SCENE 45: INT. CHARLIE’S HOUSE - KITCHEN Bella enters, throws down her book bag and coat, still angry. She starts upstairs
but Charlie enters from the kitchen. 1.
CHARLIE: Your mother called. Again. 2.
BELLA: Your fault, for telling her about the accident. BORS
3. CHARLIE: She always did know how to worry. But... she’s changed, too. She
seems happy. Phil sounds all right. 4.
BELLA: He is. PPS
Analysis Bella uses BORS when talking to Charlie in speech 2. There is no
attempt to minimize the threat to Charlie’s face in this speech; however it can be tolerated because of their close relationship as family. And it can be seen that
Charlie is not humiliated at all because of it. In speech 4, Bella uses PPS by showing her agreement with the speaker,
Charlie. By doing it, Bella has saved Charlie’s positive face. It also follows the agreement maxim proposed by Leech.
SCENE 46: INT. HIGH SCHOOL - CAFETERIA - ON BELLA’S FACE 1.
ERIC: La Push, baby. You in?
2. BELLA: Should I know what that means? NPS
3. MIKE: La Push beach, down on the Quileute rez. We’re all going after school.
Big swell coming in.
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4. ERIC: And I don’t just surf the internet.
5. JESSICA: Eric, you stood up once. On a foam board.
6. ANGELA: There’s whale watching, too. Come with.
7. ERIC: La Push, baby.
8. BELLA: I’ll go if you stop saying that.
Analysis: Bella uses Negative Politeness Strategy NPS toward the hearers in
speech 2 by being conventionally indirect. She actually wants someone to tell her the meaning of Eric words in speech 1. However, she does not want to ask
directly in order to save hearers’ negative face.
SCENE 47: THE SALAD BAR STATION Bella artfully designs an architectural salad. As she reaches for an APPLE,
Edward is suddenly next to her
1. EDWARD: charmed Edible art... PPS
Startled, she fumbles and drops the apple -- Edward catches it with his foot, hackeysack style, then bounces it back into his hand, the red of the apple,
stark against his pale skin. He presents it to her with small smile. 2.
BELLA: Thanks... but your mood swings are giving me whiplash.
3. EDWARD: I said it would be better if we werent friends, not that I didnt want to be. NPS
4. BELLA: What does that even mean?
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5. EDWARD: It means if you were smart, you’d avoid me. NPS
6. BELLA: So let’s say, for argument’s sake, that I’m not smart. Would you
talk to me? Tell me the truth? NPS 7. EDWARD: Probably not. I’d rather hear your theories. NPS
8. BELLA: Okay... how ‘bout radioactive spiders? Kryptonite?
9. EDWARD: levels his gaze, challenging You’re talking about superheroes.
What if I’m not a hero? What if I’m a bad guy?
10. BELLA: beat, looking closer at him No. I don’t believe that. You’re not bad. You can be a jerk, but it’s like this... mask. To keep people away.
PPS
He’s taken aback by her honesty, her insight, drawn in by her...
11. BELLA: Look, why don’t we just - hang out. Like... come to the beach with us. It’ll be fun - sand fleas, wind burn, salt water stinging your eyes...
PPS
12. EDWARD: small smile, considering it Which beach?
13. BELLA: La Push.
His smile lessens almost imperceptibly. 14.
BELLA: Is something wrong with that beach? Edward glances over at Mike - the two exchange cold looks.
15. EDWARD: Its just a little crowded.
Analysis In speech 1 Edward uses PPS by giving special attention to Bella. He
praises Bella’s architectural salad to satisfy her positive face. Then, he continues
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with NPS in speech 3 and speech 5 by being indirect. Edward does not directly ask Bella to avoid him in order to save her negative face. It can be seen that
Edward as a speaker tries to minimize negative FTA toward the hearer, Bella, by stating that he actually does not want it to be so, as noted in speech 3.
Bella tries to save her interlocutor’s negative face as well, just like noted in speech 6. In this speech, Bella uses NPS to Edward by minimizing the
imposition which is it is one of the strategy proposed by Brown and Levinson to minimize the negative FTA.
In speech 7, Edward uses NPS again to the addressee by using hedge. There are two meaning of Edward’s utterance in this speech. Firstly, he uses
hedge to refuse to answer Bella’s question. It is considered more polite to use hedge by saying ‘probably not” than just saying “no”. Secondly, he uses hedge by
saying “I’d rather hear your theories” in order to ask Bella to give her theories instead of giving the answer to her.
Bella uses PPS to Edward in speech 10 in order to satisfy the positive face of her addressee. In this speech, she wants to make Edward feel good of him.
In this speech, Bella also follows Leech’s approbation maxim by minimizing the expression of beliefs which express dispraise of other and maximizing the
expression of beliefs which express approval of other. Then, in speech 11 Bella uses PPS again by using strategy 12 and 13 as proposed by Brown and
Levinson. Bella includes both S and H in the activity and also give or ask for reasons by saying “why don’t we just hang out.”
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SCENE 54: INT. BOUTIQUE, PORT ANGELES -ON BELLAS FACE 1.
JESSICA: I think this halter makes my boobs look big. What do you think, Bella? Bella? BORS
2. BELLA: absently It looks great. PPS
3. JESSICA: You said that about the last five dresses.
4. ANGELA: empathetic You’re not very good at this, are you?
5. BELLA: Maybe I should just go check out the book store and meet you at the
restaurant later. 6.
ANGELA: You sure? Bella nods, heads out. Jessica’s looks in the mirror again.
7. JESSICA: She was right about this halter, though. It does look great.
Analysis In speech 1, Jessica uses Bald On-Record Strategy BORS to Bella by
using the most direct, clear, unambiguous and concise words. Jessica uses BORS as she weighs their close relationship as friend. While, Bella tries to satisfy
Jessica’s positive face by saying “it looks great” to Jessica as noted in speech 2. She actually does not really understand of such girl stuff like night gown but she
just wants to make Jessica feel good of herself.
SCENE 58: EXT. WAREHOUSE AT END OF PARKING LOT TWO MEN emerge from the shadows, not vampires, but the Frat Boys, really
wasted now. 1.
FRAT BOY 1: Wanna beer?
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She looks to her left; the other TWO GUYS are there. She’s cornered. She takes her purse from around her shoulder.
2. BELLA: Look, just take my bag. BORS
3. FRAT BOY 2: We don’t want your bag.
She takes a defensive stance and wraps the strap around her wrist to use her purse as a mace. They chortle derisively. But when Frat Boy 1 comes near,
she swings it, hits him in the groin. The BOOK in her bag doubles him over. The other three laugh, and start to close in. But suddenly --HEADLIGHTS
blind them. A silver Volvo screeches up. The Frat Boys dive out of the way. The passenger-side door opens. It’s Edward. She’s too stunned to even move.
4. EDWARD: Get in. BORS
Analysis In this scene, Bella and Edward use Bald On-Record Strategy BORS
because of great urgency. In speech 2 Bella uses BORS to the hearers, the frat boys, with no desire to maintain their faces for she is in danger. Then, Edward
also uses BORS in speech 4 to Bella by directly saying “get in” to her. However Bella as the addressee does not lose her negative face in this case because Bella
and Edward both tacitly agree that the relevance of face demands may be suspended in the interests of urgency or efficiency.
SCENE 59: INT. EDWARD’S CAR - DRIVING Bella continues to stare. She sees that he’s seething with anger, hands gripping
the steering wheel, jaw clenched.
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1. BELLA: What -- no, how did you find -- ?
2. EDWARD: through gritted teeth I should go back and rip their heads off.
3. BELLA: No. Bad idea. NPS
