AN ANALYSIS OF ELLIPSIS USED IN “SOUL” MOVIE SCRIPT

THESIS

Submitted by

ANDIKA TRI PRASETYA

NIM. 180203151

Student of Fakultas Tarbiyah dan Keguruan

Department of English Language Education

FAKULTAS TARBIYAH DAN KEGURUAN

UNIVERSITAS ISLAM NEGERI AR-RANIRY BANDA ACEH

2022 M/ 1443 H
NIM. 180203151

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 SURAT PERNYATAAN KEASLIAN
(Declaration of Originality)

Saya yang bertanda tangan di bawah ini:

Nama : Andika Tri Prasetya

NIM : 180203151

Tempat/Tanggal lahir : Banda Aceh, 13 Januari 1999

Alamat : Dsn. Monsinget, Kec Baitussalam, Aceh Besar

Menyatakan dengan sesungguhnya bahwa skripsi yang berjudul:

An Analysis of Ellipsis Used in “Soul” Movie Script

adalah benar-benar karya saya, kecuali semua kutipan dan referensi yang

disebutkan sumbernya. Apabila terdapat kesalahan dan kekeliruan di dalamnya,

maka akan sepenuhnya menjadi tanggung jawab saya. Demikian surat pernyataan ini

saya buat dengan sebenar-benarnya.

Banda Aceh, 05 Juli 2022,

Saya yang membuat surat pernyataan,

Andika Tri Prasetya

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 ACKNOWLEDGEMENT

First of all, praise is to Allah, the creator of the universe and the ruler of the day

after, which has given me the ability and fluency in the process of completing this thesis.

A lot of thanks to his blessings and grace, I successfully completed my thesis entitled:

“AN ANALYSIS OF ELLIPSIS USED IN “SOUL” MOVIE SCRIPT”. Our

prayers and greetings convey the presence of our last prophet Muhammad SAW, who

has brought us to the path of Islam, which is full of knowledge as we feel today

This bachelor thesis is presented to fulfill one of the requirements in

accomplishing the bachelor’s degree in the English Education Department, Fakultas

Tarbiyah dan Keguruan, Universitas Islam Negeri Ar-Raniry Banda Aceh. Many

thanks to everyone who has always supported, assisted, motivated, advised and prayed

because without them, I would not have been able to complete this thesis. I would like

to deliver this thanks to:

1. My primary supervisor, Dr Muhammad Nasir, M.Hum., and the co-Supervisor,

Rita Hermida, S.Pd.I., M.Pd. who, has guided and assisted me in completing this

thesis. Thank you very much for your support, assistance, inspiration, kindness,

and patience in providing valuable guidance, assistance, and input for the

improvement of my thesis.

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2. Endless love, respect and gratitude goes to my mother, Ratna Susanti, S.E. who

have always been there since day one, showering my life with affection and tireless

support to make sure I can go through any ups and downs life has to offer.

3. I am grateful having you as my best friends, Izzah Mujahidah, Rahmadi Imanda,

Muhammad Ikram, Muhammad Rival Hasibuan, best friend who always support

and motivate me to fulfill this thesis.

Banda Aceh, 05 July 2022

Andika Tri Prasetya

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 ABSTRACT

Name : Andika Tri Prasetya

NIM : 180203151
Faculty : Fakultas Tarbiyah dan Keguruan
Major : Department of English Language Education
Thesis working title : An Analysis of Ellipsis Used In “Soul” Movie Script
Main Supervisor : Dr. Muhammad Nasir, M.Hum.
Co-Supervisor : Rita Hermida, S.Pd.I., M.Pd.
Keywords : Analysis; Ellipsis; “Soul” Movie Script;

There are many types of figures of speech in English, one of which is ellipsis. Ellipsis
that appears in texts and movies occasionally still confuses students. This study
examined ellipsis in Soul movie. The aims of this study are to analyze what types are
used in the Soul Movie script and to investigate the most dominant type of ellipsis used
in the Soul Movie script. This study uses a descriptive qualitative method to analyze
the data. The data collection is done by watching the Soul movie several times, reading
the script, looking for the ellipsis that may contain in the script, and using a calculation
to determine the most dominant type of ellipsis. The result of the study showed that all
three types of ellipsis appear in the soul movie which are Nominal ellipsis (20%),
Verbal ellipsis (36.20%), and Clausal ellipsis (43.80%). This study also showed that
Clausal becomes the most dominant type of ellipsis with 127 utterances (43.80%). The
most dominant sub-type of nominal ellipsis is deictic (71%), the verbal ellipsis is the
operator (84%), and clausal ellipsis is modal (41%). It is expected that the study’s
findings would provide a better understanding of ellipsis analysis, which focuses on
simplifying sentence forms and minimizing redundancy by omitting parts.

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 TABLE OF CONTENTS

DECLARATION OF ORIGINALITY ...................................................................... i

ACKNOWLEDGEMENT .......................................................................................... ii
ABSTRACT ................................................................................................................ iv
TABLE OF CONTENTS ............................................................................................ v
LIST OF TABLES .................................................................................................... vii
LIST OF APPENDICES ......................................................................................... viii

CHAPTER I INTRODUCTION
A. Background of Study ................................................................. 1
B. Research Question ..................................................................... 6
C. Research Aim............................................................................. 6
D. Significance of Study ................................................................. 6
E. Research Terminologies ............................................................ 7

CHAPTER II LITERATURE REVIEW

A. Ellipsis ..................................................................................... 10
B. Type of Ellipsis ........................................................................ 11
1. Nominal Ellipsis ............................................................... 11
2. Verbal Ellipsis .................................................................. 15
3. Clausal Ellipsis ................................................................. 16
C. The Important of Ellipsis ......................................................... 18
D. Movie ....................................................................................... 19
E. Synopsis of the “Soul” Movie ................................................. 20

CHAPTER III RESEARCH METHODOLOGY

A. Research Method ..................................................................... 23
B. Research Object ....................................................................... 24
C. Data Collection ........................................................................ 24
D. Data Collection Technique ...................................................... 24

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CHAPTER IV FINDINGS AND DISCUSSIONS
A. Findings ................................................................................... 26
1. Type of Ellipsis Contains in “Soul” Movie Script ........... 26
2. The Most Dominant Type in “Soul” Movie Script .......... 33
B. Discussions .............................................................................. 35

CHAPTER V CONCLUSIONS AND SUGGESTIONS

A. Conclusions ............................................................................. 38
B. Suggestions .............................................................................. 39

REFERENCE ........................................................................................................ 40
APPENDICES

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 LIST OF TABLES

Table 4. 1 Percentage of Types of Ellipsis in Soul movie script ............................ 33

Table 4. 2 Percentage of Sub-Types of Nominal Ellipsis in Soul movie script ...... 34
Table 4. 3 Percentage of Sub-Types of Verbal Ellipsis in Soul movie script ......... 35
Table 4. 4 Percentage of Sub-Types of Clausal Ellipsis in Soul movie script ........ 35

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 LIST OF APPENDICES

Appendix A Appointment Letter of Supervisor

Appendix B Recommendation Letter from The Fakultas Tarbiyah dan Keguruan
to conduct field research
Appendix C Confirmation Letter from the Department of English Language
Education
Appendix D Script from “Soul” Movie Which Contains Ellipsis

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 CHAPTER I

INTRODUCTION

This chapter features the introduction part of this research. It contains the

background of the study, research questions, research aims, significance of the study,

and research terminologies.

A. Background of Study

Learn English as a foreign language is not simple (Oybekovna, 2020). Its

system contains complicated rules, such as language style or figure of speech. The

figure of speech has a comprehensive scope both for writing and speaking. According

to Tracy (2021), the figure of speech is the arrangement of words and sentences other

than its literal meaning by the writer or speaker in expressing his ideas and experiences

to convince or influence the reader or listener. The figure of speech is used in many

literary works, such as novels, stories, poetry, and movies (Arifiyanto, Nuryatin, &

Doyin, 2020). Figures of speech have numerous types, one of which is the ellipsis.

The word ellipsis comes from Greek, meaning “fall short” because it omits part

of the sentence structure (Toner, 2015). An ellipsis is a way of omitting a word or words

from a sentence, but the sentence’s meaning can still be understood (Leech,

Cruickshank, & Ivanic, 2006). An ellipsis is done because the speaker wants to shorten

conversations by eliminating parts or elements of speech that the listener can

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understand. So, it aims to minimize the conversation without subtracting the meaning

that the speaker wants to deliver.

People often use language with simple grammar, but their interlocutors still

understand because they understand the context of the situation (Wahyuningsih, 2018).

An example of this phenomenon is when a person speaks using a simple word like

“eat”, meaning that that person wants his interlocutors to eat the food in front of him.

The actual sentence of that word would be “go eat that food.” Another example would

be “when will she go?” and the answer is “later” the complete form of the answer will

be “she will go later”. However, it will not be necessary to say all those complete

forms because they are already in the same context of the situation.

Those sentences with hidden words from the two examples above are called

ellipses. Ellipses are often used in informal conversations with family, closest relatives,

loved ones, and friends. In addition, people use ellipses in conversation to talk to each

other in their daily lives (Hakobyan, 2016). Not only in speaking, but the ellipsis is also

present in writing, especially in the text that contains conversations, such as in movie

transcripts and drama scripts called spoken text. Spoken text is used for the

establishment and maintenance of human relationships. It is also used for the detailed

transmission of factual information (Burviana, 2018).

The use of ellipses in English often confuses non-native English speakers, such

as English language learners, translators, and even literary connoisseurs (Sapitri, 2017).

This difficulty also occurs in many contexts, from everyday conversations with native
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English speakers to watching western movies. The use of ellipses in the conversation

has become commonplace in Western movies (Tarigan, 2015). Almost all the

conversations found in all western movies are informal (Oktaviani & Purwarno, 2021).

So, the percentage of the presence of ellipses in all western movies is relatively high.

Almost everyone cannot escape the influence of movies, especially students.

With the advancement of technology, students can now watch movies anytime and

anywhere (Zulfahmi & Nikmah, 2020). By watching many movies, students can find

out more about how native English speakers communicate with each other. According

to Suroko and Muktiyo (2018), the movie is a medium of communication that tells a

story through some sequences. Conversations between actors often happen in almost

all movie sequences. It is vital that the audience comprehend the story that the movie

wants to deliver to them. Therefore, the language used in movies is usually

straightforward, like the language we speak daily or, in other words, out of grammatical

rules.

The use of straightforward language is why so many ellipses are utilized in daily

life, which is reflected throughout the movie. Therefore, the ellipsis is essential to

comprehend, especially to improve the four language’s basic skills, including speaking,

writing, reading, and listening. In terms of listening and reading, a good understanding

of ellipsis will help the non-native to absorb information well. Meanwhile, the non-

natives can speak or write efficiently in terms of speaking and writing. It can also help

non-native speakers avoid repetition of words in their speaking and writing.

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Several studies which are related to the analysis of ellipsis have been conducted

before. One of them was conducted by Kurniati (2020). She analyzed the elliptical

sentences used in reading and speaking passages in English textbooks by using a

syntactic approach. This study applied the descriptive qualitative method. The data in

this research is classified using the theory from which is 14 types of ellipsis described

by Swan (1996). The result showed that seven types of ellipsis appeared in the reading

and speaking passages. The types of ellipsis which appeared in the book were: ellipsis

with ‘and’, ‘but’, and ‘or’, ellipsis of reducing relative structures, ellipsis with ‘that’

and relative pronouns, ellipsis at the beginning of a sentence, ellipsis in ‘be after’

conjunctions, ellipsis in noun phrases, and ellipsis after auxiliary verbs. The most

notable difference between this and the current research is that the current research uses

Halliday’s and Hasan’s theory to search the ellipsis in the movie script.

The second research on the ellipsis in movies was conducted by Tarigan (2015).

He analyzed the type of ellipsis in the movie Ocean’s Eleven by Steven Soderbergh.

This research was done using the library method. The data was then analyzed using the

same theory as this research, the theory from Halliday and Mattisen. After reviewing

the data, he found that there were three types of ellipsis used in his research subjects,

namely nominal ellipsis (34.8%), verbal ellipsis (2.2%), and clause ellipsis (63.0%).

These three types will appear too in this research with the addition of which sub-type

is the most dominant among those three types.

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The two previous studies mentioned above have inspired the researcher to

analyze ellipsis from different objects. This research was conducted on a movie called

“Soul.” The movie, released at the end of 2020, contains many informal conversations,

resulting in many dialogues containing ellipses. “Soul” also contains many natural

conversations with a lack of grammatical in their dialogue that are usually used in daily

conversations. That conversation makes them hard to understand for non-native

speakers. This “Soul” movie is a children’s animated movie which won 121 awards,

including Oscar, BAFTA, AFI, and more. This movie also received acclaim from

various well-known critics on websites such as IMDb and Rotten Tomatoes. In addition,

many positive values can be taken from this movie, such as not being in a hurry and

never giving up. Those are reasons why the writer chose this movie as the research

object.

Based on explanations, reasons, and previous research, the researcher would

like to focus on the ellipsis in the movie entitled “Soul”, directed by Pete Docter, co-

directed by Kemp Powers, and produced by Dana Murray in 2020. In addition, the

researcher also limits the analysis only to the dialogues that use ellipsis because the use

of ellipsis in the dialogue is easier to find.

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B. Research Question

The problems that will be answered in this research are:

1. What types of ellipsis are used in the “Soul” movie script?

2. Which is the most dominant type of ellipsis found in the “Soul” movie script?

C. Research Aim

The purposes of this research are:

1. To analyze what types of ellipsis are used in the “Soul” movie script

2. To investigate the dominant type of ellipsis in the “Soul” movie script

D. Significance of Study

The significance of the study can be theoretical and practically:

1. Theoretical Benefit

The researcher hopes that the findings of this study will provide new insight

into an analysis of ellipsis toward the syntax approach, which focuses on creating

simpler sentence form in text form and avoiding redundancy by omitting several parts

of words or phrases within text sentences in reading and speaking passages.

2. Practical Benefits

The researcher hopes that the results and findings will help readers understand

ellipsis, commonly found in speaking passages, including in movies, and how the

ellipsis is constructed in reading and speaking passages in movies. Then with the hope,
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that this research could assist the teacher in using this research as additional material

to teach about ellipsis in their class.

E. Research Terminologies

The researcher provides several terms with explanations to avoid

misunderstandings for readers.

1. Ellipsis

The term ‘ellipsis’ has been used for centuries around the world (Merchant,

2019). The use of this ellipsis is usually used in everyday or informal conversation.

The speaker usually reduces words that are part of a sentence, be it a connector, subject,

predicate, pronoun, and many more. However, this does not confuse the listener

because they can still understand the sentence without them.

For Example:

(a) Robert got a B on the physic test, and Blake got a C.

(b) Robert got a B on the physic test, and Blake (got) a C.

Sentence a is an actual sentence, while sentence b is a sentence that contains an

ellipsis. However, even though the verb ‘got’ in sentence b is omitted, sentence b still

has the same meaning as sentence a.

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2. Soul Movie

“Soul” Movie is a 2020 American animated comedy-drama movie directed by

Pete Docter, produced by Pixar Animation Studios, and distributed by Walt Disney

Studios Motion Pictures. This movie has won 121 awards and 94 nominations,

including Oscar winners, AFI awards, Alliance of Women Film Journalists, and others.

In the first week of the movie’s release on Disney+ (21-27 December 2021), Soul

became the most watched movie with an average of 1.67 billion minutes out of a 100-

minute movie duration. The number of Disney+ subscribers in the United States in

2020 reached 87 million. Therefore, it is inevitable that all Disney+ subscribers watch

Soul or watch it repeatedly (Nugraha, 2021). In terms of reviews, google reviews give

4.6 points out of 9930 ratings. The IMDb website rated 8/10 from 316,566 IMDb users

and 1,864 reviews on IMDb. Another similar website, Rotten Tomatoes, also gave a

95% Tomato meter from 348 reviews and 88% audience score from 5000+ ratings.

Soul movie talks about Joe Gardner, a music teacher in high school who loves

jazz and dreams of becoming a musician. However, bad luck always seems to surround

Joe and make him despair on his way. The reason is that luck has not been yet on his

side despite decades of trying to realize his ideals. One day, Joe Gardner got an accident

that separated his body from his soul. After the incident, his soul is transported to a

fantasy dimension, where souls gather before they are born and become babies in the

world. There, Joe lives in soul form in a completely foreign place. Joe is trained with
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habits, skills, and interests in that new realm. He also meets the soul of an unborn baby

named 22. Together, they attempt to solve their respective problems.

 CHAPTER II

LITERATURE REVIEW

This chapter features theories about ellipsis, type of ellipsis, the importance of

ellipsis, movie, and synopsis of the Soul movie:

A. Ellipsis

In informal English usage, many words or clauses in the sentence are deleted

but still have the same meaning as before they were deleted. This occurrence is called

an ellipsis in English literature. According to Anne Lobeck (1995), the ellipsis is a

process that does not involve displacement but the omission of an identifiable syntactic

element from the previous statement. An ellipsis can also be considered a substitution

with zero ( Halliday and Hasan, 1976). Therefore, the researcher concludes that the

ellipsis is a phrase or clause omission in a sentence that does not affect its meaning.

The purpose of the ellipsis itself is to prevent the unnecessary repetition of words in a

sentence. For example, in the sentences:

(a) Ikram ordered a burger at the canteen, and Madi ordered fried rice.

(b) Ikram ordered a burger at the canteen, and Madi (ordered) fried

rice.

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Sentence a is the actual sentence, while sentence b is a sentence that contains

an ellipsis. However, even though the verb ‘ordered’ in sentence b is omitted, sentence

b still has the same meaning as the sentence a.

B. Type of Ellipsis

According to Halliday and Matthiessen (2004), the ellipsis is divided into three

types. They are nominal, verbal, and clausal ellipsis.

1. Nominal Ellipsis

Nominal ellipsis occurs inside the nominal group or the common noun where

some modifier element takes up the omitted head function. According to Butler (2003),

those elements are deictic (normally a determiner), numerative (numeral or other

qualifiers), epithets (adjective), and classifier (noun). Deictic and numerative are more

frequent than epithets or classifiers. Therefore, the most common nominal ellipsis type

is a deictic or a numeric head.

a. Deictic

1) Specific Deictic

Specific deictic refers primarily to possessive forms, demonstrative

pronouns, and the. Possessives include both nouns (Madi’s, my mother’s, cat’s,

etc.) and pronouns (your, her, ours, mine, his, hers, yours, whose, theirs, etc.).

Meanwhile, the demonstrative pronouns such as it’s, that, this, these, and those.
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For instance:

- Drink these waters three times daily, and you’d better have some more

of those too.

Waters (head) are omitted and replaced by demonstrative modifiers

those. The complete form of this sentence is Drink these waters three times

daily, and you’d better have some more of those waters too.

2) Non-Specific Deictic

Non-specific deictic include any, each, no, every, either, neither, a and

both. For instance:

(a) Madi and Ikram are on vacation. I wonder if either has left a key.

(b) These grapes are lovely. Let’s buy some.

Inside instance a, the word Madi and Ikram are omitted and swapped by

either. Then in the sentence b, the phrase these grapes are omitted and swapped

with the word some. The complete form of those sentences is (a) Madi and

Ikram are on vacation. I wonder if either Madi or Ikram has left a Key. (b)

These grapes are lovely. Let’s buy some grapes.

3) Post-Deictic

Post-deictic adjectives include different, same, identical, other, well-

known, usual, regular, odd, famous, certain, typical, obvious, and other thirty

adjectives. This adjective is combined with a, the, or other determiners (for

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example, a + other is written and pronounced as one word). Unlike adjectives

in their normal function as an epithet, these adjectives may also be followed by

a numeral. For example, Madi has eaten those two brown brownies you gave

me. Can I have other? The nominal group of ellipses is identified by a post-

deictic combination of specific deictic the and other. The complete form of the

sentence is Madi has eaten those two brown brownies you gave me. Can I have

the other two brown brownies?

b. Numerative

The numerative element is represented by numerals or other quantifying

terms in the nominal group. Numeral as head includes ordinal numeral, cardinal

numeral, and an indefinite quantifier.

1) Ordinal Numeral

The ordinal numerals words are first, second, third, fourth, last, next, etc.

They are often used generally with a possessive or the as deictic. For instance,

Have another mint. - No, that was my fourth thanks. Here, my fourth is specific

deictic of my (possessive pronoun) and fourth (ordinal numeral). So, the

complete form of this conversation is Have another mint. - No, that was my

fourth mint thanks.

2) Cardinal Numeral

The cardinal numerals words are one, two, three, four, five, etc. For

instance, Have another mint. - No, I’ve had may four thanks. Here, my four is
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specific my (deictic possessive) and three (cardinal numeral). The complete

form of this sentence is Have another mint. - No, I’ve had my four mint thanks.

3) Indefinite Quantifiers

The indefinite quantifier words are many, much, most, several, few, a

little, a bit, hundreds, lots, etc. For instance, Can all students focus on reading?

- They all can, and most do. Here, most (indefinite quantifier) and can

(presupposes).

c. Epithet

Epithet as head is typically fulfilled by an adjective and divided into

superlative and comparative.

1) Superlative Adjectives

Superlative adjectives are placed before other epithets. Superlative

adjectives are usually accompanied by the or a possessive deictic. For instance:

- Xbox are the most expensive on holiday. (Ellipted)

- Xbox are the most expensive console on holiday (Not Ellipted)

2) Comparative Adjective

The comparative adjective is naturally the pattern used to compare two

things that come from the previous conversation reference. For example:

- Madi is the cleverer. (Ellipted)

- Madi is cleverer than him (Not Ellipted)

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d. Classifier

The classifier (noun) functions as head which liable to be interpreted as

thing and very rarely left function as head. For example, This is the plastic

chopstick, or you prefer the iron? Here, the iron presupposes chopstick and

function as head.

2. Verbal Ellipsis

Verbal ellipsis is characterized as a verbal group when the verbal group

presupposes a word or more from the previous verbal group. Example:

(a) Will you go to Ikram’s house? – Yes, I will.

(b) Where will you go? – Ikram’s house.

The answers for the two verbal groups are “Yes, I will” in sentence a and

“Ikram’s house” in sentence b, both are verbal ellipsis and stand for “go to Ikram’s

house” and cannot be filled by any other items. According to Butler (2003), in verbal

ellipsis, there are two types, which are lexical ellipsis and operator ellipsis.

a. Lexical Ellipsis

Lexical ellipsis occurs when a lexical verb is omitted from the verbal

group. The modal operators include can, could, shall, should, will, would, may,

must, might, is to, and ought to, can function as a lexical verb. For instance:

Can Madi open this file? – He could, he will. Here, could and will both are

modal operators and could be filled out by the lexical verb. Another example
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using question tag, He did not come, did he? The ‘Did he’ in that sentence is

one of the lexical ellipsis.

b. Operator Ellipsis

Operator ellipsis occurs when the operator is omitted, but the lexical

verb remains intact in the verbal group. The subject is omitted from the clause

in operator ellipsis. For instance:

(a) Have you been sleeping? – No, just laying down.

(b) What have you been doing? – Reading.

The complete answers for the two verbal groups are “No, I have not

been sleeping, but I have been laying down” in sentence a and “I have been

reading” in the sentence b.

3. Clausal Ellipsis

The last type of ellipsis is clausal ellipsis. A clause is considered a sentence

consisting of a subject and a predicate but does not stand alone but becomes a

complement to other sentences. According to Butler (2003), there are 3 types of clausal

ellipsis, modal ellipsis, propositional ellipsis, yes-no question ellipsis, and WH-ellipsis.

a. Modal Ellipsis

The modal ellipsis occurs when a sentence containing modal elements

(subject + finite element) is omitted. For instance, What was he going to do? -

Visit ikram’s grandmother in the hospital. The modal element (subject and was)
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is omitted in the answer. The complete form of this conversation is, What was

he going to do? - He was going to visit ikram’s grandmother in the hospital.

b. Propositional Ellipsis

Propositional ellipsis is the opposite of modal ellipsis, where the rest of

the complement and adjuncts are omitted. For instance, Who was visiting

ikram’s grandmother in the hospital? – He was. In this instance, the remaining

members of the verbal group, the complement, and the adjunct, are omitted, and

the subject and finite element still remain. The complete form of this

conversation is, Who was visiting ikram’s grandmother in the hospital? – He

was going to visit ikram’s grandmother in the hospital.

c. Question-Answer Ellipsis

Question-Answer divided into two, yes/no question and WH-ellipsis.

Yes/No questions are the ellipsis whose answers are either positive or negative.

- Is he coming?

(a) Yes (he is)

(b) No (he is not)

If the answer to the question is positive, then a is the answer, but if the

answer is negative, then b is the answer. He is, or he is not is omitted because

yes or no is sufficient.
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WH-question answers questions that begin with WH-question.

Example:

(a) What did she eat? – a pineapple (adjunct, instrument)

(b) Whose car is that? – Mine (identifier)

C. The Importance of Ellipsis

Ellipsis is often used in everyday life, starting from speaking, listening, writing,

and also reading. Therefore, the ellipsis has an essential role in improving receptive

skills, including listening and reading. It also has a vital role in enhancing productive

skills, including writing and speaking in the language. Both of these skills are needed

to improve language abilities, especially someone’s communication skills.

According to Abdulaal, et al (2022), receptive skills are divided into listening

and reading. Ellipsis is required in listening to understand the speaker who is

communicating using ellipsis. Ellipsis in listening is also needed to understand other

person’s conversations, both in real life and in movies. Plus, ellipsis in listening is

necessary for someone in general to understand songs, music, poetry, tv news, videos,

and audiobooks where almost all of those audios contain ellipsis in it (Pangaribuan,

2019). Meanwhile, in reading, the ellipsis is needed so that the reader has a good

semantic and syntactic skills since reading comprehension involves making sense

through text. Research has revealed that readers with insufficient semantic and
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syntactic skills cannot make sense of sentences and phrases (Nation and Norbury,

2005).

Another skill which can be enhanced through ellipsis is productive skills.

Productive skills are divided into two types which are speaking and writing (Hossain,

2015). In speaking, the ellipsis is used to omit a word or words which normally required

by the grammar, which the speaker/writer assumes are apparent from the context and

therefore need not be raised (McCarthy, 1991). This is not to say that any utterance that

is not entirely explicit takes the form of an ellipsis. Most messages require some input

from context to understand them. While in writing, according to Sitorus (2015), the

ellipsis is necessary when the writers need to decrease the repetition of words in their

writing. This literary device helps to reduce clutter and sharpen the focus on the point

that the writer is trying to make.

D. Movie

A movie is a mass communication medium that is usually made based on the

social reality of society. Movie record events that occur and grow in people’s lives and

transfer them to become a story on the screen. According to Hornby (2006), a movie

implies a sequence of moving pictures captured with sounds that conveys a narrative,

exhibited at the cinema. Movies are portraits or recordings of reality that grow and

develop in society and then project onto the screen (Sobur, 2002). So, the researcher
 20

concluded that a movie is an audio-visual medium, a combination of several moving

images and has sounded as a communication tool to convey messages.

Movies have the power to influence both the process of cultural reconstruction

and the process of cultural destruction of society (Wanti, 2011). Movies also have a big

influence on the audience, namely imitation. This limitation is caused by the

assumption that what is seen or watched is reasonable and appropriate for everyone to

do. For example, imitation of how to dress or even hairstyles, a person’s speech or

language style can change according to what movie they watch.

E. Synopsis of the “Soul” Movie

“Soul” is one of the feature-length animated movies from the Pixar studio. This

movie focuses on Joe Gardner, who is played by Jamie Foxx. He is a high school music

instructor. He dreams of performing jazz music on stage but is dissatisfied and bored

with his current job. Joe is then offered a full-time position at the school and his mother,

Libba, wants Joe to accept the offer because She thinks the job will make her son

financially secure.

Coincidentally, his friend and former student, Curly, reveals that renowned jazz

musician Dorothea Williams. She held an open audition for the pianist at the Half Note

Club. Joe entered the audition and managed to impress Dorothea. After that, Dorothea

offered him the job on the spot.

 21

As Joe happily prepares for his first appearance, he accidentally falls into a hole.

Joe finds himself as a soul headed to the “Great Beyond.” Not wanting to die, he tries

to escape but finds himself in the “Great Before,” where soul counsellors, all named

Jerry, organize and prepare young souls for life on Earth. Then he is assigned to mentor

a young soul named 22, who has no interest in living the world’s life. Unlike Joe, who

is just about to start his adventure, 22 admits he could not get to Earth because he did

not pass the quest in searching for the “spark” or zest for life. To no avail, Joe tried to

get 22 to find something interesting for his spark. With various ways to find 22 “sparks”

and Joe’s way of returning to life, they finally made it down to Earth, but with swapped

souls.

22, who initially did not want to feel life in the world, could not help but

accidentally find himself in Joe’s body. Meanwhile, Joe’s soul resides in the body of a

cat. In one day, they must rack their brains to achieve both goals. Along the way, many

stories and moments are made in a small and bustling corner of New York.

Meanwhile, 22, unable to find his reason for living in the world, is finally forced

to taste life through Joe’s body. This music teacher can also provide 22 with a lot of

memory-related information. The moment they had an adventure together, many

moments were new for the two characters, including Joe, who has lived as a human for

many years. In the end, Joe finally gave up his life and returned to the “Great Beyond”,

while 22 has found pleasure in life. He is then ready to be born into the world.
 22

“Soul”, which is Directed and written by Pete Doctor and Kemp Powers (“Up”,

“Inside Out”) and producer Mike Jones, feels greater than just a movie to watch during

the holiday season. Docter brings the audience on a journey and searches for identity

and “spark” like Joe and 22.

The dynamics between the two main characters are fun to watch because both

have strong personalities. There is a scene that shows a collage of everyone’s life. Joe’s

life is rated by 22 as ordinary life and gloomy. Joe might have lost his life, but he was

not ready to let fate decide. This is where he comes into play to show 22 and himself

that life is worth fighting for because he has a fire of passion and love for many things.
 CHAPTER III

METHODOLOGY

This chapter features the research methodology for this study. It consists of the

research method, research object, data collection, and data collection technique.

A. Research Method

To analyze Soul, the researcher used the descriptive qualitative method.

According to Creswell & Creswell (2018), qualitative research is an approach to

investigating and comprehending the significance of individuals or groups to a social

or human problem. Qualitative research aims to describe the quality of things in an

enlightening way. Qualitative research can result in conclusions about what can happen,

what might occur occasionally, or what is possible. It does not allow conclusions about

what is general, universal, or possible (Williams & Chesterman, 2014). This study will

analyze the types of elliptical sentences that appear in the movie script and the functions

of ellipses in the movie script, which are relevant to this research.

In this research, the researcher identified the types of ellipsis found in the movie

and listed them using a descriptive method. The descriptive method is a method or

technique of examining the status of a group of objects, people, a system of thought, a

set of conditions, or a class of events in the present (Nazir, 1988). According to Bogdan

& Biklen (2006), the descriptive qualitative research method collects information in

the form of words or pictures rather than numerical data or quantitative data. Based on

23
 24

the definition, the researcher concluded that descriptive research is a method that

reveals problems by describing, interpreting, and describing the circumstances and

events that occurred during the research to be analyzed and the conclusions that come

from information in the form of words or pictures.

B. Research Object

The research object in this research is the types of ellipsis in the Soul

movie script. This movie was written and directed by Kemp Powers and Pete

Doctor and directed by Mike Jones.

C. Data Collection

The data source is the subject from which the data can be obtained (Arikunto,

2013). This data source becomes a location where the data can be collected and

appropriately extracted. The researcher collects data from all dialogues that contain

ellipses in the Soul movie script which is the written form of the dialogue in the movie.

The research data are all utterances, sentences, and phrases in the dialogues used by the

characters.

D. Data Collection Technique

To analyze the types of ellipsis contained in this movie script, the researcher

uses a descriptive method by performing the following steps:

 25

1. The researcher watched the “Soul” movie more than twice to understand the

storyline and plot contained in this movie.

2. The researcher identifies the dialogues containing ellipsis based on their type,

whether nominal ellipsis, verbal ellipsis, or clausal ellipsis in that movie.

Afterwards, the researcher synchronizes it with the movie script obtained from

the internet.

3. The researcher then determines the most dominant type of ellipsis by applying

this formula to all of the types:

𝐹
𝑋= 𝑥 100%
𝑁

X : Percentage of the items.

F : Frequency of use

N : Total number of Samples.

 CHAPTER IV

FINDING AND DISCUSSION

This chapter features the results of this research. It consists of two parts:

findings and discussions.

A. Findings

The researcher separates the findings into two sections. The first section is the

type of ellipsis found in the movie soul script. The second section is the most dominant

type, which is found using the formula in the movie soul script.

1. Type of Ellipsis Contains in “Soul” Movie Script

According to the theory of Halliday and Matthiessen (2004), the ellipsis is

divided into three main types. They are nominal ellipsis, verbal ellipsis, and clause

ellipsis. These three types of ellipsis can be found in the “Soul” movie script. The total

of utterances containing ellipsis, which can be found in this movie, is 290 utterances

(For the full dialogue, see Appendix D). All the ellipsis scattered in all conversations

in the “Soul” movie script are depicted as follows:

a. Nominal

The total of nominal ellipsis in the “Soul” movie script is 58 utterances

(20%). The four types of nominal ellipsis are deictic, numerative, epithet, and

classifier. Some of the examples of nominal ellipsis based on their sub-types in

the “Soul” movie script are as follows:

26
 27

1) Deictic

From the data, the “Soul” movie script used sub-type deictic in

nominal ellipsis as many as 41 utterances, including:

- Come on! I know all about Sparks, because mine is piano!

In this sentence, mine occurs as the head. The word mine

presupposed both a person as possessive and a thing possessed. The full

form is …Come on! I know all about Sparks, because mine Spark is

piano!?

- Look, I remember one time... my dad took me to this jazz

club, and that is the last place that I wanted to be.

Another noun is omitted here and replaced by that. Speaker uses

that because they are talking about the jazz club from the previous

clause. The full form is … Look, I remember one time... my dad took

me to this jazz club, and that jazz club is the last place that I wanted to

be.

2) Numerative

From the data, the “Soul” movie script used sub-type

numerative in nominal ellipsis as many as 16 utterances, including:

- Okay, first stop is the Excitable Pavilion. You four. In you

go!
 28

The noun was ellipted and only left the numerative part. The

speaker talked to the new souls in front of him. So, the speaker omitted

the word new souls and left You four as the exchange of the omitted

part. The full form is … Okay, first stop is the Excitable Pavilion. You

four new souls. In you go!

- Dez is the only one I that talk to.

The word one here is part of numeratives. The word one explains

the person that the speaker can talk to. The speaker omitted the word

“person” since it is common to say the only one. The full form is… Dez

is the only one person I that talk to.

3) Epithet

From the data, the “Soul” movie script used sub-type deictic in

nominal ellipsis amounting to 1 utterance, including:

- Then how come except for church, you’re happiest when I

don’t? I finally land the gig of my life and you’re upset.

The word don’t in this utterance presupposes happy. This

sentence left the word don’t, which should be followed by an adjective

from the previous clause. The speaker ellipted the word happy in this

sentence since the sentence already talks about the feeling the speaker

feels. The full form is …Then how come except for church, you’re
 29

happiest when I don’t happy? I finally land the gig of my life, and

you’re upset.

4) Classifier

Conversations using the sub-type of classifier in nominal ellipsis

are not found in the “Soul” movie script.

b. Verbal

The total of verbal ellipsis in the “Soul” movie script is 105 utterances

(36.20%). The verbal ellipsis divided into two types, lexical and operator. Some

of the examples of verbal ellipsis’ sub-types in the “Soul” movie script are as

follows:

1) Lexical

From the data, the “Soul” movie script used sub-type lexical in

verbal ellipsis in as many as 17 utterances, including:

- I did! I’m telling the truth.

In this sentence, the speaker omitted the verb from the verbal

group. The word did in this sentence stands for the verb try, and it is

come from the previous utterance by Joe “You told me you’d try!”. The

full form is … I did try! I’m telling the truth.

- No, he didn’t
 30

The word didn’t show Joe’s unsuccessful attempts to return to

his original body. The speaker removes the verb make it and leaves only

the word didn’t in his speech. So, this sentence shows a rejection of the

previous speaker’s point of view. The full form is …No, he didn’t make

it.

2) Operator

From the data, the “Soul” movie script used a sub-type of

operator in verbal ellipsis in as many as 88 utterances, including:

- You couldn’t call an elevator, remember?

There are some words which have been deleted in this sentence.

The speaker deleted predicate do and subject I in this question form.

The only word left in this sentence only the verb, which is remember.

The full form is …You couldn’t call an elevator, do you remember?

- Exciting, isn’t it!?

In the sentence above, there are some words which have been

deleted. The missing element in that sentence is the operator, while the

lexical verb always remains intact. The speaker then puts the operator

next to the lexical verb. The full form is …It is exciting, isn’t it?.
 31

c. Clausal

The total of clausal ellipsis in the “Soul” movie script is 127 utterances

(43.80%). The verbal three types of ellipsis are modal, propositional, and yes/no

question. Some of the examples of clausal ellipsis’ sub-type in the “Soul”

movie script are as follows:

1) Modal

From the data, the “Soul” movie script used a sub-type of modal

in verbal ellipsis as many as 52 utterances, including:

- But then I see this guy. And he’s playing these chords with
fourths on it and then, with the minor.

In this sentence, there is a clause that the speaker has omitted.

This clause got omitted since they already existed in the previous clause.

So, the speaker did not have to say the same clause after the conjunction

then. The full form is …But then I see this guy. And he’s playing these

chords with fourths on it and then, he’s playing these chords with the

minor.

- Here at the You Seminar, all new souls are given unique and
individual personalities.

This sentence has the same elliptical format as the previous

sentence. The speaker removed one clause after the conjunction and

then left the explanatory sentence in his utterance. The full form is
 32

…Here at the You Seminar, all new souls are given unique, and all new

souls are given individual personalities.

2) Propositional

From the data, the “Soul” movie script used sub-type

propositional in verbal ellipsis as many as 50 utterances, including:

- Haha. You are not all that. Anyone could play in a band if
they wanted to.

The clause after the word wanted to is the part that got omitted.

Here the prepositional element play in a band has been omitted. The

speaker deleted that part to reduce the redundant clause. So, the full form

is …Haha. You are not all that. Anyone could play in a band if they

wanted to play in a band.

- I’m not sure... but I do know I’m going to live every minute
of it.

Sometimes, propositional can also be found in response to WH-

Question. This sentence has the same form of omission as the previous

sentence. The speaker deleted the clause from another speaker’s

question and left the words I’m not sure. The full form is …I’m not

sure how to spend my life from now on ... but I do know I’m going to

live every minute of it.

 33

3) Yes/No Question

From the data, the “Soul” movie script used sub-type operator

in verbal ellipsis as many as 25 utterances, including:

- Yeah, that’s Chelsea. Near Jackson Square Park

Yes/no Question usually left only expression yes or no in the

speaker’s response. In this sentence, another speaker asked whether he

said that the location of the place is corner of 14th and 7th or not. So,

the speaker omitted that clause in this sentence and left the word yeah.

The full form is …Yeah, he said corner of 14th and 7th, that’s Chelsea.

Near Jackson Square Park.

2. The Most Dominant Type in “Soul” Movie Script

Based on the analysis of the “Soul” movie script, the researcher found that the

number of each ellipsis’ type is described in the table below:

Table 4. 1
Percentage of Types of Ellipsis in Soul movie script
Type of Ellipsis Frequency Percentage
Nominal Ellipsis 58 20%
Verbal Ellipsis 105 36.20%
Clausal Ellipsis 127 43.80%
Total 290 100%

Based on the table above, there were 290 ellipses exist in the “Soul” movie

script. The nominal ellipsis is the least type of ellipsis, with a total of 58 utterances

(20%). Whereas the verbal ellipsis has a total of 105 utterances (36.20%), and the
 34

clausal ellipsis has a total of 127 utterances (43.80%). So, it can be ascertained that the

most dominant type of ellipsis in the “Soul” movie script is verbal ellipsis.

This research also analyzes the sub-type from each type of ellipsis found in the

“Soul” movie script. The researcher found the exact quantity of each sub-type of

ellipsis type as described in the table below.

Table 4. 2
Percentage of Sub-Types of Nominal Ellipsis in Soul movie script

Sub-Types of Nominal Ellipsis Frequency Percentage

Deictic 41 71%
Numerative 16 28%
Epithet 1 1%
Classifier 0 0%
Total 58 100%

Based on the table above, there were 58 utterances containing nominal ellipsis

in the “Soul” movie script. When it comes to sub-types, deictic has become the most

common sub-type of nominal ellipsis with 41 utterances (71%). The second most

common sub-type is occupied by numerative with 16 utterances (28%). Apart from

these two sub-types, there are two other sub-types that are not found too much in the

“Soul” movie script. They are epithet with only 1 utterance (1%) and classifier with 0

utterances (0%).
 35

Table 4. 3
Percentage of Sub-Types of Verbal Ellipsis in Soul movie script

Sub-Types of Verbal Ellipsis Frequency Percentage

Lexical 17 16%
Operator 88 84%
Total 105 100%

There are 105 utterances of verbal ellipsis that appear in the “Soul” movie script.

The lexical, one of the sub-types of verbal ellipsis only has 17 utterances (16%).

Compared to other sub-type, which is operator have 88 utterances (84%). So, the most

common sub-type of verbal ellipsis is operator.

Table 4. 4
Percentage of Sub-Types of Clausal Ellipsis in Soul movie script

Sub-Types of Clausal Ellipsis Frequency Percentage

Modal 52 41%
Propositional 50 39%
Yes/No Question 25 20%
Total 127 100%

As shown in the table above, there were 127 utterances in clausal ellipsis. The

three sub-types in clausal ellipsis are modal with 52 utterances (41%). Continued by

propositional with 50 utterances (39%) and yes/no question with 25 utterances (20%).

Thus, it can be concluded that the most dominant sub-type of clausal ellipsis is modal.

B. Discussions

1. Types of Ellipsis Used in the “Soul” Movie Script

The first research question of this study aims to know the types of ellipsis used

in the “Soul” movie script. Based on the analysis of the data, which uses the theory
 36

from the second chapter by Halliday and Matthiessen (2004), all types of ellipsis, which

are nominal ellipsis, verbal ellipsis, and clausal ellipsis, can be found in the “Soul”

movie script. There were 290 ellipses derived from all types of ellipsis, according to

the analysis from the previous findings. If classified, the number of ellipses that appears

is based on the type, the nominal ellipsis is 58 ellipses, the verbal ellipsis is 105 ellipses,

and clausal ellipsis is 127 ellipses. The previous research related to this research aim

was also conducted by Sapitri (2017). However, there are some differences between

her research and the current research. The most striking difference is that previous

research only focuses on ellipsis and substitutions. However, in this current research,

this study examines ellipsis more deeply because it also examines the sub-types of the

ellipsis itself.

2. The Most Dominant Type of Ellipsis Found in the “Soul” Movie Script

The second research question aims to know which type is the most dominant

found in the “Soul” Movie Script. From the three types of ellipsis, Clausal ellipsis is

the dominant type with 127 (43.80%) utterances, followed by verbal ellipsis with 105

(36.20%) utterances, and the last nominal ellipsis with 58 (20%) utterances. However,

when viewed from the most dominant sub-type of each type, the nominal ellipsis is

dominated by deictic with 41 utterances. The verbal ellipsis dominated by operator with

88 utterances. The last type is the clausal ellipsis, which dominated by sub-types of

modal with 52 utterances. The percentage of types and sub-types of ellipsis that appear

in the Soul movie script can be seen in the tables below. The results of the most

dominant type are nearly the same as the research conducted by Tarigan (2015). He
 37

discovered the clause ellipsis as the most dominant type in his research in the movie

Ocean’s Eleven. Both Soul and Ocean's Eleven movies are set in a city where made

people in these movies tend to shorten their speech in conversation. Cultural and Social

knowledge was often found as a context of clausal ellipsis in film dialogue. So, it

made the dialogues keep coherent.

 CHAPTER V

CONCLUSIONS AND SUGGESTIONS

In this chapter, the researcher presents the conclusions and suggestions from

this research. Conclusions contain the outcomes of this research, and suggestions

contain recommendations to all readers of this research.

A. Conclusions

After analyzing and discussing the findings on the type of ellipsis research in

the Soul movie script, the researcher made the following conclusions:

1. Ellipsis is important to improve basic language skills, namely productive skills

(writing and speaking) and receptive skills (listening and reading).

2. All types of ellipsis based on Halliday and Hasan’s theory are found in the Soul

movie script.

3. The types of ellipsis which were found in the Soul movie script were nominal

ellipsis with 58 utterances (20%), verbal ellipsis with 105 utterances (36.20%)

and Clausal ellipsis with 127 utterances (43.80%).

4. The most dominant type of ellipsis is clausal ellipsis, with 127 utterances

(43.80%).

5. The most dominant sub-type of nominal ellipsis is deictic with 41 utterances

(41%)

38
 39

6. The most dominant sub-type of verbal ellipsis is operator with 88 utterances

(84%).

7. The most dominant sub-type of clausal ellipsis is modal with 52 utterances

(41%)

B. Suggestions

According to research findings, there are suggestions proposed by the

researcher including the readers and future researcher. it is expected that this research

to be useful for readers who are interested with topic related to ellipsis, particularly for

non-native readers. It is hoped that this research could assist them in using ellipsis

efficiently, due to the significance of the speak informally using a foreign language in

everyday life. It is also hoped that this research could assist them in using ellipsis in

writing either for academic purpose or daily life purpose.

Furthermore, this research is also expected to be beneficial as reference for

future researchers who conduct research about ellipsis. They can use this research to

enrich knowledge about the usage and the function of the grammatical cohesion,

especially ellipsis to reader. This research limited to the ellipsis from a theory by

Halliday and Matthiessen. Thus, future researchers are also suggested to dig deeper

into the use of ellipsis using another theory since there are several more theories from

another experts.
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Appendix A

43
Appendix B

44
Appendix C

45
Appendix D

TYPE OF ELLIPSIS
DATA/ N V C
SENTENCE
PAGE
1 2 3 4 1 2 1 2 3

Alright! Let’s try something else.

Uh… (Let’s try) from the top.
01-02/01
(Are you) Ready? One, two,
three…
One, two, three, four! (All of you
03-04/01 should) Stay on the beat! Two,
three four--that’s a C Sharp,
horns!

05/01 Rachel, Now you(r turn)!

06/01 (I) Forgot my sax. Mr. G.

Okay, she forgot her sax! Aaand

07/01 now- - aaaaall you, Connie. (You
should) Go for it!
Look, I remember one time... my
dad took me to this jazz club, and
08/02
that (jazz club) is the last place
that I wanted to be.
But then I see this guy. And he’s
playing these chords with fourths
09/02
on it and then, (he’s playing
these chords) with the minor.
And I wanted to learn how to talk
10/02 like that. That’s (the moment)
when I knew. I was born to play.

I’ll be right back. (All of you

11/03
should) Practice your scales.

(I am) Sorry to interrupt, Mr.

12/03 Gardner

(There will be) No more part-

13/03 time for you. You’re now our
full-time band teacher!

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14/03 Wow. That (news) is…great.

After all these years, my prayers

15/04 have been answered! (You
finally have) A full-time job!
(He is) walkin’ around with a
16/05
hole in his pants…

17/06 Yeah (I will say yes). Definitely.

I’ll bet (skipping town really

18/07
put you guys in a bind).
I’m glad you made it. My boy
Bishop said he sat in on with you
19/07
on a set last year in Brooklyn.
(He) Said you were great.
Well… you know, (I am just
20/07
great) for a coffee shop.
Hey Dorothea, this is the cat I
was telling you about. (He is)
21/07
My old middle school band
teacher, Mr. Gardner!
(You can) Call me Joe,
Dorothea. I mean, um... Ms.
22-23/07
Williams. It’s a pleasure. Wow.
This (occasion) is amazing.
(You have to) Get on up here,
24/08
Teach. We ain’t got all day.
(You have to) Get a suit, Teach.
A good suit. (You have to get)
Back here tonight. First show’s
25-28/09
(will be held) at 9. Soundcheck’s
(will be held) at 7. We’ll see
how you do.
You know what that (Half Note
29/09 Marque) is gonna say? Joe
Gardner! HA HA!
Just don’t tell my mom about this
30/10
(event), okay?

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31/10 Whoa, whoa, (I am) sorry!

You see Joe, I’m 106 years old.

32-33/12 (I have) Been waiting a long
time for this (occassion).
(You have waited so long) For
34/12
what?
(I have been waiting a long
35/12
time for) The great beyond.
Yeah. (The same place as in the
36/12
great beyond)

37/12 (This is) Exciting, isn’t it!?

No. (This is not exciting)! No,

no, no! (You have to) Listen, I
38-39/12
have a gig tonight! I can’t die
now!
Well, I really don’t think you
40/12 have a lot to say about this
(faith).
Yes! Yes, I do (have a lot to
say). I’m not dying the VERY
41/12 day I got my shot. I’m due!
Heck, I’m OVER-due! Nah ah.
I’m outta here.
This (thing) can’t happen. I’m
42/13
NOT dying today.
Idontknow (why I
43/13
am not running) …
Idontknow (what is wrong with
44/13
us people) …
Ahh!! Oh, my goodness, oh my
45/14 goodness. (I am) Sorry! Sorry!
Excuse me!

46/15 Ha ha, No (This is not heaven).!

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Not yet (dead). Your body’s in a

47/16 holding pattern. It’s complicated.
I’ll get you back to your group.
Come on, little souls! (All of you
48/16
must) Get on up here!

49/17 (I think) The count’s off.

Okay, first stop is the Excitable

50/17 Pavilion. You four (new soul). In
you go!
You five (new soul), you’ll be
51-52/17 aloof. And you two (new soul),
why not.
Of course (this is where
personalities come from)! Do
53/17
you think people are just born
with them?
Hello Jerry! (I) Got a lost mentor
54/18
for you.
(You should) Head right on over
55/19
there to Jerry.

56/20 (I Think) The count’s off

I seriously doubt that (case). The

57/20 count hasn’t been off in
centuries.
Yep. I’m aware (to the fact that
58/20 the count hasn’t been off in
centuries).
And we all think you’re doing a
59/20 wonderful job, don’t we (think
so) everyone?
(You blink your eyes) six
61-62/20
(times)
Maybe I will (try to figure out
63/20
the problem).

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Here at the You Seminar, all new

souls are given unique and (new
64/21
souls are given) individual
personalities.
Oh ho! This one (new soul)
65/22 might be a handful! But that’s
Earth’s problem.

66/24 (I have to) Find the Spark!

I see pain, (i see) death, (i see)

65-66/25
destruction!

67/25 (Now i see) A pretty butterfly.

(You must) Stop fighting this,

68-69/25 22. You will go to Earth and
(You will) have a life

70/25 (You have to) Make me!

71/26 (You should) Ignore that.

(You must) Put me down! Hey!

72/26
Quit it!
Most people wish that (they
73/26
would never died), 22.
Talk all you want, Bjorn. It’s not
gonna work, anyway. I’ve had
74/27
thousands of mentors who failed,
and now (they) hate me.
(You are) Not a mentor? Ah, ha
ha! (You are using) Reverse
75-76/28 psychology! You really are a
good shrink doctor. Carl Jung
already tried that.
(You have to) Stop talking! My
77/28
unconscious mind hates you!
Heh. YOU did (curated this
78/29
exhibit).

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(This is) Black improvisational

music. It’s one of our great
79/30
contributions to American
culture.
(You have to) Listen to that! (Do
you) See the tune is just the
80-81/30 starting point, y’get me? The
music is just an excuse to bring
out the YOU
(You should) Come back when
82/31
you have something.

83/31 (I am) Sorry, Joe.

Oh yeah. Sure. Here (is the

84/31
badge).
Wait! I’ve never thought of that!
I’d get to skip life. So yes (I will
give the badge to you)! But
85/32
we’ve gotta get this thing to
change first, and I’ve never been
able to get it to change
Come on! I know all about
86/32 Sparks, because mine (my
spark) is piano!
I don’t (sound like middle aged
87/33
lady). This is all an illusion.
Yeah (baking could be my
88/34
spark)! But um, I don’t get it.

89/34 (I) Can’t. And neither can you.

90/35 (Do you) See?

Yes (They’re amazing),

amazing! Who wouldn’t like
91/36 working in a thankless job you’re
always in danger of losing due to
budget cuts? Though I do like the

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idea of randomly shushing

people.
Shhhh!! Oh yeah, that (sushing)
92/36
is good.
I did (try)! I’m telling the truth.
93/37 If there’s one thing I’m not, it’s a
liar. Unlike Abraham Lincoln...
Of course (I am okay being on a
94/38
penny)! It’s an honor.
Can we have one more minute to
95/39 go back and (can we) try
breakdancing?
Oh, ok. I’ve never seen 22 this
96/39 enthused. (This is) Good for you,
Dr. Börgennson!

97/39 (we have to) Run!

98/39 (We must go) In here!

You know how when you

humans are really into something
99/40 and it feels like you’re in another
place? (it) Feels like you’re in
the zone, right?

100/41 Yeah (I know how it feels).

Wait a minute! I was here!

Today during my audition! This
101/41
(place) must be where musicians
come when they get into a flow.
Not just musicians. (You have
102/41
to) Watch this.

103/41 (Give me the) Line

And the Knicks lose ANOTHER

104/42
one (game)!

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105/42 What is that (big thing)!?

(We have to) Run!

106/42
(I am) On the brink of madness,
107/43
thanks for asking!
Hey, (I) got a request for ya.
108/43
Uh yeah (I got a request). I’m
109- trying to get back to my body.
110/43 Can you help me (to get back to
my body)?
That’s what we do! We are the
Mystics Without Borders, (We
are) devoted to helping the Lost
111/43
Souls of Earth find their way!
I’m Moonwind Stardancer at
your service.
That’s Windstar Dreamermoon,
(That is) Dancerstar Windmoon,
112/43
and that’s Dreamerwind
Dreamerdreamer
(He is a) Poor fellow. Some
people just can’t let go of their
113- own anxieties and (their own)
116/44 obsessions, (it is) leaving them
lost and (they are) disconnected
from life. And this is the result.
Looks like (he is) another Hedge
117/44
Fund Manager.
118- (I have to) Make a trade... (I
119/44 have to) Make a trade...
So this (ritual) is all I have to do
120/45
to get back to my body?
No! No, no (I am not dead).
121/45 Well, not yet. Can you help me
get back?

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We’ve never connected an

untethered soul back to its body
before. But perhaps if we travel
122/45
to a thin spot... Yes (we can
connect an unthethered soul
back to its body)! All aboard!
(You should pull the) Anchors
123/45
away!
Well, (your body is) on Earth of
124/46
course!
Yes (I am drumming, chanting,
125/46 and meditating) ... something
like that.
Yes precisely (I am right there)!
126/46
I’m not stuck with a body, so I
127/47 can go whereeeever I want. I’m a
No-body. (Do you) Get it?
(There are) So many of them.
128/47
Sad.
Lost Souls are not that different
129/47
from those (souls) in the zone.
The zone is enjoyable, but when
that joy becomes an obsession,
130/47
one (life) become disconnected
from life.
Really (you were also a lost
131/47
soul)?
Do we really need all this
132/48
(stuff)?
Yes (we need all of this)!
133/48
(There is) No pianos, Joe! You
134/48
must focus!
(You must) Imagine silence...
135/48

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Now concentrate on where your

136/48 body is. (You have to) Listen for
cues
I don’t know (why are you in a
137/53
cat)!
Uh... no (there is no one you
138/53
can call)!
(I) Tell you what, we’re going to
keep you here for observation.
139/53 Just for a bit. Perhaps our therapy
cat can go to his next
appointment--
(Please you have to) Stop
140/54
talking!
Hey! Focus! (You must) Listen
141/54 to me! We gotta get out of here
before they take me away!
No way (I would leave you).
142/54 That’s my body you’re in! Do
you think you can walk?
I don’t know (whether I can
143/54 walk or not)! I failed Body Test
Drive like 436 times.
But will you try (to walk)?
144/54
145- Okay (I will try). (I) Gotta find
146/55 Moonwind. He can fix this.
Yeah (he said corner of 14th
147/56 and 7th ), that’s Chelsea. Near
Jackson Square Park
Hey! (You have to) Stay out of
148/56
there!
Oh, relax, there’s not much here.
Jazz, jazz, jazz, more jazz. Oh
149/56
and (There is) someone named
Lisa. Who’s that?

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I ummm... This (events) is all

150/56
happening too fast. Let’s just
take a minute and--
Mm mm. No way (I will go). I
am staying right here until your
151/58 stupid body dies! Which will
happen any minute now, because
your stomach is earthquaking
This place is worse than I
152/58 thought. It’s loud and (it is)
bright and--
(It is) Strange. I don’t feel so
153/59
angry anymore.
Maybe (I am ready to find
154/59
moondwind).
Yeah (it is pronounced Yee-
155/59 row), but in New York, we call
‘em Gyros. It’s Greek.
Nah (it is not pronounced
gyros), I got in a fight with
156/60
Archimedes about this. He said
it’s-
No, he didn’t (make it into his
157/61
body)!
Who cares (if you put that
158/61
man.’s soul in a cat)?
It’s simply a way to get your
souls back where they belong!
159- And it’s a glorious ritual indeed,
161/62 (it is) full of chanting, (it is full
of) dancing, and best of all, (it is
full of) bongos!
I need to be at The Half Note by
7, so this (transmigration
162/62
displacement) needs to happen
right now
(We meet at) 6:30? You’re
163/62
serious?

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I said (You guys have to) get out

164/63
of here!
No (it is not a teacher), it’s
165/64
pepperoni.
Maybe you should call her up
166/65 and (you should) tell her that
we’re not crazy!
I... don’t know (what is wrong
167/66 with me). It’s the sun... It’s just
so...
Here’s the plan. (You must)
Clean yourself up, (You must)
168-
put on a killer suit, and (You
170/66 must) get to the club early. I’m
going to try to talk to her.
No no no. Nope. Nope. Nope.
171/67 Nope. No way (I will help you)!
No way, no how.
(Did she say she) Quit?
172/68
Of course (all school is a waste
of time). Like my mentor George
Orwell used to say: state
173/68
sponsored education is like the
rattling of a stick inside a swill
bucket.
Yeah (you are right)!
174/68
I’ve been saying that (sentences)
175/69
since the third grade!
What! (You must) Come back
176/69
here!
Sure (You can give this back).
177/70
Uh, okay (I will listen to it).
178/71
Yeah (I love this). So maybe I’d
179/71
better stick with it?

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Yeah (you would better stick

180/71
with it)!
So, Connie came here to quit, but
181/71
then she didn’t (quit)?
22, (you must) forget about that,
182/72
listen--
Okay (I will help you).
183/72
I’ll help you. But I... wanna try a
few things. Some of it’s not as
boring as it is at the You
184/72 Seminar. If Connie can find
something she loves here, maybe
I can (find something i love
here) too.
185- BLECK! (it is) Spicy! (it is)
186/73 Spicy!
You five (new souls) will be
187-
insecure. And you twelve (new
188/73 souls) will be self-absorbed.
We really should stop sending so
189/73 many (new souls) through that
pavilion--
(I) Found him!
190/73
That (person) is the mentor we
191/74
set up with 22
How (would you handle this)?
192/74
I’ll go down there and (I will) get
193-
him. (I will) Set the count right,
194/74 lickety-split.
Please, just do it quickly and (do
195/75
it) quietly.
It’ll loosen. (You must) Sit
196/75
down.

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You couldn’t call an elevator,

197/75
(Do you) remember?
Okay! How (do we fix this
198/76
hair)?
Dez is that guy in the back. He
198/77
can fix this (hair).
Dez is the only one (person) I
200/77
that talk to.
What?! That (attitude) ain’t
201/78
cool, Dez!
Nah (I dont want him to cut my
202-
hair). I can wait (for you to cut
203/78 my hair).
(You have to) Stop sounding
204/78
insane.
(You will play with) Dorothea
205/78 Williams?! That’s big time, Joe!
Congratulations!
Joe, (You have to) ignore him.
206/79
Now, let’s fix you up
Is it okay that I do that (thing)?
207/79
So... can I have one of those
208/79
(lollipops)?
Uhhh, Sure (you can have it),
209/79
Joe.
Oh yeah? What happened (to
210/80
your life)?
I heard that (remark).
211/80
And another thing... They say
you’re born to do something, but
how do you figure out what that
212/81
thing is? And what if you pick up
the wrong thing. Or (what if you
pick up the wrong thing)

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somebody else’s thing, you

know? Then you’re stuck!
I’ll take one of those (lollipop)
213/81
I was planning to (become
veterinarian). When I got out of
214/81
the Navy. And then my daughter
got sick, and...
Whoah, whoa, (you have to)
slow your roll there, Joe. I’m
215/82 happy as a clam, my man. Not
everyone can be Charles Drew
inventing blood transfusions
Haha. You are not all that.
216/82 Anyone could play in a band if
they wanted to (play in a band).
That’s the magic of the chair.
That’s why I love this job. I get
217/82
to meet interesting folks like you.
(I get to) Make them happy...
And (I get to) make them
218/83
handsome.
You never asked (about my
219/83 life). But I’m glad you did this
time.
(You are) Looking good,
220/83
brother.
(You) Thought you could cheat
the universe?! Well, you thought
221/85
wrong! I’m the Accountant, and
I’m here to bring you in!
But seriously, (You should) stay
222/86 away from those processed
foods.
I didn’t (know how to deal with
paul). I just let out the ME. Hey,
223/86
like you said about jazz! I was
jazzing!

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Don’t (take it) --

224/86
Or do (take it). Okay fine.
225/86
Uh huh. Now let’s get back to
the plan. We go the Half Note
226/87 and (we) wait there for
Moonwind. It’s around 4PM
now...
That (blast of air) tickles!
227/87
Okay (I will hurry up).
228/88
It doesn’t matter whose butt!
(You must) Take off the jacket!
229-
(You must) Tie it around your
231/88 waist! Quick! (You must) Cover
the butt!
Oh! What are we gonna do!?
232/88
(we) Can’t find a tailor this late!
Okay (we will go there)!
233/89
Got it (I will stop saying ok).
234/89
I didn’t say that! YOU did (say
235/89
that you are a failure). Up here.
Under the seat. Can you believe
236/92
it? Still half full (of big gulp)!
Alright, remember, I need the
237/92 suit fixed for a band recital. (Do
you) Got it?
No, I don’t want to (go in there).
238/92
You have to (go in there)! We
239/92
need the suit fixed!
What (did I forgot)?
240/93

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(You forgot to) Kiss her. I

241/93 always kiss Melba when I see
her.
Um, no. It’s mine (my cat). I
242/94
rescued it.
So, Mom... is there any way you
243/94
can fix this (suit)?
No (I will not fix it).
244/95
Tell her that this one (gig) is
245/95
different!
This one (gig) is different!
246/95
Does this “gig” have a pension?
(Does this “gig” have a) Health
247- insurance? No? Then it’s the
248/95 same as the other ones (gigs). It’s
like you can’t even be truthful
with me anymore!
No (we cannot run away now).
249-
Not this time. (You must)
250/96 Repeat after me.
Then how come except for
church, you’re happiest when I
251/97
don’t (happy)? I finally land the
gig of my life and you’re upset.
So Dad can pursue his dreams,
252/96
and I can’t (pursue my dream)?
Let’s make this (suit) work
253/97
instead.
Lulu! Melba! (Both of you have
254/97 to) Bring your good scissors in
here. We got work to do!
Wow. This (suit) feels really
255/98
nice!
Of course you can (try on that).
256/98

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Yes (I will not put this cat on

257/99
my shoulder), ma’am!
Oh, busy right now? (Do you)
258/99 Want to wait until you die a
second time? Cool, cool.
I could think of worse (advice).
259/99
The truth is I’ve always worried
that maybe there’s something
wrong with me, you know? That
260/101 I’m not good enough for living.
But then you showed me about
purpose, and (you showed me
about) passion and...
Maybe sky watching can be my
Spark. Or walking (can be my
261/102
spark)! I’m really good at
walking!
No (I don’t want to go back)!
I’ve gotta find it here. On Earth.
262/102
This is my only chance to find
my Spark
No (I don’t want to give it).
263/102
(You have to) Leave me alone!
264/103
I’m trying to find my purpose!
You promised (to help me find
265/105 my spark) but you wouldn’t
even give me five minutes!
She only got that because she
266/106 was living MY life! (She was
living) In MY body!
Joe, it’s time for you to
accompany 22 to the Earth
267/106
Portal. (I will) Give you a chance
to say goodbye.
Go ahead you two (souls).
268/107

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(I get that idea) Because I have

269/108 piano. It’s what I was born to do.
That’s my Spark.
Oh yeah? Why’s that (happens)?
270/110
(You have to) Tell Robert he’s
271/110
out. For now.
(we) Gotta get to bed. We old!
272/112
We come back tomorrow night
273/112
and (we) do it all again.
(I will) See you tomorrow.
274/112
(I am) Sorry
275/113
Those aren’t Sparks, 22. That
276/115 (activities) is just regular ol’
living.
I’ll explain (why is this
277/116
happening) on the way
(You have to) Come back, 22!
278/118
It’s me, Joe!
279- 22, (You have to) listen! (You
280/118 must) Come back!
You’re so selfish! No one
281/120 (person) would ever want to be
around you!
The world needs remarkable
people, and you’re the least
remarkable soul I’ve ever met!
282-
The world is better off without
283/121 you in it! You’re a nitwit! (You
are) Mentally unfit! (You are)
An imbecile! I cannot help you!
Yes, you did (find your spark).
284/122

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It’s okay. I already did (come to

285/123
live). Now it’s your turn.
You know you can’t do that
286/123
(stunt).
I know (that I cannot do that).
287/123
But I’ll go as far as I can.
Hey! (You should) Take a look!
288/123
For what (all of Jerrys thank
289/124
me for)?
I’m not sure (how to spend my
life from now on) ... but I do
290/126
know I’m going to live every
minute of it.
Frequency of type of Ellipsis 41 16 1 0 17 88 52 50 25

From appendix D, Data is the ellipsis found in the sentence, and the Page is the
page’s location where the data is found from the Soul movie script. Cell sentences are
sentences containing the ellipsis of the Soul movie script. In column Type of ellipsis,
consists of three cells. Cell N comes from an extension of the word nominal, which
refers to the nominal ellipsis. In cell N, four types are divided into four numbers.
Number “1” in column N is one type of nominal ellipsis, namely deictic, number “2”
is numerative, number “3” is an epithet, and the number “4” is a classifier. Cell V
comes from an extension of the word verbal, which refers to the verbal ellipsis. In cell
V there are two types which are divided into two numbers. The number “1” in column
V is lexical, and the number “2” is the operator. The last cell is cell C which comes
from the extension of the word clausal, which refers to the clausal ellipsis. In cell C,
there are three types divided into three numbers. Number “1” in column C is one type
of clausal ellipsis, namely modal, number “2” is propositional, and number “3” is a
yes-no question.

65