lizard fingers. leave. -Devilled lizard fingers? 431/M-W/00:25:02,376 --> 00:25:04,294 417/D-Q/00:23:43,422 --> 00:23:45,131 The humans are so boring. l asked for spleens-in-blankets. 432/D-M/00:25:17,558 --> 00:25:19,559 418/Q-C/00:23:45,216 --> 00:23:47,258 Mavis, honey, are you all right? You ugly fool! l told you, he doesn't like 433/M-D/00:25:19,643 --> 00:25:22,729 419/Q-C/C-Q/00:23:47,343 --> 00:23:48,843 Yeah, l think so. That was weird. -the lizard fingers! -But you said... 434/J-D/00:25:22,813 --> 00:25:24,731 My head hurts. 420/J-himself/00:23:51,013 --> 00:23:53,223 Whoa. Check that costume out. 435/M-D/00:25:24,815 --> 00:25:26,733 -Who is that? 421/J-SW/00:23:53,307 --> 00:23:57,644 -Who is what? Wow. Seriously, l just have to ask you How are you pulling this off? 436/D-M/00:25:26,817 --> 00:25:28,401 Oh, that. 422/J-SW/00:23:57,728 --> 00:23:59,229 l mean, it looks so real. 437/D-M/00:25:28,485 --> 00:25:30,403 That is nobody.
438/M-D/J-M/00:25:30,487 --> 00:25:32,280 452/D-J/00:26:13,739 --> 00:26:16,157 -Seriously, Dad? No, l use a blood substitute. -"Dad"? 453/D-J/00:26:16,242 --> 00:26:20,536 439/M-J/00:25:32,364 --> 00:25:36,159 Either Near Blood or Blood Beaters. Yeah, l know, Dracula's daughter. You can't tell the difference. Everyone freaks out at first. 454/J-D/00:26:20,621 --> 00:26:23,456 440/J-M/00:25:36,243 --> 00:25:37,410 So, wow, you're, like, the real Count Dracula. Dracula? 455/J-D/00:26:23,540 --> 00:26:26,292 441/D-M/00:25:37,494 --> 00:25:38,578 Like, "l'm Dracula. Bleh, bleh-bleh." Okay, we got to go. 456/D-J/00:26:26,961 --> 00:26:30,004 442/J-D/00:25:42,374 --> 00:25:44,250 l've never said that in my life. Please don't kill me. l'm so young. "Bleh, bleh-bleh."
443/J-D/00:25:44,335 --> 00:25:46,669 457/D-J/00:26:30,089 --> 00:26:31,798 l have so many places l want to see. l don't know where that comes from.
444/J-D/00:25:46,754 --> 00:25:49,005 458/J-D/00:26:31,882 --> 00:26:35,301 l've got tickets to six Can l just ask, what exactly is this place? Dave Matthews Band concerts. 459/D-J/00:26:35,386 --> 00:26:37,804 445/J-D/00:25:49,089 --> 00:25:50,965 What is this place? l'm getting out of here. 460/D-J/00:26:41,684 --> 00:26:45,728 446/D-J/00:25:54,261 --> 00:25:55,637 lt's a place l built Shut up already. for all those monsters out there,
447/D-J/00:25:55,721 --> 00:25:58,264 461/D-J/00:26:45,813 --> 00:26:51,150 lt's impossible for me lurking in the shadows, to think with all your noise. hiding from the persecution of humankind.
448/D-Gn/00:25:58,349 --> 00:26:00,558 462/D-J/00:26:51,318 --> 00:26:55,697 Sorry, Glen. Go back to sleep. A place for them and their families to come to and be themselves. 449/J-D/D-J/00:26:02,436 --> 00:26:06,773 -Wait. Aren't you going to suck my blood? 463/D-J/00:26:55,823 --> 00:26:59,200 -Classic human paranoia. A place void of torches, pitchforks, angry mobs. 450/D-J/00:26:06,857 --> 00:26:10,818 Human blood is so fatty, 464/D-J/00:26:59,326 --> 00:27:02,537 and you never know where it's been. A place of peace, relaxation
451/J-D/00:26:10,903 --> 00:26:13,655 465/D-J/00:27:02,663 --> 00:27:04,789 So, Dracula doesn't drink blood? and tranquility.
480/D-J/00:27:43,704 --> 00:27:47,457 466/J-D/00:27:04,999 --> 00:27:07,041 Play along if you ever want Cool. So, it's like a hotel for monsters? to see your precious backpack.
467/D-J/00:27:08,085 --> 00:27:12,005 481/J-M/00:27:50,210 --> 00:27:54,088 Yes, exactly. "A hotel for monsters." Whoa. So, wait, you didn't have Way to sum it up. any clothes on when you were a bat?
468/D-J/00:27:13,215 --> 00:27:16,509 482/J-M/00:27:54,173 --> 00:27:55,465 Okay, hop on my back. We're leaving. Or were they bat-sized?
469/J-D/00:27:16,593 --> 00:27:18,219 483/M-D/00:27:56,425 --> 00:27:58,551 Oh, man, you're a bat now. Who exactly is that?
470/J-D/00:27:18,345 --> 00:27:20,179 484/D-M/00:27:58,677 --> 00:28:00,011 l always wanted to fly. What's it like? Honeybat.
471/J-D/00:27:20,764 --> 00:27:23,391 485/D-M/00:28:00,095 --> 00:28:02,305 This is insane. Wait. Wait, l want to stay. You see, it's your birthday.
472/J-D/00:27:23,517 --> 00:27:26,019 486/D-M/00:28:02,389 --> 00:28:07,185 Can Frankenstein sign my costume? And you know l want you to have the best, Can l meet the lnvisible Man? specialest party of your life.
473/J-D/00:27:26,103 --> 00:27:28,563 487/D-M/00:28:07,269 --> 00:28:10,563 Hey, if l stuck my hand So, well, l needed some help. in the lnvisible Man's mouth, 488/M-D/00:28:10,647 --> 00:28:11,856 474/J-D/M-J/00:27:28,689 --> 00:27:30,231 You needed help? -would it disappear? -Hi. 489/D-M/00:28:11,940 --> 00:28:15,360 Well, look, l am very good, 475/D-M/00:27:30,357 --> 00:27:34,193 but l thought it would be Mavey! What are you doing, my sweet little blood orange? 490/D-M/00:28:15,444 --> 00:28:20,823 even more bestest, specialest if someone 476/J-D/00:27:34,278 --> 00:27:36,321 closer to your age helped plan the party. Our friend was just leaving. 491/M-J/J-M/00:28:20,908 --> 00:28:22,158 477/J-M/00:27:36,405 --> 00:27:38,406 -You're my age? Yeah, he was flying me out the window. -Sure.
478/D-J/00:27:39,616 --> 00:27:41,034 492/J-M/00:28:22,242 --> 00:28:23,868 This guy, he's so funny. Well, how old are you?
479/J-D/00:27:41,160 --> 00:27:43,619 493/M-J/00:28:23,952 --> 00:28:25,036 Look, you have something on your face. 118.
494/J-M/00:28:25,120 --> 00:28:26,913 l mean, because he needs time to plan. One hundred and... 509/D-M/00:29:06,745 --> 00:29:09,622 495/J-M/00:28:26,997 --> 00:28:29,791 And if you're keeping him company, Yeah, l'm 121 . then he's not planning.
496/M-J/00:28:29,875 --> 00:28:31,667 510/D-M/00:29:09,706 --> 00:29:11,499 Really? He is company-keeping,
497/D-M/00:28:31,752 --> 00:28:35,505 511/D-M/00:29:11,583 --> 00:29:13,960 You see? Everything is very, very normal. and then the plan, it's... lt doesn't get planned. 498/D-M/00:28:35,589 --> 00:28:38,341 l'm throwing a party, and he's helping. 512/SH-D/D-SH/00:29:14,962 --> 00:29:16,379 499/A-D/D-A/00:28:38,550 --> 00:28:40,635 -Good one. -Sir, there's an emergency. -Shut up! -Not now. 513/M-J/00:29:16,463 --> 00:29:20,550 500/D-A/00:28:40,803 --> 00:28:44,389 Okay. So, maybe if you're not Can't you see we're in the middle planning later, we can hang out. of something very normal here? 514/J-M/D-M/00:29:20,634 --> 00:29:23,177 501/M-D/00:28:44,473 --> 00:28:46,015 -Sounds good. Wait, what's going on here? -Yes. You hear that?
502/M-D/00:28:46,100 --> 00:28:50,353 515/D-M/00:29:23,262 --> 00:29:24,846 There's an emergency in your precious hotel, lt sounds good. and you're not running to fix it? 516/D-M/00:29:25,139 --> 00:29:29,016 503/M-D/00:28:50,479 --> 00:28:52,021 So you will hang out. Why? ls it because of him? See you later, my honey. Lovely.
504/J-A/00:28:52,106 --> 00:28:53,940 517/D-J/00:29:29,810 --> 00:29:31,602 Whoa, look at my face. Okay, you're not hanging out.
505/D-M/00:28:54,733 --> 00:28:57,944 518/D-J/00:29:31,687 --> 00:29:33,604 No, precious bones, it's not because of him. Because you are leaving.
506/M-D/00:28:58,028 --> 00:29:00,863 519/J-D/00:29:33,689 --> 00:29:35,731 Good. Then go check on the emergency, But the opposite, you said. and l'll keep him company. 520/A-D/00:29:39,236 --> 00:29:40,945 507/D-M/M-D/00:29:00,948 --> 00:29:03,866 But, sir, the emergency. -No! Anything but that! -What? 521/D-J/00:29:41,029 --> 00:29:42,530 Follow me. 508/D-M/00:29:03,951 --> 00:29:06,661
522/A-Himself/00:29:47,369 --> 00:29:49,328 537/D-J/00:30:42,966 --> 00:30:46,761 Boy, that kid smelled. So, l'm, like, the first human here, huh? That's really cool. 523/J-D/00:29:53,500 --> 00:29:54,876 Where are we going? 538/D-J/00:30:47,846 --> 00:30:49,263 Oh, boy. 524/D-J/00:29:54,960 --> 00:29:56,335 Just getting rid of you 539/D-J/00:30:49,348 --> 00:30:51,349 l think this is it. 525/D-J/00:29:56,420 --> 00:29:59,130 through a secret tunnel 540/SW-D/D-SW/00:30:54,269 --> so she does not see us. 00:30:56,062 -What's happening? 526/J-D/00:29:59,298 --> 00:30:01,549 -l'm terribly sorry. So, can l ask you a question? 541/D-SW/SM-D/00:30:56,146 --> 527/J-D/00:30:01,633 --> 00:30:03,759 00:30:58,523 ls that real, about the garlic thing? -My mistake. -What is wrong with you people? 528/D-J/00:30:03,927 --> 00:30:06,888 Yes, l cannot have it. My throat swells. 542/J-D/00:31:01,193 --> 00:31:03,486 Oh, man. This place is amazing. 529/J-D/00:30:07,181 --> 00:30:08,806 Wooden stake to the heart? 543/D-J/00:31:03,570 --> 00:31:05,947 Okay, l could really use 530/D-J/00:30:08,891 --> 00:30:10,558 some silence right now. Yeah, well, who wouldn't that kill? 544/D-J/00:31:13,080 --> 00:31:15,081 531/D-J/00:30:20,068 --> 00:30:22,111 All right, third time's a... Here we go. 545/F-D/00:31:22,047 --> 00:31:23,422 532/D-Ls/00:30:25,949 --> 00:30:27,742 Drac. l'm sorry. l'm a little lost. 546/D-F/00:31:24,091 --> 00:31:25,299 533/D-Ls/00:30:27,826 --> 00:30:30,328 Yes, Frankie? Yes, l know it's your honeymoon. l apologize. 547/F-D/00:31:25,384 --> 00:31:26,676 Hey, buddy, what you been doing? 534/D-Ls/00:30:30,412 --> 00:30:33,289 Go back to doing what you were doing. 548/D-J/00:31:26,760 --> 00:31:27,969 Don't move. 535/D-J/00:30:37,961 --> 00:30:39,212 l'm not down here much. 549/D-F/00:31:28,053 --> 00:31:29,804 Never mind that. What you been doing? 536/D-J/00:30:39,296 --> 00:30:42,882 lt's meant to be 550/Wy-D/00:31:30,430 --> 00:31:32,807 an exit if humans ever invade. We wanted to practice our big number for Mavis's party,
551/Wy-D/00:31:32,891 --> 00:31:34,976 564/M-J/00:32:11,722 --> 00:32:14,682 and then these losers Hey. What are you doing here? wouldn't get off the bandstand. l thought you were planning.
552/D-Wy F,Mr /00:31:35,060 --> 565/J-M/00:32:14,766 --> 00:32:17,184 00:31:36,727 l never caught your name. Okay. Put down Zombie Mozart, 566/M-J/00:32:17,269 --> 00:32:18,352 553/D-Z/00:31:36,812 --> 00:31:38,396 My name's Mavis. Bach and Beethoven this instant. 567J-M/00:32:18,645 --> 00:32:21,105 554/D-Z/00:31:42,609 --> 00:31:45,945 Mavis? That's a pretty neat name. Did you get to rehearse at all, Zombie Beethoven? 568/M-J/00:32:21,189 --> 00:32:22,815 Yeah, my mom picked it. 555/Wy-D/00:31:47,739 --> 00:31:51,576 Listen, Drac, we wanted to 569/M-J/00:32:22,941 --> 00:32:26,110 play something, like old times. So, are you going to tell me your name?
556/Wy-D/00:31:51,660 --> 00:31:54,078 570/J-M/00:32:26,194 --> 00:32:30,197 We even thought maybe you'd sing with us. Me? My name? Good question.
557/D-Wy/00:31:54,162 --> 00:31:58,457 571/J-M/00:32:30,282 --> 00:32:32,199 Come on, fellas. You know that Well, obviously, l'm Frankenstein. l haven't sung in public since Martha. 572/M-J/00:32:33,035 --> 00:32:34,994 558/F-D/00:31:59,001 --> 00:32:00,793 No, you're not. Yeah, but we just thought Frankenstein is my uncle over there. how much, you know, Mavis would love it. 573/M-J/00:32:35,412 --> 00:32:37,038 559/D-F/00:32:00,877 --> 00:32:01,961 The gentleman hugging Zombie Mozart. l said no! 574/J-M/00:32:38,707 --> 00:32:40,583 560/D-F/00:32:02,045 --> 00:32:03,170 Right. Of course, he's your uncle. Don't ask me again! 575/J-M/00:32:40,709 --> 00:32:43,794 561/D-F,Wy,Mr/00:32:03,797 --> Well, see, l'm not "the" Frankenstein. 00:32:06,799 Okay. Now, let's hug the zombies. 576/J-M/00:32:43,879 --> 00:32:47,506 Let's all make up. l'm his cousin, Johnnystein.
562/Wy-F/F-Wy00:32:06,883 --> 00:32:09,427 577/M-J/Sp-M/00:32:47,591 --> 00:32:49,884 -Wow. He really scared you. -Johnnystein? -l wasn't scared. -Hey, Mavis.
563/F-Wy,Mr/00:32:09,511 --> 00:32:11,470 578/F-D/00:32:52,888 --> 00:32:55,348 l was being polite, okay? Who is that?
579/J-D/00:32:55,432 --> 00:32:56,849 594/D-F/J-F/00:33:27,631 --> 00:33:29,715 Are these monsters going to kill me? -Who was... -For strangling a pig. 580/D-J/00:32:56,933 --> 00:32:59,018 Not as long as they think you're a monster. 595/F-D/00:33:29,800 --> 00:33:32,259 l have pig-strangling blood in my arm? 581/J-D/00:32:59,102 --> 00:33:00,519 Huh? That's kind of racist. 596/F-J/00:33:32,344 --> 00:33:33,427 That's kind of cool. 582/D-J/00:33:00,604 --> 00:33:02,063 We'll talk later. 597/F-J/00:33:33,512 --> 00:33:35,429 Well, cuz, great to meet you. 583/F-D/D-F/00:33:05,651 --> 00:33:08,069 -ls he making fun of me? 598/IM-J/00:33:37,516 --> 00:33:39,100 -No, no. So, what brings you here, Johnny?
584/D-F/00:33:08,153 --> 00:33:10,279 599/J-Everyone/IM-J/00:33:39,184 --> Of course he's not, because he's... 00:33:40,559 -What was that? 585/M-F/00:33:10,405 --> 00:33:12,156 -Oh, sorry. He's your cousin, Johnnystein. 600/IM-J/00:33:40,644 --> 00:33:42,728 586/D-F/00:33:12,240 --> 00:33:13,741 l should really clear my throat before l speak. Yes, yes, yes. 601/IM-J/00:33:42,813 --> 00:33:44,605 587/F-D/00:33:13,950 --> 00:33:15,201 Anyway, what brings you here? l have no cousin. 602/J-IM/00:33:45,982 --> 00:33:47,441 588/D-F/00:33:15,285 --> 00:33:18,287 Party planner. No, no, you do. He's your sixth cousin, three times removed. 603/D-IM/00:33:47,526 --> 00:33:52,780 Yes, l have recruited Mr. Stein here 589/J-F/00:33:18,413 --> 00:33:20,414 to help me with Mavis's birthday party. On your right arm's side. 604/Mr-D/00:33:52,989 --> 00:33:55,950 590/F-his arm/00:33:20,499 --> 00:33:21,666 Wait a minute, you asked You have a cousin? someone to help you?
591/D-F/00:33:21,750 --> 00:33:23,042 605/Wy-D/00:33:56,034 --> 00:33:57,243 Frank, if your arm could talk, Captain Control Freak?
592/D-F/00:33:23,126 --> 00:33:26,170 606/D-Wy,Mr/00:33:57,327 --> 00:34:02,540 he would tell you that the original owner lt's Count... And yes, l thought having of your arm had a brother. a Mavis contemporary would be useful.
593/J-F/00:33:26,254 --> 00:33:27,546 607/J-Wy,Mr/00:34:02,624 --> 00:34:05,960 Who married a woman. Yeah, he totally needed
a fresher perspective. 622/D-J/00:34:54,551 --> 00:34:56,385 608/Wy-J/00:34:06,545 --> 00:34:08,671 Yes, thank you, Johnny. Okay, Johnny, Mr. Tight Coffin over here 623/J-F,Mr,Wy/00:34:56,470 --> 00:34:59,096 609/Wy-J/00:34:08,797 --> 00:34:11,465 You got to totally tempo things up. was planning to have these powdered lame-os play at the party. 624/J-F,Mr,Wy/00:34:59,181 --> 00:35:00,681 Here, let me show you. 610/F-J/00:34:14,010 --> 00:34:16,220 So, anyways, we thought 625/J-Wy/00:35:00,766 --> 00:35:03,684 we could liven things up a bit. Werewolf man, give me a jam!
611/J-F,Wy,Mr/00:34:16,346 --> 00:34:19,473 626/J/00:35:03,769 --> 00:35:04,810 Whoa! You all play? Two, three, four! Let's check you guys out! 627/J/00:35:04,895 --> 00:35:07,062 612/F/00:34:22,477 --> 00:34:25,521 Vampire girl with the fangy fangs Girl 628/J/00:35:07,189 --> 00:35:09,523 613/F/00:34:25,647 --> 00:34:29,400 Hair real cute with the bangy bangs l can't believe it's your big night 629/J/00:35:09,608 --> 00:35:11,942 614/Mr/00:34:31,027 --> 00:34:37,158 Little princess gonna be a queen Seems Iike onIy yesterday you were eating mosquitoes 630/J/00:35:12,027 --> 00:35:14,153 Legal bat lady turning 118 615/F,Mr,Wy/00:34:37,367 --> 00:34:40,035 But now you're eating frogs and mice 631/J-Guest/00:35:16,782 --> 00:35:19,116 -118! 616/F, Mr,Wy /00:34:40,120 --> 00:34:44,457 -Say 118! Scarfing them down Iike Doritos 632/ Guest/00:35:19,201 --> 00:35:20,326 617/F,Mr,Wy /00:34:44,750 --> 00:34:46,125 118! TeII me 633/J- Guest/00:35:20,410 --> 00:35:22,578 618/F,Mr,Wy /00:34:46,209 --> 00:34:49,670 Yeah! Stage dive! Where did the time go, girl? 634/J/00:35:26,541 --> 00:35:27,625 619/J-F,Mr,Wy,IM /00:34:49,838 --> Awesome. 00:34:51,464 Whoa, whoa, whoa. Hold on, guys. 635/M-J/00:35:27,709 --> 00:35:29,335 l am so blown away right now. 620/J-F,Mr,Wy/00:34:51,548 --> 00:34:52,757 Stop. 636/F-J/00:35:29,419 --> 00:35:36,008 l think my cuz is gonna 621/J-F,Mr,Wy/00:34:52,841 --> 00:34:54,467 make this the best party ever! That's cute, but kind of old school.
637/Mr-F/00:35:36,092 --> 00:35:38,427 Yeah! Maybe he can find 652/LF-Fl/Y-Fl/00:36:31,773 --> 00:36:33,315 a way to get me some chicks. -Hands? -Film. 638/Guest/00:35:38,553 --> 00:35:40,095 We should do a dance contest! 653/Y-Fl/LF-Fl/00:36:34,568 --> 00:36:35,985 -Vomit. 639/D-Guest/00:35:40,222 --> 00:35:41,889 -The Vomit? We're not doing any of that. 654/Y-Fl/Fl-Y/00:36:36,069 --> 00:36:38,946 640/D-Guest/00:35:41,973 --> 00:35:43,891 -The Throw Up. We've got to stay on schedule, all right? -No. That wasn't a clue.
641/M-D/00:35:43,975 --> 00:35:45,559 655/Hy-IM/00:36:46,830 --> 00:36:47,913 All right, Dad, all right. Nothing?
642/M-J/J-M/00:35:45,644 --> 00:35:47,102 656/Hy-IM/00:36:47,998 --> 00:36:49,707 -Johnny, you're coming, too. -Emptiness? -l don't know. -Glasses?
643/Mr-J/F-J/00:35:47,229 --> 00:35:48,813 657/Hy-IM/00:36:49,791 --> 00:36:52,126 -ls it cool with Dracula? -Glasses? -Johnny, come with us. -Glasses shaking?
644/EG/00:35:56,571 --> 00:36:01,408 658/Hy-IM/00:36:52,586 --> 00:36:54,128 N-27. Glasses shaking sideways!
645/EG/00:36:11,962 --> 00:36:15,756 659/Hy-IM/00:36:54,212 --> 00:36:56,046 G-61 . Through The Looking-GIass?
646/Ec/00:36:18,468 --> 00:36:20,302 660/IM-Hy/00:36:56,131 --> 00:36:58,632 Bingo! Bingo! l stink at this.
647/Ec-EG/00:36:20,387 --> 00:36:21,470 661/EG/00:37:28,830 --> 00:37:30,748 How dare you. l didn't do that.
648/Ec-EG/00:36:21,555 --> 00:36:23,472 662/Fl-W,Y,SW,etc./00:37:31,291 --> Do you know what doctor made me? 00:37:35,085 And pull it back. And up. And push. 649/EG-Ec/00:36:23,557 --> 00:36:24,807 l didn't do that. 663/Fl-W,Y,SW,etc./00:37:35,170 --> 00:37:37,546 650/Fl-Audients/00:36:26,101 --> And twist. And back. 00:36:28,352 Circles? 664/Fl-W,Y,SW,etc/ 00:37:37,631 --> 00:37:39,840 651/Y-Fl /00:36:28,436 --> 00:36:29,770 And up. And twist. Fly?
665/Fl-W,Y,SW,etc/00:37:39,925 --> You heard the man! Make them! 00:37:41,216 And push. 680/M-J/00:38:29,057 --> 00:38:30,474 How did you deal with the mobs? 666/Fl-W,Y,SW,etc/00:37:44,512 --> 00:37:46,555 681/J-M/00:38:30,558 --> 00:38:32,810 No. Don't copy that. Yeah, it does get pretty crazy in the summer.
667/Fl-W,Y,SW,etc/00:37:46,640 --> 682/J-M/00:38:32,894 --> 00:38:34,645 00:37:49,600 But, you know, you just got to roll. And back. And up. And twist. 683/Wy-M/00:38:34,729 --> 00:38:37,314 668/F-Z/00:37:53,271 --> 00:37:58,192 He just rolls. That's cool that he rolls. Let me get a bubonic moose nose omelet with cockroach paste and mouse jelly. 684/D-Wy/00:38:37,399 --> 00:38:38,482 Yes, yes, cool. 669/F-Z/00:37:58,485 --> 00:38:00,194 And with egg whites. 685/D-M/00:38:38,733 --> 00:38:43,112 Look, love droppings, l brought you 670/Q-D/00:38:01,571 --> 00:38:03,739 a bagel with your favorite, scream cheese. Bonjour, Monsieur Dracula! 686/M-D/00:38:43,196 --> 00:38:44,697 671/Q-D/00:38:03,823 --> 00:38:05,366 Holy rabies. Thanks, Dad. May l make you an omelet? 687/M-J/00:38:44,781 --> 00:38:46,490 672/D-Q/00:38:05,450 --> 00:38:07,201 Johnny, try some scream cheese, No, no, no, no. l'm not hungry. it's awesome.
673/Q-E/00:38:08,495 --> 00:38:11,163 688/J-M/00:38:46,783 --> 00:38:47,950 What? Esmeralda, you smell it again? Oh, cool.
674/Q-E/D-Q/00:38:11,247 --> 00:38:12,957 689/J-M/00:38:48,034 --> 00:38:51,870 -Human? But l'm scream cheese intolerant. -l am hungry. So, polite pass.
675/Ec-J/00:38:13,583 --> 00:38:16,835 690/D-J/00:38:52,080 --> 00:38:53,580 Johnny, you've been to the Taj Mahal? Yes, of course you are.
676/Mr-Ec/00:38:16,920 --> 00:38:19,380 691/D-J/00:38:53,665 --> 00:38:57,042 Come on. No monster's been to the Taj. Johnny, can we party-plan talk for a minute? 677/M-J/00:38:19,464 --> 00:38:21,840 Man, l wish l could go there. 692/D-J/00:38:57,127 --> 00:38:58,293 What are you doing? 678/D-Q/00:38:22,050 --> 00:38:23,968 You know what? l'll take 50 omelets. 693/D-J/00:38:58,378 --> 00:39:00,462 lf they find out you are human, 679/Q-C/00:38:24,970 --> 00:38:26,845 they'll go bat poop!
Oh, yeah, we'll see, "Mavey Wavey." 694/J-D/00:39:00,547 --> 00:39:02,715 Relax. No one suspects anything. 708/D-everyone/00:39:42,297 --> 00:39:44,631 695/D-J/00:39:02,799 --> 00:39:05,426 Okay, calm down with the fight chickens! The only thing that looks weird is how much whispering you're doing. 709/D-everyone/00:39:44,716 --> 00:39:47,134 696/D-J/00:39:07,637 --> 00:39:10,973 Everyone, stop the roughhousing! Just wrap it up. You will say you are going in the pool and act excited. 710/Ec-F/00:39:53,391 --> 00:39:55,893 Frank, if you hurt yourself... 697/D-J/00:39:11,057 --> 00:39:14,518 And then you will say you hurt your back 711/F-Ec/00:39:55,977 --> 00:39:57,478 and you have to leave. l got it, honey.
698/J-everyone/00:39:16,980 --> 00:39:18,522 712/F-Ec/00:39:57,562 --> 00:40:00,314 Here come good times! The Stein boys are bred for this kind of thing. 699/J- everyone /00:39:19,607 --> 00:39:21,108 713/F/00:40:00,398 --> 00:40:01,815 Oh, dudes. Oh, my back. Geronimo!
700/Gm-J/00:39:21,192 --> 00:39:22,359 714/Wy-JM/00:40:14,120 --> 00:40:15,996 l'm on your back! Kids, why'd you do that?
701/D-Gm/00:39:22,527 --> 00:39:24,486 715/JM-Wy/00:40:16,539 --> 00:40:17,748 No, no. He said, "Oh, my back." l was just in the pool.
702/Rm-M/M-Rm/00:39:24,571 --> 716/Y-Wy/00:40:17,832 --> 00:40:18,916 00:39:26,739 The water's cold. -Get on my back! -Let's do it. 717/IM-Wy/00:40:19,000 --> 00:40:20,417 Don't judge me! 703/J-Gm/00:39:26,906 --> 00:39:30,034 Here we go. Chicken fight! Push them off! 718/D-J/00:40:21,711 --> 00:40:23,796 Johnny. Your makeup. 704/all/00:39:30,118 --> 00:39:32,411 Chicken fight! 719/D-J/00:40:23,880 --> 00:40:25,631 Your makeup! 705/M-J/00:39:33,455 --> 00:39:34,538 We got you, Johnny. 720/D-J/00:40:25,715 --> 00:40:26,965 Climb out now. 706/M-J/J-M/00:39:34,622 --> 00:39:35,998 -You're going down. 721/J/00:40:28,593 --> 00:40:29,760 -Whoa. Oh, man.
707/J-M/00:39:36,082 --> 00:39:39,251 722/J/00:40:29,844 --> 00:40:32,471
l guess the Count wanted to go for a swim. You have no memory of this place or the monsters you met. 723/J/00:40:45,610 --> 00:40:47,361 Cannonball! 738/D-J/00:41:49,841 --> 00:41:52,843 Now go and never return. 724/D-J/00:41:13,680 --> 00:41:16,348 You messed up, baby. 739/J-D/00:41:54,012 --> 00:41:56,388 You messed up big-time. Wait, never return to the hotel?
725/D-J/00:41:16,432 --> 00:41:18,392 740/D-J/00:41:56,472 --> 00:41:58,682 l told you to take it down. What? You were supposed to forget the hotel. 726/D-J/00:41:18,476 --> 00:41:20,352 You'll ruin my hotel if they find out. 741/D-J/00:41:58,766 --> 00:42:00,976 l just used my powers to erase your memory. 727/J-D/00:41:20,478 --> 00:41:21,603 Well, maybe you're just jealous 742//D-J/00:42:01,060 --> 00:42:02,644 l looked straight into your eyes. 728/J-D/00:41:21,688 --> 00:41:23,438 that people are finally having fun 743/J-D/00:42:02,729 --> 00:42:04,688 at this place. Maybe it's the contact lenses.
729/D-J/00:41:23,523 --> 00:41:26,108 744/D-J/J-D/00:42:04,772 --> 00:42:06,815 Oh, that? That was not fun. -The what? -These little plasticky doodads 730/D-J/00:41:26,192 --> 00:41:29,319 Everyone running, jumping, 745/J-D/00:42:06,941 --> 00:42:08,025 swimming with no order. that help me see better.
731/D-J/00:41:29,404 --> 00:41:30,821 746/J-D/00:42:08,109 --> 00:42:10,152 That was the opposite of fun. Here, let me just try and get them out real quick. 732/J-D/00:41:30,905 --> 00:41:32,656 Do you even know what fun is? 747/D-J/00:42:10,403 --> 00:42:12,988 Oh, that is the most disgusting thing 733/D-J/00:41:32,740 --> 00:41:34,116 l've ever seen! l invented fun! 748/J-D/D-J/00:42:13,072 --> 00:42:15,991 734/J-D/00:41:34,200 --> 00:41:36,410 -Almost got it. Boy, the wrong people get to be immortal. -Stop doing that. Please stop doing that!
735/D-J/00:41:37,620 --> 00:41:39,204 749/D-J/00:42:16,075 --> 00:42:18,493 Look at me. Fingers away from the eyeballs! Enough!
736/D-J/00:41:39,289 --> 00:41:43,792 750/D-J/00:42:19,370 --> 00:42:21,624 You remember nothing of this encounter. Listen to me.
737/D-J/00:41:43,877 --> 00:41:49,548 751/D-J/00:42:21,708 --> 00:42:27,586
You are never to return here. You are to 764/J-M/M-J/00:43:42,203 --> 00:43:44,788 stay away and never -You could almost see Budapest. tell humans about this place. -Who-da-pest?
752/D-J/00:42:27,670 --> 00:42:32,216 765/M-J/00:43:44,872 --> 00:43:46,790 Or l will track you down ls that near Ha-wi-fi? and suck every ounce of blood 766/J-M/00:43:47,792 --> 00:43:50,669 753/D-J/00:42:32,300 --> 00:42:36,637 You mean Hawaii. from your body until you look like Yeah, that place is a knockout. a deflated whoopee cushion! 767/J-M/00:43:50,753 --> 00:43:52,754 754/D-J/00:42:39,057 --> 00:42:41,058 l just went to a music festival there. Be gone. 768/M-J/00:43:52,839 --> 00:43:54,715 755/J/00:42:46,397 --> 00:42:49,441 A human music festival? Can't believe l'm leaving, man. That could have been so great! 769/J-M/00:43:54,799 --> 00:43:56,466 l believe so. 756/J/00:42:49,525 --> 00:42:52,486 Dude ruined everything. Suck my blood. 770/M-J/00:43:56,759 --> 00:43:59,636 So, did they all bite your toes 757/J/00:42:52,570 --> 00:42:55,280 and shove garlic bread in your face? l should have just said, "l'm staying, old man!" 771/J-M/00:43:59,721 --> 00:44:03,348 No. Well, one dude took a bigger bite 758/J/00:42:55,365 --> 00:42:58,450 out of my energy bar than l expected, Give him a Bruce Lee kick. Right in the... 772//J-M/00:44:03,433 --> 00:44:04,891 759/J-M/00:42:58,534 --> 00:43:01,912 but l blame that on the heat. Oh, my God. Count Dracula. Please don't kill me. l'm leaving, l'm leaving. 773/M-J/00:44:04,976 --> 00:44:07,644 lt's amazing. You've been everywhere. 760/M-J/J-M/00:43:05,166 --> 00:43:09,211 -Follow me. 774/J-M/00:44:07,729 --> 00:44:09,813 -No, no, Mavis, l can't. l have to leave. Well, you know, what's the alternative?
761/M-J/J-M/00:43:09,379 --> 00:43:11,838 775/J-M/00:44:09,897 --> 00:44:13,483 -You sure? lt'll be fun. Just staying at home, never exploring, -Okay. never seeing what's out there?
762/J-M/00:43:22,684 --> 00:43:24,309 776/J-M/00:44:13,568 --> 00:44:18,572 He's not gonna see me, is he? l'm only gonna be 121 once, right? Got to live it. 763/J-M/00:43:39,492 --> 00:43:42,119 Wow, would you 777/M-J/00:44:19,407 --> 00:44:21,033 look at the view from up here? Yeah.
778/J-M/00:44:22,410 --> 00:44:27,914 791/F-D/00:45:30,144 --> 00:45:33,480 Oh, man. The sunrise from here must be... l'm sorry? "His kind"?
779/J-M/00:44:28,166 --> 00:44:29,416 792/F-D/00:45:33,606 --> 00:45:35,899 l'm sorry. You're saying our kind's not good enough for you, 780/J-M/00:44:29,500 --> 00:44:31,543 Man, you've probably never 793/F-D/00:45:35,983 --> 00:45:37,567 even seen a sunrise, have you? "Your Lordship"?
781/M-J/00:44:31,627 --> 00:44:33,712 794/D-F/00:45:37,652 --> 00:45:39,403 No, not really. Why? No, no, no! Frank, l didn't...
782/J-M/00:44:33,796 --> 00:44:35,213 795/D-F/00:45:39,487 --> 00:45:44,408 Come on. l have an idea. l meant that she wouldn't be into someone with such red, curly hair. 783/J-M/00:44:37,842 --> 00:44:39,426 Watch. 796/IM-D/00:45:44,492 --> 00:45:46,827 What's wrong with red, curly hair? 784/D-Mr,F,Wy,IM,JM/00:45:05,495 --> 00:45:10,415 797/D-IM/IM-D/00:45:46,911 --> Didn't l tell you guys we'd have fun in here? 00:45:50,163 ls this not the best? -Why are you getting upset? -l have red curly hair! 785/Wy-D/00:45:14,295 --> 00:45:16,380 Yeah, l'm working up a nice sweat. 798/D-IM/00:45:50,289 --> 00:45:51,998 Well, how was l supposed to know that? 786/F-D/00:45:16,464 --> 00:45:18,632 When's that Johnny kid 799/M-J/00:46:05,304 --> 00:46:10,767 gonna be done party planning? This is the most incredible thing l've ever seen. 787/Wy-D/F-D/00:45:18,758 --> 00:45:20,801 -He's a great hang. 800/M-J/00:46:12,687 --> 00:46:14,187 -Yeah, he's an animal. Johnny?
788/F-D/00:45:20,927 --> 00:45:23,887 801/D-F,Mr,Wy,IM,JM/00:46:14,355 --> And it was so nice seeing Mavis 00:46:15,689 laughing and hitting it off with him. Look, settle down, fellas.
789/D-F,Mr,Wy,IM,JM/00:45:23,971 --> 802/D-F,Mr,Wy,IM,JM/00:46:15,815 --> 00:45:26,556 00:46:18,692 Who's hitting what off? Please. This is all a moot point because Johnny, he left. 790//D-F,Mr,Wy,IM,JM/00:45:26,641 --> 00:45:30,060 803/Mr-D/00:46:18,985 --> 00:46:20,193 Mavis could never be Wait a minute. He left? with someone of his kind.
804/D-F,Mr,Wy,IM,JM/00:46:20,319 --> 00:46:23,613 819/D-T/00:47:21,005 --> 00:47:25,759 Yes. He decided Okay. Table 57, please move to position 23. he didn't like Mavis, or any of us. 820/J-D/D-J/00:47:29,722 --> 00:47:32,182 805/J-D/00:46:26,200 --> 00:46:27,868 -That is cool. Hi. -Face the wall.
806/F-D/00:46:27,952 --> 00:46:29,453 821/D-T/00:47:32,266 --> 00:47:37,062 l guess Johnny had second thoughts. 17 to 48. 16 to 47. 19 to 50.
807/D-J/00:46:40,173 --> 00:46:43,884 822/J-D/D-J/00:47:39,065 --> 00:47:41,024 l can't believe you stuck around, man. -Awesomeness. You don't get it. -Just let me do my work.
808/D-J/00:46:43,968 --> 00:46:46,136 823/D-T/00:47:41,108 --> 00:47:42,776 Bad things are coming your way. 29 to 35.
809/D-himself/00:46:46,220 --> 00:46:49,222 824/D-T/00:47:42,902 --> 00:47:44,736 l got to get my thoughts together. 42 to 18. 10 to 44.
810/D-himself/00:46:49,348 --> 00:46:50,724 825/J/00:47:45,029 --> 00:47:46,947 Okay. 17, 18, 19, 20, 21 , 22, 23.
811/D-J/00:46:50,808 --> 00:46:52,225 826/D-T/00:47:47,031 --> 00:47:48,448 You see these tables? 39 to 24.
812/D-J/00:46:52,310 --> 00:46:55,061 827/J-T/00:47:48,574 --> 00:47:49,950 You can spend the entire day 36 up! pulling them out 828/D-T/00:47:50,034 --> 00:47:51,535 813/D-J/00:46:55,146 --> 00:46:57,147 29 to 35. and placing them, party planner. 829/D-T/00:48:00,044 --> 00:48:01,920 814/J-D/00:46:57,231 --> 00:46:59,232 31 to 19. Fantastic. l'm trapped here. 830/J-T/00:48:08,261 --> 00:48:10,053 815/J-D/00:46:59,317 --> 00:47:01,359 24 up! Now l know how your daughter feels. 831/D-T/00:48:10,137 --> 00:48:12,806 816/D-J/00:47:09,911 --> 00:47:11,578 7 to 25. 14 to 30. Enough! Enough! Stop! 832/J-D/D-J/00:48:20,481 --> 00:48:24,234 817/D-J/00:47:11,746 --> 00:47:13,330 -Where'd you go, grandpa? Go to a corner, you're in a timeout! -Don't freak out, gravity face.
818/J-D/00:47:13,414 --> 00:47:15,415 /J-D/00:48:24,777 --> 00:48:26,486 Timeout? l'm a grown man! Eat my dust, gray 833fangs!
849/D-J/00:49:58,496 --> 00:50:02,832 834/D-T/00:48:26,696 --> 00:48:28,697 The fun you were talking about earlier? 56 and 43, to my side. Nailed it!
835/D-J/00:48:40,668 --> 00:48:42,961 850/D-J/00:50:03,459 --> 00:50:05,335 Prepare to cry, Billy Backpack. Johnny?
836/J-D/D-J/00:48:45,631 --> 00:48:50,176 851/D/00:50:08,255 --> 00:50:09,631 -That's how we do it! Half-pipe, baby! Quasimodo! -Whatever. 852/D-M/00:50:17,598 --> 00:50:22,894 837/Q-E/00:48:52,888 --> 00:48:54,431 Mavis? Why are you still up? The sun is out. Yes. Keep smelling. lt could kill you, my honeyguts.
838/Q-E/00:48:54,599 --> 00:48:59,311 853/M-D/00:50:22,978 --> 00:50:25,188 You catch the human, l couldn't sleep. and then l will make human potpie! Do you know where Johnny went?
839/D-T/00:49:02,189 --> 00:49:05,900 854/D-M/00:50:25,272 --> 00:50:26,690 27, 45, 65, 76, 48, block his path. l don't know. He...
840/D-T/00:49:06,235 --> 00:49:07,444 855/D-M/00:50:26,774 --> 00:50:28,900 Block his path! Why do you want to know?
841/D-J/00:49:16,746 --> 00:49:18,705 856/D-M/M-D/00:50:28,984 --> 00:50:30,944 Come on now, dude man! -Do you like him? -What? 842/D/00:49:18,789 --> 00:49:20,373 Nice! 857/M-D/00:50:31,028 --> 00:50:34,239 No. Come on, Dad. 843/J-D/00:49:28,090 --> 00:49:29,382 He's so weird and awkward. l got you, buddy. 858/M-D/00:50:34,323 --> 00:50:37,575 844/SH-D,J/00:49:32,345 --> 00:49:33,511 lt's like, are you an idiot Do not disturb! or do you know you're adorable?
845/SH-D,J/00:49:33,596 --> 00:49:34,929 859/D-M/00:50:40,287 --> 00:50:41,663 People trying to sleep here! Hold that.
846/D-J/00:49:48,069 --> 00:49:49,361 860/D-A/A-D/00:50:42,373 --> 00:50:44,499 Did you see that? -Do you have a location on Quasimodo? -Yes, sir. 847/D-A/00:49:49,445 --> 00:49:51,988 Who is that guy, Sir Breaks-a-lot? 861/A-D/00:50:44,625 --> 00:50:46,209 They're heading through the lobby, 848/D-J/00:49:52,073 --> 00:49:58,411 towards the kitchen. Oh, boy, l have to say, that was fun. Okay? 862/D-A/00:50:46,293 --> 00:50:47,627
l need them stopped immediately. 877/Q-A/00:52:08,626 --> 00:52:10,335 863/D-A/00:50:47,712 --> 00:50:49,379 Quasi wins again! -ls that clear? -Yes, quite. 878/Q-A/00:52:10,419 --> 00:52:14,088 When you bump with the hump, 864/A-D/00:50:49,463 --> 00:50:50,964 you land on your rump! We are on it. 879/D-M/00:52:21,055 --> 00:52:23,181 865/Q/00:50:57,680 --> 00:50:58,722 But why all the sudden interest? Missed! 880/D-M/00:52:23,265 --> 00:52:26,017 866/Q-A/00:51:01,809 --> 00:51:04,477 Every time we used to talk What is the meaning of this? Let me pass! about love, it was always,
867/A-Q/00:51:04,562 --> 00:51:07,021 881/D-M/00:52:26,101 --> 00:52:27,936 Quasimodo Wilson, you are coming with us. "Dad, that's gross,"
868/A-Q/00:51:09,650 --> 00:51:11,151 882/D-M/00:52:28,062 --> 00:52:30,772 Why did that hurt me? and "Dad, l don't want to know about that."
869/D-M/00:51:14,530 --> 00:51:18,032 883/M-D/00:52:30,898 --> 00:52:32,148 Look, honey, l don't know. there's no falling in love at your age. 884/A-D//D-A/00:52:33,067 --> 00:52:34,943 870/M-D/00:51:18,159 --> 00:51:20,744 -Sir, he made it into the kitchen. Mom was my age. -He what? Eunice says Mom kissed you first 885/D-A/00:52:35,069 --> 00:52:36,402 871/M-D/00:51:20,828 --> 00:51:22,829 What do l pay you for? 'cause you were too scared to make the first move. 886/D-M/00:52:36,487 --> 00:52:38,571 l'm sorry, honey. l have to go. 872/D-M/00:51:22,913 --> 00:51:24,414 Yeah, yeah, yeah, yeah, yeah. 887/A-M/00:52:40,574 --> 00:52:41,908 He doesn't pay me. 873/D-M/00:51:24,498 --> 00:51:26,708 Forget about me and Mom and kissing. 888/J-Q/00:52:46,121 --> 00:52:47,413 Before you kill me, 874/M-D/00:51:26,834 --> 00:51:29,544 Dad, at some point, l'm going to get married. 889/J-Q/00:52:47,498 --> 00:52:50,124 can l please talk to my backpack 875/M-D/D-M/00:51:29,712 --> 00:51:32,130 one more time? -l can't be here forever. -What? Why not? 890/J-Q/00:52:50,209 --> 00:52:52,502 l don't want to leave anything unresolved. 876/D-M/00:51:32,214 --> 00:51:35,216 You're barely out of your training fangs. 891/Q-D/00:52:52,586 --> 00:52:54,796
Bonjour, Monsieur Dracula! 906/D-J/00:54:00,696 --> 00:54:03,239 892/D-Q/00:52:54,880 --> 00:52:56,297 There's something l need to show you. Shut your hump hole. 907/J/00:54:13,417 --> 00:54:14,876 893/Q-D/00:52:56,382 --> 00:52:57,799 Wow. Now you are helping him? 908/J-D/00:54:14,960 --> 00:54:16,836 894/Q-M Hey, are we at a funeral right now? 00:52:57,883 --> 00:52:59,926 What is it with you and this human? 909/J-D/00:54:17,129 --> 00:54:19,672 Oh, wait, no, it's your bed. 895/D-Q/00:53:00,010 --> 00:53:02,303 He is not human. He's a Stein! 910/J-D/00:54:20,633 --> 00:54:23,176 So creepy and cool. 896/J-Q/00:53:02,388 --> 00:53:04,597 That's right, little man, l'm a Stein! 911/J-D/00:54:23,260 --> 00:54:25,219 Wow! l know her! 897/Q-D/00:53:04,682 --> 00:53:08,601 lf he is a monster, let him scare Esmeralda! 912/J-D/00:54:25,304 --> 00:54:29,474 l've seen that picture at the ruins of Lubov. 898/J-Q/00:53:09,103 --> 00:53:10,228 That's my favorite castle. The mouse? 913/J-D/D-J/00:54:29,558 --> 00:54:32,644 899/D-Q/00:53:10,896 --> 00:53:12,355 -There's a whole legend around that lady. Without a doubt. -A legend?
900/J-Q/00:53:12,898 --> 00:53:14,649 914/J-D/00:54:34,396 --> 00:54:35,730 Okay. Here we go. The Lady Lubov.
901/Q/00:53:25,703 --> 00:53:28,913 915/J-D/00:54:36,774 --> 00:54:38,483 A human! A human! The story is that a lonely count
902/Q/00:53:28,998 --> 00:53:33,668 916/J-D/00:54:38,567 --> 00:54:41,653 Monsieur Dracula met her by chance, has brought a human into the... and they say that no two souls
903/Q-E/ 917/J-D/00:54:41,737 --> 00:54:43,821 00:53:36,547 --> 00:53:40,008 were ever more meant for each other. Esmeralda, help me. 918/J-D/00:54:43,906 --> 00:54:47,742 904/J-D/00:53:52,271 --> 00:53:56,566 Eventually, they settled down Hey, thanks for saving me back there. at CastIe Lubov and had a chiId. That guy's crazy! Trying to eat me. 919/J-D/00:54:47,826 --> 00:54:51,454 905/J-D/00:53:56,650 --> 00:54:00,612 But then, a horrible tragedy happened. That's only happened to me one other time. This weird dude at a Slipknot concert. 920/J-D/00:54:51,538 --> 00:54:56,084
A fire started mysteriously one night, to keep your family safe, and it kiIIed both of them. 934/D-J/00:56:11,285 --> 00:56:15,038 921/J-D/00:54:58,462 --> 00:55:03,424 even if you have to break their trust. When l was at the castle, l could still feel their powerful love. 935/D-J/00:56:15,122 --> 00:56:19,751 But now, Mavis has feelings for you. 922/J-D/00:55:03,509 --> 00:55:08,054 They say it's as if a soul is still trapped 936/J-D/00:56:19,835 --> 00:56:20,918 in the ruins themselves. What?
923/D-J/00:55:10,099 --> 00:55:11,516 937/J-D/00:56:21,003 --> 00:56:23,046 The legend is wrong. l just...
924/D-J/00:55:12,851 --> 00:55:17,063 938/J-D/D-J/00:56:25,215 --> 00:56:27,258 lt was only the wife that died. -Awesome. -lt's all right. 925/D-J/00:55:25,781 --> 00:55:29,409 And it was no mystery who killed her. 939/D-J/00:56:27,342 --> 00:56:29,093 You are a good one. 926/D-J/00:55:30,619 --> 00:55:33,204 She was killed by your kind! 940/D-J/00:56:29,178 --> 00:56:31,846 lf the world was different, 927/Human-D,Mt/00:55:34,248 --> maybe it would be possible. 00:55:36,207 Vampire! 941/J-D/00:56:32,514 --> 00:56:34,265 Drac, this is the 21st century. 928/Mt-D/D-Mt/00:55:37,167 --> 00:55:39,711 942/D-J/00:56:34,349 --> 00:56:36,392 -Honey? People aren't the same -Go hide. l'll take care of this. as they were back then.
929/Human-D,Mt/00:55:42,339 --> 943/D-J/00:56:36,560 --> 00:56:39,937 00:55:43,631 Can you tell me for certain Vampire! that if we came out in the open,
930/D/00:55:47,052 --> 00:55:48,928 944/D-J/00:56:40,022 --> 00:56:41,439 Martha! everyone would accept us?
931/D-J/00:55:50,472 --> 00:55:53,474 945/D-J/00:56:41,523 --> 00:56:42,648 They are the real monsters. Everyone?
932/D-J/00:56:02,568 --> 00:56:07,196 946/J-D/00:56:46,153 --> 00:56:48,237 l built this place for my love, No. You're right. to protect her child. 947/J-D/00:56:48,906 --> 00:56:50,907 933/D-J/00:56:07,281 --> 00:56:11,200 l'll go for good this time. As a father, you do everything
948/J-D/00:56:50,991 --> 00:56:53,284 l have too many kids. You can just say l had some emergency, 964/D-J/00:57:35,953 --> 00:57:38,329 949/J-D/00:56:53,368 --> 00:56:55,953 Someone scratch me, l have fleas. or the gremlin lady ate me or something. 965/D-J/00:57:39,915 --> 00:57:41,499 950/D-J/00:56:56,038 --> 00:56:57,497 'Cause he's a wolf, he'd get those. No, no, no, no, no. 966/D-J/00:57:41,583 --> 00:57:43,126 951/D-J/00:56:57,581 --> 00:57:00,374 Yeah, no, don't explain it. l don't want to ruin her birthday party. 967/J-D/00:57:43,210 --> 00:57:44,627 952/D-J/00:57:00,459 --> 00:57:03,503 lt's not funny when you do that. You can sneak out after it's all done. 968/Wy-Receptionist/00:58:06,316 --> 953/J-D/00:57:03,754 --> 00:57:06,130 00:58:07,817 l'm sorry. l didn't order a wake-up call.
954/J-D/00:57:06,215 --> 00:57:09,550 969/Receptionist-Wy/00:58:07,901 --> The last thing l wanted was to hurt her. 00:58:10,945 Count Dracula arranged it for all the rooms. 955J-D/00:57:09,635 --> 00:57:10,802 Or you. 970/Wy/00:58:12,948 --> 00:58:14,240 Where's the snooze button? 956/D-J/00:57:12,179 --> 00:57:15,765 You know, 971/Telephone-Wy/00:58:14,324 --> you're not the smoothest Frankenstein, 00:58:16,534 There will be no snoozing. The party's today. 957/D-J/00:57:15,849 --> 00:57:18,351 but you'd make a great vampire. 972/IM/00:58:37,556 --> 00:58:40,600 Yeah, perfecto. 958/J-D/00:57:18,435 --> 00:57:19,519 For real? 973/F/00:58:55,157 --> 00:58:56,532 Girl 959/J-D/00:57:19,603 --> 00:57:21,354 'Cause l think l kind of got 974/F/00:58:56,617 --> 00:58:58,951 your hypno-eyes down. l can't believe it's your big night
960/D-J/00:57:21,438 --> 00:57:24,065 975/F/00:58:59,786 --> 00:59:03,748 Oh, boy, here we go. Let me see it. You ate your frogs, now the party's so right
961/J-D/00:57:24,149 --> 00:57:27,527 976/F/00:59:04,333 --> 00:59:07,126 Beware! For you are in my power. Where did the time go, girl?
962/J-D/00:57:27,611 --> 00:57:30,029 977/Mr/00:59:11,340 --> 00:59:14,175 l command you to be the werewolf man! And, girl, you used to suck a binky
963/D-J/00:57:32,449 --> 00:57:33,991 978/Mr/00:59:14,259 --> 00:59:16,552
Look at you now 993/D-M/01:01:02,826 --> 01:01:04,410 979/Mr/00:59:16,970 --> 00:59:20,598 No, you're not allowed to kiss. You're sucking blood right out of the cow 994/M-D/01:01:04,494 --> 01:01:07,913 Dad, l'm allowed to do things. 980/J/00:59:20,682 --> 00:59:22,308 l'm not 83 anymore. Wow. 995/M-D//01:01:07,998 --> 01:01:10,207 981/J-M/00:59:22,392 --> 00:59:24,602 l'm allowed to like people, You look beautiful. or go see the world again.
982/M-J/00:59:24,686 --> 00:59:26,938 996/D-M/01:01:10,292 --> 01:01:12,918 Thanks. Thanks for the party. What? You saw it! You said you didn't like it!
983/J-M/00:59:27,022 --> 00:59:29,023 997/M-D/01:01:13,003 --> 01:01:14,837 Yeah, you like my little touches? Maybe l want to give the village another chance. 984/M-J/00:59:51,588 --> 00:59:53,589 lt's amazing. 998/M-D/01:01:14,921 --> 01:01:17,757 l just need to learn, you know, 985/RM-D/Y-D/01:00:02,015 --> 01:00:04,183 just how to roll with it, like Johnny does. -Terrific party. -You really outdid yourself, Drac. 999/D-M/01:01:18,008 --> 01:01:20,926 No, no, you can't go to the village again. 986/Guest-D/01:00:04,268 --> 01:00:06,602 Got to be the best one 1000/M-D/01:01:21,011 --> 01:01:22,470 l've been to in 500 years. Maybe you can make them see that we could be friends. 987/J-B/01:00:16,571 --> 01:00:18,906 Sorry, big man. 1001//D-M/01:01:22,554 --> 01:01:24,055 No, that isn't possible. 988/J-M/01:00:39,511 --> 01:00:41,095 Mavis? 1002/M-D/01:01:24,139 --> 01:01:26,349 Well, you can't be sure. 989/JM/01:00:41,179 --> 01:00:43,055 lt's all in how you present yourself. l'm crazily scared right now. 1003/D-M/M-D/01:01:26,433 --> 01:01:28,309 990/M-J/01:00:43,140 --> 01:00:45,516 -No, that won't make a difference! Maybe that's a good thing. -How do you know?
991/D-J/01:00:57,696 --> 01:01:00,990 1004/D-M/M-D/01:01:28,393 --> 01:01:29,435 How could you? -Because it just won't! After l shared my pain with you? -Why? Why won't it?
992/J-D/M-D/01:01:01,074 --> 01:01:02,742 1005/D-M/01:01:29,644 --> 01:01:32,104 -But, no... Because that village doesn't really exist! -Dad, it was just a kiss.
1006/M-D/01:01:37,152 --> 01:01:39,904 1020/Ec-Q/01:02:27,202 --> 01:02:28,744 What do you mean "doesn't exist"? English, please.
1007/Mr-D/ 1021Ec-Q/01:02:28,829 --> 01:02:30,871 01:01:39,988 --> 01:01:41,822 Your voice is really annoying. What did you do? 1022/Fl-Ec/01:02:30,956 --> 01:02:32,498 1008/D-Mr/01:01:41,907 --> 01:01:44,241 Wait, l speak frozen. l did what l had to do. 1023/Fl-Everyone/01:02:32,582 --> 1009/M-D/01:01:44,326 --> 01:01:45,451 01:02:36,085 What was it? He says, "Dracula has brought a human into the hotel." 1010/M-D/01:01:45,535 --> 01:01:49,163 What exactly did you have to do? Tell me! 1024/GW/GM-GW/01:02:37,629 --> 01:02:39,380 1011/D-M/01:01:50,832 --> 01:01:56,295 -A human? l... l built the town. -Stay close, pookie! The staff put it all together. 1025/Fl-Everyone/01:02:42,259 --> 1012/D-M/01:01:56,380 --> 01:02:00,299 01:02:44,427 The zombies dressed up He says, "There is ze human." as the townspeople. 1026/Fl- Everyone/01:02:44,511 --> 1013/D-M/01:02:02,386 --> 01:02:04,470 01:02:45,970 Please. He has a French accent.
1014/D-M/01:02:04,554 --> 01:02:07,807 1027/F-Fl/01:02:51,518 --> 01:02:54,270 lf you really went out there Johnny's not a human. and something happened to you, He's my right arm's cousin.
1015/D-M/01:02:07,891 --> 01:02:10,476 1028/F-Q/IM-Q/01:02:54,354 --> 01:02:56,313 l just couldn't live with myself. -He's lying. -Yeah. 1016/M-D/01:02:10,560 --> 01:02:14,730 But you can live with this? Lying to me? 1029/IM-Fl/01:02:56,523 --> 01:02:57,773 Tricking me? And why is he picking his nose?
1017/M-D/01:02:14,815 --> 01:02:17,983 1030/Fl-IM/01:02:59,484 --> 01:03:01,777 Keeping me here forever when He says, "lt's a long story." you knew my dream was to go. 1031/J-E/01:03:01,945 --> 01:03:04,280 1018/Q-D/01:02:19,277 --> 01:02:21,445 Hey, wait, no! Get off me! Liar! Liar! 1032/Fl-Everyone/01:03:07,659 --> 1019/Mr-Q/01:02:22,322 --> 01:02:23,489 01:03:10,161 Oil? He says, "Behold ze human."
1033/F/01:03:12,789 --> 01:03:14,290 Mavis, honey, are you in there? l don't believe it. 1048/D-M/01:04:38,875 --> 01:04:41,585 1034/M-J/01:03:20,714 --> 01:03:23,799 Mavis? Mavis? ls it true? Are you a human? 1049/D-M/01:04:42,420 --> 01:04:45,589 1035/J-M/01:03:24,468 --> 01:03:26,969 Mavis, where are you? Yes. 1050/D-M/01:04:45,674 --> 01:04:47,508 1036/J-M/01:03:27,596 --> 01:03:29,430 Mavis? l'm so sorry. 1051/M-D/01:05:07,070 --> 01:05:10,155 1037/M-J/01:03:31,141 --> 01:03:34,185 Dad, can you do me a favor? l don't care. l still want to be with you. 1052/D-M/01:05:10,323 --> 01:05:13,450 1038/J-M/01:03:43,987 --> 01:03:48,324 Yes, yes, of course, darling. Anything. Well, tough. 'Cause l don't want to be with you. 1053/M-D/01:05:13,660 --> 01:05:15,244 Will you erase my mind? 1039/J-M/01:03:48,408 --> 01:03:51,911 Because you're a monster. 1054/D-M/01:05:17,872 --> 01:05:23,919 And l hate monsters. No, no, no, no. No, l won't do that. There's too much l want you to remember. 1040/J-M/01:03:53,830 --> 01:03:55,539 Goodbye. 1055/M-D/01:05:24,004 --> 01:05:27,631 You were right, Dad. The humans hate us. 1041/Mr-J/01:03:56,541 --> 01:03:58,542 Please don't hurt me! 1056/D-M/01:05:27,924 --> 01:05:31,635 Sweetheart, there are so many 1042/M-D/01:04:02,047 --> 01:04:04,131 eligible monsters out there. This is all your fault! 1057/D-M/01:05:31,720 --> 01:05:33,053 1043/Guest/01:04:06,051 --> 01:04:08,802 You're so young to... -We're getting out of here. -l'm never coming back here. 1058/D-M/01:05:34,347 --> 01:05:36,640 What is it? What are you reading? 1044/Guest/01:04:08,887 --> 01:04:12,723 -l thought l smelled a human. 1059/Mt/01:05:43,940 --> 01:05:46,442 -"Human-free"? What a rip. "Two lonely bats crashed in the night.
1045/SH/01:04:24,694 --> 01:04:27,196 1060/Mt/01:05:48,153 --> 01:05:52,573 Here he comes. Count Crock-ula. "They felt a Zing. Love at first sight.
1046/SH-D/01:04:27,280 --> 01:04:31,575 1061/Mt/01:05:53,033 --> 01:05:57,036 l'm just glad my eyes are stitched shut, "They knew right then 'cause l don't even want to... they would be husband and wife.
1047/D-M/01:04:33,870 --> 01:04:36,789 1062/Mt/01:05:57,787 --> 01:06:02,291
"For a Zing only happens once in your life. -Well...
1063/Mt/01:06:02,834 --> 01:06:05,002 1076/Mr-Guest/01:07:15,824 --> 01:07:18,367 "Your Zing will come, my love. Excuse me! Pardon, yeah.
1064/Mt/01:06:05,086 --> 01:06:06,503 1077/Mr- Receptionist/01:07:18,451 --> "Cherish it. 01:07:21,829 Excuse me, l got a couple 1065/Mt/01:06:06,588 --> 01:06:08,714 of people to express mail. "Love, Mommy." 1078/D-Everyone/01:07:23,415 --> 1066/M-D/D-M/01:06:12,594 --> 01:06:16,680 01:07:25,124 -l thought we Zinged, Dad. Friends, please, stop. -You and Johnny? 1079/Mr-D/01:07:25,208 --> 01:07:27,334 1067/M-D/01:06:16,765 --> 01:06:19,475 lt's too late, rat-bat! l guess it was only me. 1080/D-Guets/01:07:27,419 --> 01:07:28,877 1068/M-D/01:06:19,559 --> 01:06:23,520 Please, l'm begging you. But you should be happy, Dad. There's no reason for me to leave. 1081/D-Everyone/01:07:28,962 --> 01:07:31,714 1069/M-D/01:06:23,688 --> 01:06:28,150 l need you to help me find Johnny. l have no more dreams. l'm just like you now. 1082/Wy-D/01:07:31,798 --> 01:07:33,841 1070/D/01:06:54,469 --> 01:06:57,596 The human? He could've killed us! Martha, what have l done? 1083/Mr-D/01:07:33,925 --> 01:07:35,718 1071/Guests-Receptionist/01:07:04,145 --> He touched my guitar! 01:07:05,771 -Where is my bill? 1084/IM-D/01:07:35,802 --> 01:07:39,972 -Over here. l'm next. He put his hand in my mouth to see if it would disappear. 1072/Guests-Receptionist/01:07:05,897 --> 01:07:08,857 1085/EG-D/01:07:40,223 --> 01:07:43,475 -l'm checking out. He let me eat his scooter! -Take my key! Take my key! 1086/D-Everyone/01:07:44,936 --> 1073/Wy-W/01:07:10,151 --> 01:07:11,318 01:07:47,271 What is this minibar charge? l know l lied.
1074/W-Wy/01:07:11,403 --> 01:07:13,529 1087/D-Everyone/01:07:47,355 --> Honey, the kids threw 01:07:48,939 the minibar out the window. l was wrong.
1075/Wy-W/W-Wy/01:07:13,613 --> 1088/D-Everyone/01:07:49,023 --> 01:07:15,698 01:07:50,816 -And that's our fault? But you have to believe this:
-Oy, now you're short-circuiting. 1089/D-Everyone/01:07:51,025 --> -l don't care! 01:07:54,486 Johnny wasn't a bad guy. 1102/IM-Everyone/01:08:35,028 --> 01:08:37,279 1090/D-Everyone/01:07:55,697 --> Well, what are we doing? Let's get Johnny. 01:07:59,950 Come on! The truth is, l don't even know if humans are bad anymore. 1103/Everyone/01:08:37,363 --> 01:08:39,573 -Yeah, let's do it! 1091/D-F/01:08:02,996 --> 01:08:06,331 -Come on! Frank, come on, buddy. You understand. 1104/F/01:08:42,869 --> 01:08:44,036 1092/Ec-D/01:08:06,416 --> 01:08:07,916 Yeah! He's not talking to you. 1105/Ls-Ls/01:08:45,079 --> 01:08:48,290 1093/Ec-D/01:08:08,001 --> 01:08:10,377 We should have First you tell us humans are bad, honey mooned at your parents! now they're good. 1106/IM-D/01:09:00,303 --> 01:09:01,804 1094/Ec-D/01:08:10,462 --> 01:08:13,297 Okay, okay, where am l going? What else? Up is down, cold is hot, gremlins don't smell. 1107/D-IM/01:09:01,888 --> 01:09:04,973 The human world, 1095/GM-Ec/01:08:13,548 --> 01:08:15,382 before Johnny's gone forever. Hey! 1108/Mr-D/01:09:05,058 --> 01:09:06,183 1096/E-Everyone/01:08:16,926 --> But what about the sun? 01:08:21,013 l really liked Johnny, cousin or no. 1109/D-Mr/01:09:06,810 --> 01:09:10,270 He told fun stories. l don't know. l'll just have to roll.
1097/D-Everyone/01:08:21,264 --> 1110/Wy-D/01:09:10,355 --> 01:09:12,231 01:08:23,307 He just rolls. Rollability. l think they Zinged. 1111/D-IM,Mr,Wy,F/01:09:13,149 --> 1098/Wy,W-D//01:08:23,391 --> 01:08:24,683 01:09:14,566 They Zinged? So we follow his boot-prints.
1099/D-Everyone/01:08:24,768 --> 1112/D-Wy /01:09:14,651 --> 01:09:17,069 01:08:26,769 When they run out, But l got in the way. that's where you come in, Wayne.
1100/F-Everyone/01:08:27,604 --> 1113/Wy-D/D/01:09:17,153 --> 01:09:18,320 01:08:30,481 -Me? You only Zing once in your life. -There!
1101/Ec-F/F-Ec/01:08:31,357 --> 01:08:34,485 1114/D/01:09:20,949 --> 01:09:24,409
Yes, l knew something would fall out of that backpack. 1129/Wn-D/01:10:27,974 --> 01:10:32,227 lt needs a little transmission work, 1115/D/01:09:25,703 --> 01:09:28,038 but otherwise okay. That stinks! 1130/Wn-D/01:10:32,312 --> 01:10:37,399 1116/D-Wy/01:09:28,122 --> 01:09:29,373 lt drove through town to the airport. Work your magic. Flight 497.
1117/Wy-D/01:09:29,457 --> 01:09:31,542 1131/Wn-D/01:10:37,483 --> 01:10:38,942 Wait, you want me to track the smell? 8:00 a.m. departure.
1118/Wy-D/01:09:31,626 --> 01:09:33,961 1132/D/01:10:39,027 --> 01:10:40,861 No. My sniffing tracking That's in 15 minutes. days are way behind me. 1133/Wn-D/01:10:40,945 --> 01:10:42,571 1119/Wy-D/01:09:34,087 --> 01:09:35,963 Seat 23A. Do you know how many diapers l've changed? 1134/Wn-D/01:10:43,197 --> 01:10:44,823 He ordered the vegetarian meal. 1120/Wy-D/01:09:36,047 --> 01:09:38,632 How many number twos 1135/D-Wn/01:10:44,908 --> 01:10:47,284 have destroyed this thing? Okay, thank you, cutie.
1121/Wy-D/01:09:38,716 --> 01:09:40,259 1136/D-WK/01:10:47,410 --> 01:10:49,453 But... Now, all of you, go back to your mother!
1122/IM-WK/01:09:53,648 --> 01:09:55,858 1137/D/01:10:57,921 --> 01:10:59,046 Hey! Take it easy! Watch it! Sheep!
1123/Wy-WK/01:09:56,901 --> 01:09:58,402 1138/IM-D,Wy,Mr,F/01:11:08,681 --> Sit. 01:11:11,475 High five! Don't leave me hanging. 1124/Wy-WK/01:09:59,279 --> 01:10:01,530 Smell. l said smell. 1139/IM/Wy/01:11:12,685 --> 01:11:14,686 -Lots of sheep! 1125/Wy-WK/01:10:03,908 --> 01:10:06,618 -l got this one. Not me, the shirt! The shirt! 1140/Wy-D,F,Mr,IM/ 1126/D-Wy/01:10:06,703 --> 01:10:09,454 01:11:21,819 --> 01:11:24,905 Do any of your kids still respect you? What? Now there's no sheep in the road. Let's go. 1127/Wy-Wn/01:10:09,539 --> 01:10:15,419 Give me a second. Yeah. Winnie! 1141/Mr,Wy/01:11:24,989 --> 01:11:26,573 Front and center! That was pretty sick, man.
1128/Wn-D/01:10:24,637 --> 01:10:27,890 1142/Wy-Mr/01:11:26,658 --> 01:11:29,034 He got into a car. A '86 Fiat. You eat lamb chops, it's the same thing.
You should have left an hour earlier. 1143/Wy- D,F,Mr,IM/01:11:29,118 --> Bleh, bleh-bleh. 01:11:30,994 We don't have time for this. 1156/D-Human/01:12:41,941 --> 01:12:44,609 Come on, let's move it! l do not say "Bleh, bleh-bleh."
1144/IM- D,F,Mr,Wy/01:11:35,333 --> 1157/D-Wy,IM,F,Mr/01:12:45,236 --> 01:11:37,209 01:12:48,071 Look, a human. All right, let's just run through it on foot.
1145/Human- D,F,Mr,Wy,IM/ 1158/F-D/01:12:53,995 --> 01:12:56,121 01:11:38,878 --> 01:11:43,632 Drac, this'll protect you. Welcome to Transylvania! 1159/F-D/01:12:57,749 --> 01:13:00,459 1146/F/01:11:46,219 --> 01:11:48,762 lmagine if that guy knew That was trippy. he was talking to the real Drac.
1147/IM/01:11:48,888 --> 01:11:50,347 1160/F-D/01:13:00,585 --> 01:13:02,294 Monster Festival? He'd run for the hills!
1148/IM/01:11:51,182 --> 01:11:52,391 1161/Mr-F/ What's a Monster Festival? 01:13:02,628 --> 01:13:04,588 Hold it, now. Hold it, now. 1149/Mr-D,F,IM,Wy/ 01:11:59,065 --> 01:12:01,066 1162/Mr-D,F,Wy,IM/01:13:04,672 --> Did they know we were coming? 01:13:06,006 That sounds spot on. 1150/F-D,Wy,IM,Mr/ 01:12:24,298 --> 01:12:25,882 1163/Mr-D,F,Wy,IM/01:13:06,299 --> They like us? 01:13:10,469 But the only way they'd know the real us 1151/F-D,Wy,IM,Mr/ is if we show the real us. 01:12:25,967 --> 01:12:27,467 Really? 1164/D-Mr/01:13:10,595 --> 01:13:11,762 This could work. 1152/D-Human/01:12:28,886 --> 01:12:31,430 Excuse me? 1165/F-Mr/01:13:11,846 --> 01:13:14,556 Do you know the best way to the airport? You mean, like, scare them? We haven't scared people in centuries. 1153/Human-D/01:12:31,556 --> 01:12:35,308 Yes, fellow Dracula. There's only one way. 1166/F-Mr/01:13:14,640 --> 01:13:16,933 Bleh, bleh-bleh. l don't even think l have it in me anymore.
1154/D-Human/01:12:36,102 --> 01:12:39,021 1167/F-Mr/01:13:20,021 --> 01:13:21,605 But it's all blocked. l got nothing. l really got nothing. We'll never make it in time. 1168/IM-F/01:13:21,689 --> 01:13:23,315 1155/Human-D/01:12:39,105 --> 01:12:41,857 Let's just move this along.
1183/A Man-Everyone/01:14:25,211 --> 1169/F/01:13:29,655 --> 01:13:32,866 01:14:29,214 Fire! Fire! Okay. All Draculas, line up. Bleh, bleh-bleh. 1170/F/01:13:32,992 --> 01:13:34,326 Fire! 1184/A Man-Everyone/ 01:14:33,052 --> 01:14:37,222 1171/F-Human/01:13:47,799 --> 01:13:50,550 Everyone else, lift the capes. l'm trying to scare you! Protect our friend. Bleh, bleh-bleh.
1172/F-Human/01:13:50,676 --> 01:13:52,385 1185/F-D/01:14:45,356 --> 01:14:47,232 The real Frankenstein! lt's all for you, buddy.
1173/Human-F/01:13:52,512 --> 01:13:54,471 1186/F-D/01:14:48,526 --> 01:14:50,152 We know! We love you! Go ahead.
1174/Woman-F/01:13:54,555 --> 01:13:56,014 1187/Human-D/ Can you sign my torch? 01:14:50,236 --> 01:14:51,486 -Good luck! 1175/F-Human/01:13:57,642 --> 01:14:03,605 -Go get 'em! Listen, before anything else, down there's the real Dracula! 1188/Human-D/01:14:51,571 --> 01:14:52,654 Go, Drac, go! 1176/Boy/01:14:03,689 --> 01:14:05,190 Prove it. 1189/Human-D/01:14:52,738 --> 01:14:54,573 -Go, Drac! 1177/Boy/01:14:06,192 --> 01:14:07,317 -Go, Drac! All right. Continue. 1190/Human-D/01:14:54,657 --> 01:15:04,332 1178/F-Human/01:14:07,568 --> 01:14:11,404 Go, Drac! Drac's daughter's in love, and he's got to get to the airport! 1191/Human-D/01:15:04,417 --> 01:15:06,126 Go get 'em! 1179/F-Human/01:14:11,531 --> 01:14:13,532 And he can't get through this crowd! 1192/Human-D/01:15:06,586 --> 01:15:09,337 Go, Drac, go! 1180/Man-Other Man/ 01:14:13,825 --> 01:14:17,369 1193/Human-D/01:15:09,422 --> 01:15:12,799 -Why doesn't he fly? We love you, Dracula! -The sun, you idiot. He's a vampire. 1194/D-Himself/ 1181/F-A Man/01:14:17,787 --> 01:14:20,122 01:15:27,523 --> 01:15:28,815 That's right. Thank you, Monster Nerd. There's no choice.
1182/F-Human/01:14:20,206 --> 01:14:25,085 1195/D-Himself/01:16:08,731 --> So, people, if you really are our friends, 01:16:10,815 clear a path for the man! Okay. Okay, l must do this.
1196/D-J/01:16:29,126 --> 01:16:32,545 1211/P1-Passenger/01:17:30,021 --> Jonathan. Jonathan, can you hear me? 01:17:34,190 Folks, l'm gonna turn on the seat belt sign. 1197/D-J/01:16:32,755 --> 01:16:35,799 Just a precaution while we... Tell me, do you dream of being a vampire? 1212/P1-Passenger/ 1198/D-J/01:16:35,883 --> 01:16:38,927 01:17:36,652 --> 01:17:41,406 This is how we're represented. Unbelievable. While we hear a special announcement for my dear friend Jonathan. 1199/D-J/01:16:39,470 --> 01:16:41,179 Jonathan. Jonathan. 1213/J/01:17:41,949 --> 01:17:42,949 Dracula? 1200/D-J/01:16:41,806 --> 01:16:43,098 Can you hear me? 1214/P1-Passenger/01:17:43,034 --> 01:17:47,120 1201/J-D/01:16:43,182 --> 01:16:44,683 My dear boy, l have made a terrible mistake. Whoa! Bat! 1215/P1-Passenger/01:17:47,413 --> 1202/J-D/01:16:44,767 --> 01:16:47,602 01:17:53,585 Wait, it's talking. Dracula? ls that you? l was trying to keep my baby to myself, because l knew l would always protect her. 1203/J-D/01:16:49,230 --> 01:16:50,397 Dracula. 1216/P1-Passenger/01:17:53,919 --> 01:17:59,257 1204/J-D/01:16:50,481 --> 01:16:53,024 But I reaIize now, chiIdren l can't understand you. need to discover things for themselves.
1205/D-J/01:16:53,109 --> 01:16:56,111 1217/P1-Passenger/01:17:59,425 --> What? My hand's in a tan shoe? 01:18:03,386 They'll stumble and fall, laugh and cry, 1206/J-D/01:16:56,195 --> 01:17:00,282 What? Japan's eating lamb stew? 1218/P1-Passenger/01:18:03,554 --> 01:18:05,347 1207/J-D/01:17:00,366 --> 01:17:02,367 but such is Iife. Hey, do you know you're smoking? 1219/P1-Passenger/01:18:05,431 --> 1208/J-Woman/01:17:09,375 --> 01:17:10,625 01:18:08,808 Pardon me. Sorry, excuse me. The truth is, you and Mavis are meant to be.
1209/J-Man/01:17:10,710 --> 01:17:12,377 1220/P1-Passenger/01:18:08,893 --> Whoa! Excuse me. 01:18:10,352 You Zinged. 1210/P1-P2-P2-P1/01:17:26,851 --> 01:17:29,227 1221/P1-Passenger/01:18:10,436 --> -What the heck? 01:18:13,355 -How'd a bat get up this high? lf she must give her trust to someone else,
1222/P1-Passenger/01:18:13,439 --> 01:18:16,524 1237/D-M/01:19:37,773 --> 01:19:40,233 l'm thankful that it is you, Jonathan. lt comes with an accessory.
1223/P1-Passenger/01:18:16,609 --> 1238/M-J/J-M/01:19:42,319 --> 01:19:44,487 01:18:20,945 -You? l hope you can hear me and forgive me. -You.
1224/P1-Passenger/01:18:34,794 --> 1239/M-J/01:19:45,406 --> 01:19:46,823 01:18:39,422 Why are you back? Okay, folks, we're going to make a quick turnaround to refuel, 1240/J-M/01:19:50,744 --> 01:19:52,662 'Cause you're my Zing, Mavis. 1225/P1-Passenger/01:18:39,507 --> 01:18:41,716 1241/M-J/01:19:52,788 --> 01:19:54,747 and then we'll be back on our way. l'm your Zing?
1227/M-D/01:18:59,318 --> 01:19:00,402 1242/M-J/01:19:55,166 --> 01:19:57,709 Dad? But you told me you hate monsters.
1228/D-M/01:19:01,904 --> 01:19:06,449 1243/J-M/01:19:58,002 --> 01:20:00,670 l'm fine. l'm just a little sunburned. Yeah, well, l was afraid your dad was gonna
1229/D-M/01:19:08,911 --> 01:19:10,078 1244/J-M/01:20:00,754 --> 01:20:03,047 Honey, suck all the blood out of my body if l didn't say that. 1230/D-M/01:19:11,664 --> 01:19:15,750 l always thought the worst thing ever 1245/D-M/01:20:03,132 --> 01:20:04,841 would be seeing you go. l wouldn't have...
1231/D-M/01:19:15,835 --> 01:19:19,337 1246/D-M/01:20:04,925 --> 01:20:06,801 But the worst is seeing you unhappy. No, he's right, l would have done that.
1232/D-M/01:19:19,422 --> 01:19:22,382 1247/M-D/D-M/01:20:06,886 --> 01:20:09,929 Mavey, l want you to live your life. -Dad. -l was wrong, Devil-chops. 1233/M-D/01:19:24,677 --> 01:19:26,761 l don't know how l'm supposed to do that. 1248/M-D/01:20:13,559 --> 01:20:15,518 Do you really mean it, Dad? 1234/D-M/01:19:28,431 --> 01:19:31,724 You know, Mommy already 1249/D-M/01:20:17,104 --> 01:20:19,355 gave you her birthday present. Go make your own paradise.
1235/D-M/01:19:31,809 --> 01:19:33,810 1250/J-M/01:20:22,985 --> 01:20:25,487 Can l now give you mine? Can we try that kiss over again?
1236/M-D/01:19:36,439 --> 01:19:37,689 1251/M-J/01:20:25,571 --> 01:20:28,198 What do l need this for? l think we can.
that we shared 1252/D-M,J/01:20:32,244 --> 01:20:35,872 Sorry. l just... l got to get used to that. 1265/M/01:21:21,961 --> 01:21:24,128 Zinging in the rain 1253/D-M,J/01:20:35,956 --> 01:20:38,583 Now l'm feeling no pain Go. Do your thing. 1266/M/01:21:25,256 --> 01:21:29,008 1254/Q-WK/01:20:48,969 --> 01:20:50,512 lt's a real time for celebrating Stop! Stop! 1267/M/01:21:29,093 --> 01:21:31,261 1255/J/01:20:56,143 --> 01:20:58,061 'Cause you're my Zing l thought l found a love but she was just a fling 1268/J-D/01:21:32,596 --> 01:21:34,138 Drac, you ready to throw down? 1256/J/01:20:58,145 --> 01:20:59,896 And then l met a girl 1269/D-J/01:21:34,223 --> 01:21:37,392 and felt a different thing No, no, l just came closer to hear you better.
1257/J/01:20:59,980 --> 01:21:02,065 1270/J-D/01:21:37,476 --> 01:21:39,352 lt's like you're hit in the ring Come on, just give it a try. Like you're pulled by a string 1271/D-J/01:21:39,478 --> 01:21:41,437 1258/J/01:21:02,149 --> 01:21:03,816 All right, maybe just a little. Can't breathe like you're choking on a chicken wing 1272/D/01:21:41,522 --> 01:21:43,356 So Iisten aII you Zingers 1259/J/01:21:03,901 --> 01:21:05,944 from here to Beijing lt was a thing called a Zing and l wanted to sing 1273/D/01:21:43,440 --> 01:21:45,233 You better crash the box spring 1260/J/01:21:06,028 --> 01:21:07,820 Get ready to cIing And Iisten to ballads of the man named Sting 1274/D/01:21:45,317 --> 01:21:47,193 'Cause if Iove was money 1261/J/01:21:07,905 --> 01:21:09,822 you'd be yelling cha-ching Lady looks in your eyes and it's suddenly spring 1275/D,J/01:21:47,278 --> 01:21:49,028 Next to a Zing 1262/J/01:21:09,907 --> 01:21:11,741 Cupid's arrow's a IittIe bee sting Like when NaIa Iooked at Simba in The Lion King 1276/D,J/01:21:49,113 --> 01:21:51,072 lt was a Zing and a zang 1263/Mr/01:21:14,078 --> 01:21:17,664 and a zingidy-dee Zinging in the air and I don't have a care 1277/D,J/01:21:51,156 --> 01:21:52,907 And there was only one lady 1264/Mr/01:21:17,748 --> 01:21:21,876 in the Zing for me l'm winging from the Zing
1278/D,J/01:21:52,992 --> 01:21:54,158 'Cause when you're dinged by the Zing
1279/D,J/01:21:54,243 --> 01:21:55,952 You better know one thing The only bling you gonna sling
1280/D,J/01:21:56,036 --> 01:21:57,161 ls a wedding ring
1281/Mr,M/01:22:01,667 --> 01:22:03,209 Zinging in the air
1282/D/01:22:03,294 --> 01:22:05,169 Now I don't have a care
1283/D/01:22:05,254 --> 01:22:09,507 l'm winging from the Zing that we shared
1284/D/01:22:09,592 --> 01:22:13,052 Zinging in the rain Now l'm feeling no pain
1285/M,Mr/01:22:13,137 --> 01:22:16,931 lt's a real time for celebrating
1286/M,Mr/01:22:17,016 --> 01:22:18,516 'Cause you're my Zing
1287/All/01:22:18,601 --> 01:22:20,101 Feel the Zing, y'all Ba-da-bing, y'all
1288All/01:22:20,185 --> 01:22:22,103 Gonna knock you right out of that ring, y'all
1289/All/01:22:22,187 --> 01:22:24,022 Better bring, y'all Happening, y'all
1290/All/01:22:24,106 --> 01:22:26,024 Pay attention to the undead king, y'all SILABUS PEMBELAJARAN
Nama Sekolah : Mata Pelajaran : Bahasa Inggris Kelas / Semester : X / 1
Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa Mendengarkan 1.1 Merespon Responding to initial Religius, Percaya diri Mendengarkan Merespon Quiz (14 x 45) Developing English 1 Memahami makna yang greetings jujur, (keteguhan percakapan dengan benar Competencies terdapat toleransi, hati, optimis). interpersonal/tr terhadap tindak makna dalam - very well, thank Ulangan 1 x 45’ for Grade X Senior percakapan dalam you and how are disiplin, kerja Berorientasi ansaksi onal tutur: berkenalan, High School
transaksional percakapan you. keras, pada tugas melalui tape bertemu dan (SMA/MA) transaksional mandiri, secara klasikal berpisah. dan - I’m (bermotivasi, Tertulis Tape interpersonal (to get things demokratis, tekun/tabah, Mendiskusikan Tugas good/okay/alright 2 x 45’ Kamus dalam konteks done) dan rasa ingin bertekad, berbagai tindak - Very well. Thank kehidupan interpersonal tahu, enerjik). tutur lain yang Kaset/CD sehari-hari (bersosialisas you semangat Pengambil dapat Tape/CD Player i) resmi dan - Oh, pretty good kebangsaan, digunakan 3 x 45’ tak resmi resiko (suka OHP/LCD - Not to bad, cinta tanah dalam yang air, tantangan, Foto/ Poster thanks mampu percakapan menggunaka menghargai yang didengar Gambar n ragam - Fine, thanks. prestasi, memimpin) secara Koran berbehasa bahasa lisan - Exellent bersahabat, Orientasi ke berpasangan. Inggris sederhana cinta damai, masa depan secara gemar (punya Mendiskusikan Majalah Closing/ leave taking akurat, lancar membaca, perspektif respon yang Internet dan - goodbye peduli untuk masa diberikan berterima - bye bye, bye now, lingkungan, depan) terhadap tindak dalam see you, take peduli sosial, tutur yang konteks care tanggung didengar secara kehidupan berkelompok - see you later..fine jawab sehari-hari dan - see you …soon melibatkan - see you tindak tutur: tonight..all right berkenalan, - good night bertemu/berp isah, Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa menyetujui ajakan/tawar an/ undangan, menerima janji, dan membatal- kan janji 1.2 Merespon Expreesing Religius, Percaya diri Mendengarkan Merespon berbagai Quiz 1 x 45 Developing English makna yang happiness : formal jujur, (keteguhan percakapan tindak tutur dalam Ulangan 2 x 45 Competencies terdapat toleransi, hati, optimis). interpersonal / wacana lisan . oh, I’m so happy. tertulis 2 x 45 for Grade X Senior dalam disiplin, kerja transa ksional interpersonal/ . I can’t say how Berorientasi High School percakapan keras, melalui tape transaksional: Tugas pleased I am. pada tugas (SMA/MA) transaksional mandiri, (bermotivasi, secara individu. dalam berbagai . I had a splendid Tape (to get things demokratis, tekun/tabah, Mendiskusikan acara secara time there. Kamus done) dan rasa ingin bertekad, tindak tutur senang dan interpersonal . What a tahu, enerjik). yang digunakan bahagia. Kaset/CD (bersosiali- marvelous place semangat Pengambil dalam Tape/CD Player sasi) resmi I,Ve ever seen. kebangsaan, percakapan dan tak resmi resiko (suka OHP/LCD . It’s an interesting cinta tanah yang didengar yang air, tantangan, Foto/ Poster experience. mampu secara mengguna- menghargai berpasangan. Gambar kan ragam . It’s an prestasi, memimpin) Koran berbehasa bahasa lisan outstanding bersahabat, Orientasi ke Mendiskusikan Inggris sederhana adventure. cinta damai, masa depan respon yang secara . It’ a sensational gemar (punya diberikan Majalah terhadap tindak akurat, lancar trip. membaca, perspektif Internet tutur yang dan peduli untuk masa berterima lingkungan, depan) didengar dalam peduli sosial, konteks tanggung kehidupan jawab sehari-hari dan melibatkan tindak tutur: mengungkap kan perasaan bahagia, Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa menunjukkan perhatian, menunjukkan simpati, dan memberi instruksi Mendengarkan 2.1 Merespon Making, accepting Religius, Percaya diri Mengidentifika- . Menjawab Tugas 1 x 45 Developing English and declining an pertanyaan 2 Memahami makna jujur, (keteguhan si beberapa Quiz 1 x 45 Competencies secara invitation; toleransi, hati, optimis). pengumuman teks lisan makna teks fungsional Ulangan 2 x 45 for Grade X Senior fungsional akurat, lancar disiplin, kerja Berorientasi lisan di tempat High School The tone of an pendek tertulis pendek dan teks dan keras, pada tugas umum secara (SMA/MA) berterima invitation is always mandiri, berkelompok. sederhana monolog positive, in (bermotivasi, (misalnya Tape sederhana dalam teks demokratis, tekun/tabah, Mendengarkan lisan anticipation of a rasa ingin pengumuman, Kamus berbentuk pleasurable bertekad, pengumuman iklan, fungsional tahu, Kaset/CD recount, occasion. Picture enerjik). melalui tape undangan dll. narrative dan pendek semangat your guests smiling Pengambil secara klasikal. Tape/CD Player procedure dalam sederhana kebangsaan, Melakukan teks when they read your resiko (suka Mendiskusikan OHP/LCD konteks (misalnya cinta tanah lisan fungsional letter of invitation. tantangan, isi dan bentuk kehidupan pengumuman air, pendek Foto/ Poster Clever phrasing, mampu bahasa yang sehari-hari , iklan, menghargai sederhana Gambar undangan poetry or a themed prestasi, memimpin) digunakan (misalnya Koran berbehasa dll.) resmi approach may be bersahabat, Orientasi ke secara pengumuman, Inggris dan tak resmi appropriate for an cinta damai, masa depan berkelompok iklan, undangan dalam informal occasion, gemar (punya dll. Majalah but you should berbagai membaca, perspektif Mempresentasi Internet konteks express the details peduli untuk masa clearly. For further kan teks lisan kehidupan lingkungan, depan) fungsional sehari-hari tips visit to invite peduli sosial, someone pendek tanggung sederhana jawab (misalnya pengumuman, iklan, undangan dll. 2.2 Merespon Teks monolog Religius, Percaya diri Mendengarkan Merespon teks Quiz 3 x 45 Developing English berbentuk makna dalam jujur, (keteguhan cerita/petunjuk monolog Ulangan 3 x 45 Competencies teks monolog procedure, toleransi, hati, optimis). melakukan sederhana tertulis 2 x 45 sederhana contohnya: disiplin, kerja sesuatu untuk yang keras, menemukan Tugas Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa menggunaka How to Make Gudeg mandiri, Berorientasi berbagai berbentuk for Grade X Senior n ragam Jogja (Green Jack demokratis, pada tugas informasi recount. High School bahasa lisan Fruit Sweet Stew) rasa ingin (bermotivasi, secara individu Melakukan teks (SMA/MA) secara tahu, tekun/tabah, Mendiskusikan monolog Tape akurat, lancar Ingredients: semangat bertekad, perbedaan sederhana Kamus dan - 5 onions kebangsaan, enerjik). penggunaan berbentuk Kaset/CD berterima - 10 candlenuts cinta tanah Pengambil bahasa secara recount dalam - 10 garlic cloves air, resiko (suka lisan dan Tape/CD Player berbagai - 4 bay Leaves menghargai Menjawab tantangan, tertulis secara OHP/LCD konteks - 1/2 lb. (250g) prestasi, pertanyaan teks mampu berkelompok. monolog Foto/ Poster kehidupan green jack fruit bersahabat, memimpin) sehari-hari - 2-1/2 tsp. (12g) cinta damai, Berdiskusi sederhana Gambar Orientasi ke secara berbentuk dalam teks: coriander seeds gemar Koran berbehasa masa depan berkelompok procedure recount, - 1-1/4 tsp. (6g) membaca, Inggris narrative, dan cumin peduli (punya untuk membuat Melakukan teks Majalah procedure - 1/4 cup (62ml) lingkungan, perspektif sebuah cerita monolog lisan coconut sugar peduli sosial, untuk masa dan bercerita berbentuk Internet - 2 cups (500ml) tanggung depan) secara procedure. coconut milk jawab sambung menyambung. Mempresentasik - 2 tsp. (30g) an teks monolog tamarind lisan berbentuk - 2 lb. (1kg) chicken procedure (cut into small pieces with bone) - 5 cups (1.25l) water - 2 inches bruised galangal
Instructions: - First, cut green jack fruit 1 inch thick. Wash and boil until tender. - Next, ground onions, candle nuts, sauté paste, bay leaves, and galangal until fragrant. Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa - Add the chicken pieces, stir fry until chicken changes clour. - Then, pour 4 cups of water and coconut sugar, bring to a boil. - Add the green jack fruit and simmer until the chicken and vegetables are tender. - Finally, add coconut milk 5 minutes before it’s done, bring back to a boil. Serve hot with ice. - This dish is sweet and usually served with shrimp cracker 1. Procedure text can be explained as bellow: Social function : to describe how something is accomplished through a sequence of actions or steps. Generic structure: - Goal. - Materials (not required for all procedural texts) - Steps (a series of steps oriented to achieving the goal)
Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa Berbicara 3.1 Mengung- Responding to initial Religius, Percaya diri Bermain peran Melakukan Performans 4 x 45’ Developing English 3. Mengungkapkan kapkan greetings jujur, (keteguhan secara berbagai tindak ns 2 x 45’ Competencies makna dalam makna dalam - very well, thank toleransi, hati, optimis). berpasangan tutur dalam for Grade X Senior percakapan percakapan you and how are disiplin, kerja Berorientasi Melakukan wacana lisan High School transaksional transaksional you. keras, pada tugas tourist hunting interpersonal / (SMA/MA) (to get things mandiri, transaksional: dan - I’m (bermotivasi, dan merekam Tape interpersonal done) dan demokratis, tekun/tabah, percakapan- berkenalan, good/okay/alright Kamus dalam konteks interpersonal rasa ingin bertekad, nya* bertemu dan - Very well. Thank kehidupan ( bersosiali- tahu, enerjik). berpisah. Kaset/CD sasi) resmi you seharihari. semangat Tape/CD Player dan tak resmi - Oh, pretty good kebangsaan, Pengambil resiko (suka OHP/LCD secara - Not to bad, cinta tanah akurat, lancar air, tantangan, Foto/ Poster thanks mampu dan menghargai Gambar berterima - Fine, thanks. prestasi, memimpin) Koran berbehasa dengan - Exellent bersahabat, Orientasi ke Inggris mengguna- cinta damai, masa depan kan ragam gemar (punya Majalah Closing/ leave taking bahasa lisan membaca, perspektif Internet sederhana - goodbye peduli untuk masa dalam - bye bye, bye now, lingkungan, depan) konteks see you, take peduli sosial, kehidupan care tanggung sehari-hari - see you later..fine jawab dan melibatkan - see you …soon tindak tutur: - see you berkenalan, tonight..all right. bertemu/ - good night berpisah, menyetujui ajakan/ tawaran/ undangan, menerima janji, dan membatalkan janji Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa 3.2 Mengungkap- Expreesing Religius, Percaya diri Secara Melakukan Tugas 3 x 45 Developing English kan makna happiness : formal jujur, (keteguhan berpasangan berbagai tindak Performan 4 x 45 Competencies dalam perca- toleransi, hati, optimis). menggunakan tutur dalam . oh, I’m so happy. sns for Grade X Senior kapan tran- disiplin, kerja tindak tutur dan wacana lisan . I can’t say how Berorientasi High School saksional (to keras, responnya. interpersonal/ pleased I am. pada tugas (SMA/MA) get things mandiri, (bermotivasi, Bermain peran transaksional: . I had a splendid Tape done) dan demokratis, tekun/tabah, secara dalam berbagai time there. Kamus interpersonal rasa ingin bertekad, berkelompok acara secara (bersosialisas . What a tahu, enerjik). senang dan Kaset/CD i) resmi dan marvelous place semangat bahagia. Tape/CD Player tak resmi I,Ve ever seen. kebangsaan, Pengambil secara aku- resiko (suka OHP/LCD . It’s an interesting cinta tanah rat, lancar air, tantangan, Foto/ Poster experience. mampu dan berteri- menghargai Gambar ma dengan . It’s an prestasi, memimpin) Koran berbehasa menggunaka outstanding bersahabat, Orientasi ke Inggris n ragam ba- adventure. cinta damai, masa depan hasa lisan . It’ a sensational gemar (punya Majalah sederhana trip. membaca, perspektif Internet dalam kon- Expressing affection: peduli untuk masa teks kehidu- Don't worry. I'm lingkungan, depan) pan sehari- with you. peduli sosial, hari dan meli- tanggung What's wrong batkan tindak jawab tutur: meng- with you? ungkapkan Hope you will be perasaan fine. bahagia, Are you OK? menunjukkan Expressing perhatian, sympathy: menunjukkan I’m sorry to hear simpati, dan that. memberi I do sympathize instruksi I know what you feel What a terrible situation That’s awful Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa Expressing command : Study diligently! Close your book. Go away ! Don't forget your lesson! Don't be late! Expressing Request: Could you help me to turn on the lamp, please? Can you help me to open the window, please? Would you like to order meatball for me, please Berbicara 4.1 Mengung- Making, accepting Religius, Percaya diri Membuat . Menjawab Performans 2 x 45 Developing English kapkan and declining an jujur, (keteguhan pengumuman pertanyaan teks Competencies 4 Mengungkapkan invitation; lisan fungsional makna dalam makna dalam toleransi, hati, optimis). lisan secara for Grade X Senior bentuk teks disiplin, kerja berpasangan pendek teks fungsional The tone of an Berorientasi sederhana High School pendek dan fungsional keras, pada tugas dan (SMA/MA) pendek invitation is always mandiri, menyampaikan (misalnya monolog positive, in (bermotivasi, pengumuman, Tape berbentuk (misalnya demokratis, tekun/tabah, nya di depan pengumuman anticipation of a rasa ingin kelas. iklan, undangan Kamus recount, pleasurable bertekad, dll. , iklan, tahu, Kaset/CD narrative dan occasion. Picture enerjik). procedure undangan semangat . Melakukan teks your guests smiling Pengambil Tape/CD Player sederhana dll.) resmi kebangsaan, lisan fungsional when they read your resiko (suka OHP/LCD dalam konteks dan tak resmi cinta tanah pendek letter of invitation. tantangan, kehidupan dengan air, sederhana Foto/ Poster Clever phrasing, mampu sehari-hari menggunaka menghargai (misalnya Gambar n ragam poetry or a themed prestasi, memimpin) pengumuman, Koran berbehasa bahasa lisan approach may be bersahabat, Orientasi ke iklan, undangan Inggris dalam appropriate for an cinta damai, masa depan dll. berbagai informal occasion, gemar (punya Majalah konteks but you should membaca, perspektif Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa kehidupan express the details peduli untuk masa Mempresentasika Internet sehari-hari clearly. For further lingkungan, depan) n teks lisan tips visit to invite peduli sosial, fungsional someone tanggung pendek jawab sederhana (misalnya pengumuman, iklan, undangan dll. Melakukan teks lisan fungsional pendek berupa Pengumuman Kematian dengan tindak tutur:mengingat kejadian tertentu Melakukan teks monolog berbentuk recount 4.2 Mengung- Teks monolog Religius, Percaya diri Mendengarkan Merespon teks Quiz 3 x 45 Developing English berbentuk kapkan jujur, (keteguhan cerita/petunjuk monolog Ulangan 3 x 45 Competencies makna dalam procedure, toleransi, hati, optimis). melakukan sederhana contohnya: tertulis 2 x 45 for Grade X Senior teks monolog disiplin, kerja Berorientasi sesuatu untuk berbentuk High School Tugas sederhana keras, pada tugas menemukan recount. (SMA/MA) dengan How to Make Gudeg mandiri, berbagai Jogja (Green Jack (bermotivasi, Melakukan teks Tape menggunaka demokratis, tekun/tabah, informasi monolog n ragam Fruit Sweet Stew) rasa ingin secara individu Kamus bertekad, sederhana bahasa lisan tahu, enerjik). Mendiskusikan berbentuk Kaset/CD secara Ingredients: semangat perbedaan recount Tape/CD Player akurat, lancar - 5 onions kebangsaan, Pengambil - 10 candlenuts resiko (suka penggunaan Menjawab OHP/LCD dan cinta tanah bahasa secara berterima - 10 garlic cloves air, tantangan, pertanyaan teks Foto/ Poster - 4 bay Leaves mampu lisan dan monolog dalam menghargai tertulis secara Gambar berbagai - 1/2 lb. (250g) prestasi, memimpin) sederhana berkelompok. Koran berbehasa konteks green jack fruit bersahabat, Orientasi ke berbentuk Inggris kehidupan - 2-1/2 tsp. (12g) cinta damai, masa depan Berdiskusi procedure sehari-hari coriander seeds gemar (punya secara Majalah Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa dalam teks - 1-1/4 tsp. (6g) membaca, perspektif berkelompok Melakukan teks Internet berbentuk: cumin peduli untuk masa untuk membuat monolog lisan recount, - 1/4 cup (62ml) lingkungan, depan) sebuah cerita berbentuk narrative, dan coconut sugar peduli sosial, dan bercerita procedure. procedure - 2 cups (500ml) tanggung secara Mempresentasik coconut milk jawab sambung an teks monolog - 2 tsp. (30g) menyambung. lisan berbentuk tamarind procedure - 2 lb. (1kg) chicken (cut into small pieces with bone) - 5 cups (1.25l) water - 2 inches bruised galangal
Instructions: - First, cut green jack fruit 1 inch thick. Wash and boil until tender. - Next, ground onions, candle nuts, sauté paste, bay leaves, and galangal until fragrant. - Add the chicken pieces, stir fry until chicken changes clour. - Then, pour 4 cups of water and coconut sugar, bring to a boil. - Add the green jack fruit and simmer until the chicken and vegetables are tender. Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa - Finally, add coconut milk 5 minutes before it’s done, bring back to a boil. Serve hot with ice. - This dish is sweet and usually served with shrimp cracker 2. Procedure text can be explained as bellow: Social function : to describe how something is accomplished through a sequence of actions or steps. Generic structure: - Goal. - Materials (not required for all procedural texts) - Steps (a series of steps oriented to achieving the goal)
Membaca 5.1 Merespon identify the structure Religius, Percaya diri Mengidentifika- Membaca Quiz 2 x 45 Developing English 5 Memahami makna dalam of recount texts; jujur, (keteguhan si beberapa nyaring Ulangan 2 x 45 Competencies teks tulis toleransi, hati, optimis). pengumuman bermakna makna teks tulis Meeting a Star tertulis for Grade X Senior fungsional fungsional disiplin, kerja Berorientasi tertulis di wacana ragam High School pendek dan esei pendek On Saturday keras, pada tugas tempat umum tulis yang (SMA/MA) (misalnya mandiri, secara dibahas dengan sederhana morning at 9:30, I (bermotivasi, Tape berbentuk pengumuman was demokratis, tekun/tabah, berkelompok. ucapan dan Kamus recount, , iklan, walking down Sunda rasa ingin bertekad, Mendiskusikan intonasi yang narrative dan undangan Street, looking tahu, enerjik). isi dan bentuk benar Kaset/CD procedure dalam dll.) resmi semangat for a record store. A Pengambil bahasa yang Tape/CD Player konteks dan tak resmi kebangsaan, man stopped me resiko (suka digunakan Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa kehidupan secara and asked me the cinta tanah tantangan, secara Mengidentifikasi OHP/LCD sehari-hari dan akurat, lancar way to the Hyatt air, mampu berkelompok topik dari teks Foto/ Poster untuk dan Hotel. I wasn't sure menghargai memimpin) yang Gambar mengakses ilmu berterima exactly where it prestasi, Orientasi ke dibaca Koran berbehasa pengetahuan dalam was, but I walked bersahabat, masa depan Inggris konteks with him to the end cinta damai, (punya kehidupan of Sunda Street. He gemar perspektif Majalah sehari-hari was very friendly, membaca, untuk masa Internet dan untuk and his face looked peduli depan) mengakses so familiar. Then I lingkungan, ilmu remembered where peduli sosial, pengetahuan the Hyatt was and tanggung told him how to get jawab there. He thanked me and tried to give me something. I thought it was money. I said 'no' at first, but he really wanted me to have it, so I took it. I found the record store and listened to a few records. D' Masive had a new record that was number two in the top twenty. I decided to buy it. I looked in my bag for my wallet and found a piece of paper the man gave me. It was a photo. I was so surprised! He was a singer in D' Masive!
Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa Answer these following questions based on the text in
1. Where was the writer? 2. What was he doing? 3. What did the man ask the writer? 4. How was the man's character? 5. Did the writer help the man? 6. What did the writer decide to buy? 7. What did he find in his wallet? Explain. 8. How was he when he knew who the man was? 5.2 Merespon Teks tulis Religius, Percaya diri Membaca Mengidentifikasi Quiz 2 x 45 Developing English makna dan monolog/esei jujur, (keteguhan nyaring makna dalam Ulangan 2 x 45 Competencies langkah toleransi, hati, optimis). bermakna teks teks procedure sederhana tertulis 2 x 45 for Grade X Senior retorika teks disiplin, kerja Berorientasi narrative secara Mengidentifikasi High School berbentuk Tugas tulis esei keras, pada tugas individu langkah-langkah (SMA/MA) secara procedure,contohn mandiri, (bermotivasi, Mendiskusikan retorika dalam Tape akurat, lancar ya ; demokratis, tekun/tabah, berbagai aspek teks procedure dan rasa ingin Kamus bertekad, dari teks seperti Membaca berterima THE HOLE tahu, enerjik). isi dan struktur Kaset/CD dalam semangat nyaring teks GAME Pengambil teks, secara procedure Tape/CD Player konteks kebangsaan, berkelompok. kehidupan Materials needed: cinta tanah resiko (suka OHP/LCD sehari-hari air, tantangan, Foto/ Poster Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa dan untuk Two players, one menghargai mampu Berlatih Menulis teks Gambar mengakses marble per person, prestasi, memimpin) menggunakan berbentuk Koran berbehasa ilmu bersahabat, Orientasi ke kalimat past procedure. Inggris pengetahuan a hole in ground,a cinta damai, tense untuk line (distance) to masa depan Majalah dalam teks gemar (punya menyatakan Internet berbentuk: start from. membaca, perspektif peristiwa dan recount, peduli untuk masa kalimat narrative, dan lingkungan, depan) imperative procedure peduli sosial, untuk tanggung menyatakan jawab petunjuk. Menulis 6.1 Mengungkap- Arrange recount texts; Religius, Percaya diri Membuat Menggunakan Performans 2 x 45 Developing English 6 Mengungkapkan kan makna jujur, (keteguhan pengumuman tata bahasa, ns 2 x 45 Competencies dalam bentuk toleransi, hati, optimis). tertulis secara kosa kata, tanda makna dalam Answer the following 2 x 45 for Grade X Senior teks tulis disiplin, kerja berpasangan baca, ejaan, dan teks tulis questions. Berorientasi High School fungsional keras, dan tata tulis dengan fungsional pada tugas (SMA/MA) pendek mandiri, mempublikasika akurat pendek dan esei 1. Do you have a (bermotivasi, Tape (misalnya demokratis, nnya di kelas sederhana diary? tekun/tabah, Menulis gagasan pengumuman rasa ingin /sekolah Kamus berbentuk 2. What do people bertekad, utama , iklan, tahu, recount, usually write in it? enerjik). Kaset/CD undangan semangat Mengelaborasi narrative, dan 3. What sort of Tape/CD Player dll.) resmi kebangsaan, Pengambil gagasan utama procedure dalam advantages can dan tak resmi cinta tanah resiko (suka Membuat draft, OHP/LCD konteks people get from dengan air, tantangan, merevisi, Foto/ Poster kehidupan writing it? menggunaka menghargai mampu menyunting sehari-hari 4. Have you ever Gambar n ragam prestasi, memimpin) written your past Menghasilkan Koran berbehasa bahasa tulis bersahabat, Orientasi ke experience in a teks fungsional Inggris secara cinta damai, masa depan diary? pendek akurat, lancar gemar (punya Majalah 5. I f yes, what was it dan membaca, perspektif about? Internet berterima peduli untuk masa dalam lingkungan, depan) konteks peduli sosial, kehidupan tanggung sehari-hari jawab 6.2 Mengung- Teks tulis Religius, Percaya diri Membuat draft Mengidentifikasi Tugas 2 x 45 Developing English kapkan monolog/esei jujur, (keteguhan teks narrative, makna dalam Performan 2 x 45 Competencies makna dan sederhana toleransi, hati, optimis). recount atau teks procedure Materi Pembelajaran Nilai Budaya & Standar Kewirausahaan/ Kegiatan Indikator Penca- Alokasi Kompetensi Dasar Karakter Penilaian Sumber Belajar Kompetensi Ekonomi Kreatif Pembelajaran paian Kompetensi Waktu Bangsa langkah- berbentuk disiplin, kerja Berorientasi procedure Mengidentifikasi sns 2 x 45 for Grade X Senior langkah procedure,contohn keras, pada tugas dengan langkah-langkah High School retorika mandiri, melakukan (SMA/MA) ya ; (bermotivasi, retorika dalam secara demokratis, tekun/tabah, chain writing. teks procedure Tape akurat, lancar rasa ingin bertekad, Melakukan Membaca Kamus dan THE HOLE tahu, enerjik). koreksi teman nyaring teks Kaset/CD berterima GAME semangat Pengambil sejawat untuk procedure dengan Materials needed: kebangsaan, resiko (suka menyempurnak Tape/CD Player menggunaka cinta tanah Menulis teks tantangan, an draft. OHP/LCD n ragam air, berbentuk Two players, one mampu Menyempurnak procedure. Foto/ Poster bahasa tulis menghargai memimpin) dalam marble per person, prestasi, an draft Gambar Orientasi ke berdasarkan konteks bersahabat, Koran berbehasa a hole in ground,a masa depan koreksi teman. kehidupan cinta damai, Inggris sehari-hari line (distance) to gemar (punya dalam teks start from. membaca, perspektif Majalah berbentuk: peduli untuk masa Internet recount, lingkungan, depan) narrative, dan peduli sosial, procedure tanggung jawab