FWF 1.6 - The One With The Butt
FWF 1.6 - The One With The Butt
Point
Scene: A Theater A. to spot (sth): to see, to identify
RACHEL: Ooh! Look! Look! Look! something.
Look, there’s Joey’s picture! This is so
B. impending = imminent, inevitable,
exciting!
C. doom: an unavoidable ending of
CHANDLER: You can always spot A
death, destruction or failure.
someone who’s never seen one of his
Doomsday refers to the day massive de-
plays beforeI. Notice, no fear, no sense struction will happen. In a biblical sense,
of impendingB doomC... it’s also referred to the day God will judge
the world. Finally, as a verb to be doomed peel off (sth)
PHOEBE: The exclamation point in PIC means to be destined to a bad outcome.
the title scares me. You know, it’s not D. dingle/ schwang: Joey’s making ref-
just FreudII, it’s Freud! erences to the penis (reference to Freud’s
theories on influence of sex in our actions)
ROSS: Oh, shhh, shh. Magic is about to
happen. E. envy: to want what sb else has
F. tinkle: to urinate
JOEY: VellI, Eva, ve’veI done some excel-
lent vork here, and I vould have to say, G. peel (sth) off: to extract the outer
your pwoblem is qviiite clear. ten o’clock
layer of something; usually used as ‘to
peel off the skin/ peeling of a fruit.’
All you want is a dingleD,
What you envy’sE a schwangD, H. ten o’clock: an imaginary way of
A thing through which you can tinkleF, subtly positioning an object or person
Or play with, or simply let hang... in space. (Observer is located in the center
of an imaginary clock and an object at 12
Opening Credits o’clock is directly in front of you- see PIC)
RACHEL: God. I feel violated1. Pronunciation
1. violated: vy-uh-lay-did Sigmund Freud
MONICA: Did anybody else feel they
just wanted to peel the skin offG their References
body, to have something else to do? I. someone who’s never seen one of Jo-
ey’s plays: Rachel is still rather new to the
CHANDLER: Ross, ten o’clockH . group, and as Chandler points out, she’s
never seen one of Joey’s awful plays.
ROSS: Is it? It feels like two. II. Sigmund Freud: Austrian psychologist,
recognized as the father of psychoanalysis.
CHANDLER: No, ten o’clock.
III. German V for W: Notice Joey’s stereo-
ROSS: What? typical German accent in English.
2:07 - 2:51 Vocabulary bald
CHANDLER: There’s a beautiful wom- A. bald: with no hair.
an at eight, nine, ten o’clock! The verb equivalent is the phrase ‘to go
bald”
ROSS: Oh. Hel-lo! B. go over to her = walk up to her; ap-
proach to her.
CHANDLER: She’s amazing! She makes
the women I dream about look like C. opening line: first comment used to out of one’s
short, fat, baldA 1 men! strike (begin) a conversation. league
JOEY: The Estelle Leonard Talent Agen- E. make it (to some place/somewhere):
cy. Wow, an agency left me its card! May- to arrive at some place or be successful
be they want to sign me3! on a higher level. It implies a challenge.
>> He made it to the finish line in.
PHOEBE: Based on this play II? ...Based >>He moved to Hollywood with dreams
on this play! of making it as an actor.
Scene: Central Perk F. barely: almost not. >> They can bare-
CHANDLER: Hey, kids. ly support themselves.
CHANDLER: Oh, I’m sorry, so ‘we’ is? E. a widow: a woman whose husband
has died. A man in the same situation
AURORA: ‘We’ would be me and Rick. is called widower. (adj: widowed)
CHANDLER: So tell me, how do- how II. me and Rick: Rick and I is grammatical- pocket
do you think your husband would feel2 ly correct, but native speakers use both.
about you sitting here with me?...Slid- III. hopefully: another common pronoun
ingF your foot so far up my pant legPIC we use a lot in English that is hard to direct-
you can count the changeG in my pock- ly translate to other languages. (remember
etPIC? luckily)
5:57 - 6:59 Vocabulary
AURORA: Don’t worry. I imagine he’d be A. work out: to have a good or speci-
okay with you because really, he’s okay fied result.
with Ethan.
B. twisted: something unpleasantly
CHANDLER: Ethan? There’s, there’s an abnormal and socially unacceptable.
Ethan? >> A twisted sense of humor. >> He has
a twisted mind.
AURORA: Mmmm... Ethan is my... boy-
friend.
Pronunciation
1. Content and Function Word Focus
ALL: What?!
This sentence has a complex stress
CHANDLER: So explain something to pattern as well as a complex grammar
me here, uh, what kind of a relationship structure. To say it correctly, listen to
do you imagine us having if you al- Chandler’s speech, and help yourself
with the transcription below to identify
ready have a husband and a boyfriend1?
where to stress (upper case) and where
to reduce syllables (low case).
AURORA: I suppose mainly sexual.
-what kind of a relationship
CHANDLER: ...Huh. WUHT-KY-nuh-vuh-ree-Lay-shun-ship
MONICA: Oh. I’m sorry it didn’t work -do you imagine us having
outA. DO-u-ima-JIN-US-HA-vin
MONICA: Didn’t you listen to the story? 2. I’m seeing her again
I mean, this is twisted ! How could you
B Im-see-in-er-uh-gen
get involved with a woman like this? the g in gen sounds like the beginning of get
CHANDLER: Well, you know, I had 3. I had some trouble with it at first too
some trouble with it at first too3, but I-ad-sum trouble wih-thit-uht-firs-too
the way I look at it is4, I get all the good 4. but the way I look at it is
stuff: all the fun, all the talking, all the buh-thuh-way I loo-kuh-dit is
sex; and none of the5 responsibility. I
mean, this is every guy’s fantasy6! 5. and none of the: an-nuh-nuv-thuh
MONICA: Good for youB, Joey. C. monogamy: the state of having just
one sexual partner.
JOEY: When I’m with a woman, I need vacuum
to know that I’m going out with more D. tricky: particularly difficult or con-
people than she is. fusing. >> A tricky situation or problem.
ROSS: Well, you know, monogamyC can E. snore: the throat sound made by ppl
be a, uh, trickyD concept. I mean, an- when they sleep (especially men).
thropologically speakingI- F. put forth: to propose a theory, an
They all start to snoreE idea, a plan, etc. >> The theory of rela-
tivity was put forth by Einstein.
ROSS: Fine. Fine, alright, now you’ll
vacuum
never know. G. tah-daaah: (or Tuh-duh) phrase attachments
used to present something you’re excit-
MONICA: We’re kidding. Come on, tell ed about that you’re just releasing.
us!
H. I did the windows = I cleaned the
ALL: Yeah! Come on, Ross! windows. >> To do the dishes.
ROSS: Alright. There’s a theory, put I. bristle: the stiff hair on a brush or
forthF by Richard Leakey- broom.
Scene: Monica and Rachel’s house Pronunciation bristle
RACHEL: Tah-daaahG! 1. I don’t know what that’s for
I duh-no wuh thats fir
CHANDLER: Are we greeting each oth-
When prepositions are in the final position
er this way now? Because I like that. in a sentence, they’re not usually reduced.
‘for’ is /for/ and it’s not changed into its
RACHEL: Look! I cleaned! I did the reduced form /fir/.
windowsH, I did the floors... I even used
all those attachmentsPIC on the vacuum- References
PIC
, except that little round one with the I. anthropologically speaking: when speak-
bristlesI, I don’t know what that’s for1. ing in the context of. You can use this struc-
ture for other situations too.
8:02 - 9:11 Vocabulary ottoman
ROSS: Oh yeah, nobody knows. And A. terrific: great, amazing.
we’re not supposed to ask1.
B. ottoman: a piece of furniture, usual-
RACHEL: Well, what do you think ? 2
ly used as a footstool (see PIC)
ALL: Very clean! It looks great! TerrificA! C. uh-oh: what we say when a mistake
is made or something bad is going to Fanned Out
MONICA: ...Oh! I-I see you moved the happen
green ottomanB + PIC.
D. fan out: to organize something in a
ALL: Uh-oh ...
C
fan formation (see PIC)
MONICA: How-how did that happen? E. scratch: the act of tearing/ cutting
with your fingernails (cats are known Ree! Ree! Ree!
RACHEL: I don’t know3.. I-I thought it for being able to scratch in fights).
looked better there. And I- and also, it’s
an extra seat around the coffee table. F. unfair: against the principles of
what’s right and just.
MONICA: Yeah, yeah, it’s interesting...
but you know what? Just for fun, let’s Pronunciation
see what it looked like in the old spot. 1. supposed to ask
Alright, just to compare. Let’s see. Huh, suh-poze-tuh-ask
well, it looks good there too. Let’s just
leave it there for a while. 2. what do you think
wuh-duh-yuh-think
PHOEBE: I can’t believe you tried to
move the green ottoman. 3. I don’t know: I duh-no (I dunno)
CHANDLER: Thank God you didn’t try 4. right out: ride-out
to fan out the magazinesD + PIC. I mean,
she’ll scratchE your eyes right out4. 5. remember: member
MONICA: You guys, I am not that bad!
References
PHOEBE: Yeah, you are, Monica. Re- I. Ree! Ree! Ree!: Phoebe is talking
member5 when I lived with you? You about the classic scene or noise made
were like, a little, you know, Ree! Ree! of a murder in the shower as portrayed
Ree! Ree!I + PIC in the classic horror movie Psycho and
many others. (see PIC or listen to the
MONICA: That is so unfairF! sound)
9:11 - 10:27 Vocabulary Raggedy Ann
ROSS: Oh, come on! When we were A. raggedy: with a disorganized, unti- doll
kids, yours was the only Raggedy Ann dy, scruffy look or feel.
dollI that wasn’t raggedyA! B. kook: a person regarded as strange
or eccentric. *See “Reference I” for better term
MONICA: Okay, so I’m responsible, I’m
organized. But hey, I can be a kookB. C. madcap: someone who acts on
impulse, and who will get mad over the
ROSS: Alright, you madcapC galD. Try smallest details. *not very commonly used
to imagine this. The phone billE arrives, D. gal: a woman. Equivalent of ‘guy’ for
but you don’t pay it right away. groceries
a woman. *used more in Southern USA
MONICA: Why not? E. bill: piece of paper that informs the
amount to pay for a service like elec-
ROSS: Because you’re a kook! Instead tricity, internet, etc. (bills is used to de-
you wait until they send you a noticeF. scribe all extra house expenses collectively)
ica. Hey, listen, I want to borrow a cou- in a vulgar way to Joey’s butt.
ple of things5, Aurora spent the night, I
II. My eyes!! My eyes!!: we can assume Joey
really wanna make her breakfast.
was applying moisturizer on his butt.
12:50 - 13:56 Vocabulary scrub
A. huh? = right?
MONICA: Oh, you got the whole
B. you know: a lot of times we use you
night, huhA?
know to communicate tacitly (something
CHANDLER: Yeah, well, I have twenty that is understood without being mentioned).
minutes until Ethan, so, you knowB. C. to sense (sth): (also get the sense
RACHEL: Ooh, do I senseC a little bit that) to think something happens from
of1 resentmentD? what your perception or senses tell you.
D. resentment: a feeling of anger and Teflon pan
CHANDLER: No, no resentment, displeasure for something or for what
believe me, it’s worth itE. Okay? You someone has done to you.
know how in a relationship you have
these keyF moments that you know2 E. it’s worth it: the effort you put in is
you’ll remember for the rest of your justified because of the benefit it offers.
life3? Well, every- single- second is like
F. key = essential, important.
that with Aurora... and I’ve just wasted
about thirty-five of them talking to G. scrub: to wash something forcefully.
you4 people, so, uh.. Monica, can you
help me with the door? H. dammit: (most correctly written brush
damn it) said to express irritation, an-
MONICA: Sure. Oh, um, Chandler? ger or when something doesn’t go your
You know, the-the old Monica would- way. learn more about swear words like this
would remind you5 to scrubG that Tef- I. hire: to give somebody a permanent
lon panPIC with a plastic brushPIC...I’m paying job (to contract is specifically for a
not gonna do that. project by project job, hire is more general). robe
Scene: A Film Set J. lose: get rid of, take off (in this case)
DIRECTOR: DammitH, hireI the girl!
K. robe: (bathrobe) a loose piece of
Okay, is everybody ready?
clothing that covers most of your body
JOEY: Uh, listen, I just wanna thank and that’s especially used after a bath.
you for this great opportunity.
Pronunciation
DIRECTOR: LoseJ the robeK. 1. a little bit of: uh-lih-dull-bih-duv
JOEY: Right. Okay. I’m losing the robe. 4. talking to you: taw-kih-nuh-you
And the robe is lost.
5. remind you: remine-jew
13:56 - 15:14 Vocabulary a take
DIRECTOR: Okay, everybody, we’d like A. take: in film making, a take is a vid-
to get this in one takeA, please. Let’s roll eo that runs for an uninterrupted peri-
itB.. water’s working... and... actionC. od of time. (take 1, take 2, etc)
DIRECTOR: And cutD. Hey, Butt Guy, B. let’s roll (it) = let’s start filming.
what the hell are you doing1?
C. action = what the director says
JOEY: Well, I’m- I’m showering. when the take/ shot begins.
DIRECTOR: No, that was clenchingE. D. cut = when the director stops the clenched fist
take, he says cut.
JOEY: Oh. Well, the way I see it, the
guy’s upset here, you know? I mean, his E. clench: to press or squeeze some-
wife’s dead, his brother’s missingF... I thing. >> a clenched fist.
think his butt would be angry here.
F. (to be/ go) missing: if someone goes
DIRECTOR: I think his butt would missing, no one knows where that per-
like to get this shotG before lunch. Once son is, and is declared missing.
again, rolling... water working... and ac-
tion....and cut. What was that2? G. shot (n): a take/ a single recording
of a film. shoot is the verb.
JOEY: I was going for quiet desperation.
But if you have to askI... Pronunciation
Scene: Chandler and Joey’s place. 1. what the hell are you doing?
wuh-thuh-hell-uh-yuh-doin?
CHANDLER: God, I love these fingers...
2. what was that: wuh-wz-that
AURORA: Thank you.
/w/ in ‘was’ is very soft and subtle.
CHANDLER: No, actually I meant my
3. look at them: loo-kuh-dum
fingers. Look at them3, look at how hap-
py they are.
References
AURORA: Oh my God, I’m late. I. if you have to ask...: generally im-
plicity understood that “if you have to
CHANDLER: Oh no nonononononnon- ask, then it didn’t have its desired ef-
onono, don’t go... fect.”
AURORA: Okay.
women5 would killD for three guys like 6. what do you want: wuh-duh-u-want
us.
References
I. Future Simple Contractions are pro-
AURORA: So what do you want6?
nounced much differently than you’d think:
I’ll (all), You’ll (yull), he’ll (hill), she’ll
CHANDLER: You. (shill), we’ll (will), they’ll (thill)
Learn More About the Future Simple & Will
AURORA: You have me!
16:03 - 17:15 Vocabulary
A. up until (now, tonight, today, etc):
CHANDLER: No, just you. used to say that something was or hap-
pened in a certain way, but that from
AURORA: What do you1 mean? the specified time after, that’s not the
CHANDLER: Lose the other guys. case anymore. >> We had a lot of fun
up until last night, when we realized we
AURORA: ...Like, ...all of them2? had spent all of our money.
CHANDLER: Come on, we’re great to- B. shut up: used to tell someone to be
gether, why not? quiet, but in an assertive manner. De-
pending on how you say it, it could be
AURORA: Why can’t we just have what playful or aggressive.
we have now? Why can’t we just talk,
and laugh, and make love, without feel- C. well up: when a liquid or tears accu-
ing obligated to one another3... and up mulate little by little in your eyes until
untilA tonight I thought that’s what you it starts overflowing, or you start cry-
wanted too. ing. In this sense, Chandler means that
his emotions well up. >> He welled up
CHANDLER: ...Well, you know, part of when his team lost.
me wants that, but it’s like I’m two guys,
you know? I mean, one guy’s going ‘Shut D. change one’s mind: to start thinking
upB! This is great!’ But there’s this other in a different way about something. >>
guy. Actually it’s the guy who wells upC This documentary changed my mind in
every time that Grinch’sI heart grows how I see the factory farming industry.
three sizes and breaks that measuring
device... He’s saying, you know, ‘This is Pronunciation
too hard! Get out! Get out!’ 1. what do you: wuh-duh-you
ROSS: Look at itB this way: you B. look at sth (in a certain way): to
dumpedC her. Right? I mean, this wom- think of something in a certain way. If
an was unbelievably sexy, and beautiful, you say ‘the way I look at it is...’ you’re
intelligent, unattainableD... Tell me why about to describe how you feel or think
you did this again? of it.
ROSS: It felt like a ‘big guy’ moment. G. to be/ get fired: to have your job
terminated. How to Talk About Losing Your Job
JOEY: I got firedG.
H. the theatre = cinema.
In American English, it’s more common to
ALL: Oh!
refer to the cinema as ‘theater’ (the build-
ing) or ‘the movies’ as in ‘let’s go to the
JOEY: Yeah, they said I acted too much movies’.
with it. I told everybody about this! Now
everybody’s gonna go to the theatreH, I. tell: distinguish, be able to see. >> I
expecting to see me, and... can’t tell the difference between the dif-
ferent accents London people. >> I can
RACHEL: Oh, Joey, you know what, no- tell they don’t get along.
one is going to3 be able to tellI. Pronunciation
JOEY: My mom will. 1. wait a minute: way-uh-mih