How do you say

a gota d ´água = the last straw
saideira = one for the road
ano bissexto = leap year
bater o telefone na cara = hang up on someone
bico! fichinha! bab! moleza = a piece of cake
boca-livre (comer na faixa)= free grab
cair aos pedaços = fall to pieces
colocar no viva-voz = to put on the speakerphone
colocar os assuntos em dia = to catch up
dar agua na boca = make someone's mouth water
dar o fora em alguem = to dump someone
despedida de solteiro = bachelor party
estar de ressaca = to have a hangover
fazer vista grossa = to turn a blind eye
leão - de - chacara = bouncer
morrer de rir = to laugh one's head off
tomar pau na escola = to flunk
um mar de rosas = a bed of roses
pau-para-toda-obra = jack-of-all-trades
ficar em cima do muro  = to sit on the fence

English grammar

http://englishonline.sites.uol.com.br/english/basic.htm

Vanusa's T.C.C.

1- Dennis J. Slamon, M.D., Ph.D., serves as director of Clinical/Translational Research, and as director of the Revlon/UCLA Women's Cancer Research Program at JCCC. He is a professor of medicine, chief of the Division of Hematology/Oncology and executive vice chair for research for UCLA's Department of Medicine. Slamon also serves as director of the medical advisory board for the National Colorectal Cancer Research Alliance, a fund-raising organization that promotes advances in colorectal cancer. 

Dennis J. Slamon, Doutor em Medicina,Doutor em Filosofia, atua como Diretor da  Clínica de pesquisas  translacional, e como  Diretor da Revlon/que atua na Universidade da California em Los angeles realizando programas de pesquisas sobre o cancer de mama nas mulheres na  J.C.C.C( Faculdade do condado de Johnson). Ele é professor de medicina , chefe da divisão de hematologia/oncologia e vice presidente executivo do departamento de medicina da UCLA. Slamon também atua como diretor do conselho de medicina da N.C.C.R.A. ( Aliança Nacional para pesquisa do cancer colorretal), uma entidade filantrópica que capitaliza fundos para promover avanços relacionados ao cancer colorretal

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2- For 12 years, Slamon and his colleagues conducted the laboratory and clinical research that led to the development of the new breast cancer drug Herceptin, which targets a specific genetic alteration found in about 25 percent of breast cancer patients. To acknowledge Slamon's accomplishments, President Clinton appointed Slamon to the three-member President's Cancer Panel in June 2000. 

Por 12 anos, Slamon e seus colegas conduziram pesquisas clinicas e laboratoriais que levaram ao desenvolvimento da Herceptin, uma nova droga para o cancer de mama, que atinge uma alteração genética específica encontrada em aproximadamente 25% dos pacientes de cancer de mama. Como reconhecimento pelas realizaçoes de Slamon, o Presidente Bill Clinton o indicou para o quórum dos três membros do júri do Cancer em Junho de 2000.

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3- Slamon has won nearly two dozen national research awards honoring his scientific endeavors. In 2000, Slamon was awarded the Translational Medicine Award by the USCD-Salk Institute as well as the Bristol-Myers Squibb Oncology Millennium Award for significant achievement and leadership in breast cancer research. In 2001, Slamon was awarded the Wadsworth Center's Brown-Hazen Award for Excellence in the Basic Sciences, and in 2002, he received the Jeffrey A. Gottlieb Memorial Award from the M.D. Anderson Cancer Center in Texas. In 2003, Slamon received the Dorothy P. Landon-AACR Prize for Translational Cancer Research, an international award given by the Kirk A. and Dorothy P. Landon Foundation and the American Association for Cancer Research. In 2004, the American Cancer Society presented Slamon with the Medal of Honor, the top award bestowed by the organization. In 2005, Kent State University in Ohio gave Slamon the Fifth Aultman Cancer Center Award and he also received the Distinguished Service Award from the Medical and Biological Sciences Alumni Association at the University of Chicago. That same year, he received the William McGuire Memorial Award at the San Antonio Breast Cancer Symposium.

Slamon conquistou por volta de 12 prêmios nacionais de pesquisa , recebendo honras por sua contribuição e esforço para a ciência. Em 2000 , Slamon foi agraciado com o premio translacional de medicina , oferecido pelo Instituto Salk da USCD ( Universidade de San Diego - California) , assim como o prêmio " Oncologia Milenar' oferecido pela Bristol - Myers Squibb por realizações significantes e liderança nas pesquisas sobre cancer de mama. Em 2001 , Slamon recebeu o premio Wadsworth Centro Brown-Hazen por Excelência em Ciências Elementares, e em 2002 recebeu o prêmio " Memorial á Jeffrey A. Gottlieb do Centro do Câncer M.D. Anderson no Texas. Slamon recebeu o prêmio Dorothy P.Landon - AACR pela pesquisa translacional do câncer, que é um prêmio internacional dado pela Fundação Kirk.A. e Dorothy P.Lando e pela Associação Americana para pesquisa do câncer. Em 2004, a Sociedade Americana do Câncer presenteou Slamon com a Medalha de Honra, o prêmio mais importante outorgado pela organização. Em 2005, a Universidade Kent State em Ohio deu á Slamon o 5º Prêmio Centro do Câncer Aultman e ele também recebeu o prêmio " Serviço Notável" pela Associação Alumni de Ciências Médicas e Biológicas  da Universidade de Chicago. Naquele mesmo ano, ele recebeu o prêmio " Memorial William McGuire do Simpósio do Câncer de mama San Antonio.

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4- In 2006, Slamon was honored with the American Society of Clinical Oncology’s David A. Karnofsky Memorial Award and Lecture. Also in 2006, Slamon received the 18th Annual Donald Ware Waddell Award from Arizona Cancer Center; the European Institute of Oncology Breast Cancer Award; the 2nd Umberto Veronesi Award for the Future Fight Against Breast Cancer and the Lister Award for Translational Medicine from the University of Glasgow, Scotland. In 2007, Slamon received the 19th annual Warren Alpert Foundation Scientific Prize, awarded by Harvard Medical School. Also in 2007, he received the Friends of the National Library of Medicine Distinguished Medical Service Award and the Gairdner International Award, one of the most prestigious awards in biomedical science.

Em 2006, Slamon foi condecorado com o  prêmio Memorial David A. Karnofsky da Sociedade Americana de Oncologia Clínica . Ainda em 2006, Slamon recebeu o 18º Prêmio Anual Donald Ware Waddel do Centro do Câncer do Arizona, o prêmio do Instituto Europeu de oncologia do Câncer de mama e o prêmio Lister por  Medicina Translacional pela Universidade de Glasgow, na Escócia. Em 2007, Slamon recebeu o 19º Prêmio Anual Fundação Científica Warren Alpert, oferecido pela Escola de Medicina de Harvard. Também em 2007 ele recebeu o prêmio Amigos dos notáveis da  Biblioteca Nacional de Medicina e o prêmio Internacional Gairdner, um dos prêmios de maior prestígio em Ciência Biomédica.

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5- In 2008, Slamon received the Daniel Nathans’ Memorial Award from the Van Andel Research Institute and in 2009, he was awarded the Medical Science Award by the UCLA Medical Alumni and Aesculapians. Slamon has also received the Milken Family Medical Foundation Award in Cancer Research, the Upjohn Award in Internal Medicine and the Outstanding Young Investigator Award.

Em 2008 , Slamon recebeu o prêmio Memorial Daniel Dantas , entregue pelo Instituto de pesquisa  Van Andel  e em 2009, ele foi agraciado com o prêmio Ciência Médica oferecido pela UCLA. Slamon também recebeu o prêmio da Fundação Milken de Medicina Familiar em Pesquisa do Câncer, o prêmio Upjohn em medicina interna e o maracante prêmio " Jovem Investigador".

6- A 1975 honors graduate of the University of Chicago's Pritzker School of Medicine, Slamon earned his Ph.D. in cell biology that same year. He completed his internship and residency at the University of Chicago Hospitals and Clinics, becoming chief resident in 1978. One year later, he became a fellow in the Division of Hematology/Oncology at UCLA.

Dr. Slamon recently described the state of his cancer research in a talk given at UCLA's faculty center. Learn more here.

 Graduado com honras em 1975 pela Universidade de Chicago na Escola Pritzker de Medicina, Slamon atingiu seu Ph.D em célula biológica naquele mesmo ano. Ele conclui o intercâmbio e residência nas Clínicas e Hospitais da  Universidade de Chicago , tornando-se residente chefe em 1978. Um ano mais tarde, ele se tornou um igual( membro de grande status) na divisão de hematologia e oncologia na Universidade da Califórnia em Los Angeles ( U.C.L.A.)
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Clearing a path to cancer cures

Desobstruindo o caminho para a cura do cancer

1- Since it was first approved in 1998, the breast cancer drug Herceptin — developed by Dennis J. Slamon and his colleagues at the UCLA Jonsson Comprehensive Cancer Center — has saved the lives of hundreds of thousands of women.

Desde sua primeira aprovação em 1998 , a droga para o cancer de mama Herceptin, desenvolvida por Dennis J. Slamon e  seus  colegas do Centro de Compreensão do cancer da Universidade da California em los Angeles,  tem salvo a vida de milhares e milhares de mulheres.
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2- Hailed for his steel-hard persistence in finding new therapies, Slamon, director of clinical/translational research and head of the Revlon/UCLA Women's Cancer Research Program at the Jonsson center, has won numerous major awards for his breast cancer research. The search for funding, however, continues, and Slamon works tirelessly to find financial support for the center's programs.

Aclamado por sua árdua persistência em encontrar novas terapias, Slamon, diretor da Clinica de pesquisa translacional e cabeça do programa Revlon/UCLA de pesquisa sobre o cancer nas mulheres  no centro Johnson, conquistou muitos prêmios principais por suas pesquisas sobre o cancer de mama. A busca por financiamentos, entretanto, continua e Slamon trabalha incansavelmente para encontrar apoio financeiro para os  programas.
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3- Slamon and two colleagues, Edward Garon and William Tap, both assistant professors of hematology-oncology at the Geffen School of Medicine, recently described where they stand in this complex battle against cancer to approximately 40 of the center's friends and donors at the Faculty Center.

Slamon e dois colegas, Edward Garon and William tap, ambos professores assistente de hematologia e oncologia na Escola de Medicina Geffen, recentemente descreveram os avanços nessa complexa batalha contra o cancer para aproximadamente 40 colegas do Centro e doadores no centro acadêmico.

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4- Golden era or dark day?

One important discovery that led to the development of Herceptin, Slamon said, was the realization that breast cancer is not just one disease, but many. "There is a molecular diversity of human cancers that has largely gone unappreciated, and it's gone unappreciated because we've lumped things together," he said.

Era dourada ou dias nebulosos?

 Uma descoberta importante que levou ao desenvolvimento do Herceptin , informou Slamou, foi a conscientização de que o cancer de mama não é apenas uma doença, mas muitas. " Existe uma diversidade molecular do cancer em seres humanos que tem sido ignorada, e tem sido ignorada porque temos amontoado as coisas.
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5- He told the story of Vincent DeVita, a staff investigator at the National Cancer Institute (NCI) in 1961. At the time, Hodgkin's disease was incurable. Patients were responding to therapy after receiving a single drug, but in almost all cases, the cancer would recur within 12-18 months. If given the same drug again, they wouldn't respond, and if given a different drug, the tumor would shrink, but the cancer would come back in six to eight months.

Ele contou a história de Vincent De Vita, investigador chefe do Instituto Nacional do Cancer ( N.C.I.) em 1961. Na época a Doença de Hodgkin era incurável. Os pacientes respondiam á terapia após receberem um certo medicamento, no entanto em quase todos os casos, o cancer voltava em 12 - 18 meses. Se fosse dada a mesma droga novamente, os pacientes não respondiam, e se fosse dada uma droga diferente, o tumor encolhia, mas o cancer voltaria de seis a oito meses.

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6- DeVita wondered what would happen if the drugs were combined up-front rather than given one at a time, Slamon said.

DeVita ponderou o que aconteceria se as drogas fossem  ministradas juntas ao invés de uma por vez. Disse Slamon.

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7- Because of that research, Hodgkin's disease became curable; 80% of the patients who would have died were cured by combination chemotherapy. Yet even though this led to the so-called "golden era" of medical oncology, Slamon remarked that it was also a dark day.

Devido a essa pesquisa, a doença de Hodgkin se tornou curável ; 80% dos pacientes que teriam morrido foram curadas devido á combinação quimioterápica. Todavia , mesmo embora esse fato tenha levado á tão falada " era dourada" da oncologia médica, Slamon comentou que era também a era dos "dias nebulosos'.

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8- "Why would I say something that crazy? Because the problem was that everyone assumed this approach would work for all the major diseases," he said. It did not, yet "the field just kept going alphabet soup, mixing and matching chemotherapies."

" Porque eu diria algo tão  sem sentido? Porque o problema era que todo mundo presumia que essa abordagem funcionaria para todas as doenças" , Disse ele. E não era assim, todavia " O campo médico continuava tentando desvendar  essa " sopa de letrinhas", misturando e combinando quimioterapias."

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9- Over the next 45 years, another problem developed. Researchers used a "one-size-fits-all" approach, Slamon said. If a patient had lung cancer, he received one set of drugs; if he had colorectal cancer, he received different drugs; and if she had breast cancer, she got a third set. Everyone assumed that each of those cancers was one individual disease.

Ao longo dos próximos 45 anos, um outro problema se desenvolveu. Os pesquisadores usaram uma abordagem padrão " a mesma dosagem para todos"( observação pessoal :  " a expressão one-size-fits-all pode estar se referindo á aplicação de uma mesma dosagem de droga ou remédio  para diferentes tipos de câncer, pois a tradução dessa expressão é TAMANHO ÙNICO PARA TODOS . ) . Se um paciente tinha câncer pulmonar, ele recebia uma certa quantidade de drogas; se ele tinha câncer colorretal, ele recebia uma composição diferente, e se ele tinha câncer de mama, recebia uma terceira carga completamente diferente. Todos presumiam que cada um dos câncers era uma doença isolada,  individual.
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10- "Nothing could have been further from the truth, and we should have known this," Slamon said. The traditional approach — surgery, radiation therapy and systemic therapy — cures patients half the time. "But half the time, they do not," he said. "The premise is, cancer is not a single disease. Even within a given organ, it is not a single disease."

" Nada podia ser tão verdadeiro e nós deviamos ter conhecimento disso" , Disse Slamon. A abordagem tradicional - cirurgia, radioterapia,  terapia sistêmica - curam o paciente a metade do tempo. " Mas a outra metade , não curam" Ele disse. A premissa é , o câncer não é uma doença única. Mesmo com a doação de um orgão, não é uma doença única."

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11- Zeroing in on the target
      Partindo do zero

Slamon and his colleagues set out to find ways to target their treatments. They took breast cancer cells and mimicked what was happening in their patients, looking at genetic alterations in the genes that regulate growth. One of them was a gene called HER-2, human epidermal growth factor receptor No. 2.

Slamon e seus colegas começaram a buscar meios para os tratamentos. Eles pegaram  células cancerígenas e simularam o que estava acontecendo com os pacientes, observaram as alterações genéticas nos genes que regulam o crescimento. Uma delas era um gene chamado HER-2 ( crescimento epidérmico humano fator receptor 2)



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12- The researchers saw that women who had the HER-2 alteration weren't doing as well because they had a more aggressive tumor. That made it a logical target. Slamon's group found that when they added an antibody to the receptor that the gene made when it mutated, the tumor growth rate dropped dramatically.

Os pesquisadores observaram que mulheres que tinham alteração no HER-2 não responderam tão bem porque tinham um tumor mais agressivo. Isso levou a uma observação lógica. O grupo de Slamon descobriu que quando eles acrescentavam um anticorpo ao receptor que o gene produzia quando se modificava , a taxa de crescimento do tumor caía dramaticamente. .

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13- The search for more cures

Garon and Tap, Slamon's colleagues, talked about the progress they are making in finding ways to treat other cancers.

A busca por mais curas
Garon and Tap, Colegas de Slamon, falaram sobre o progresso que estão tendo na busca por alternativas para tratar outros cancers.

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14- Garon has been studying lung cancer patients who have mutations of a particular gene in their tumors, called ras mutant tumors. He presented a slide showing the cell lines of 43 different patients taken during a clinical trial. The slide revealed which cell lines were sensitive to a test drug and which ones were insensitive.

Garon tem estudado pacientes com  cancer pulmonar que tem mutações de um gene particular em seus tumores, chamado de tumores mutantes "ras". Ele apresentou um   slide mostrando as linhagens celulares de 43 pacientes diferentes tiradas durante uma avaliação clínica. O slide revelou que algumas  linhagens celulares eram sensíveis a um teste com a droga enquanto outras eram insensíveis.


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15- "If it takes less of a drug to stop cancer cells from growing, that means that the target is more effective in that particular setting," he said. "So instead of going forward with this drug, why don't we figure out whether or not patients have this mutation before treating them? If they have the mutation, we will treat them; if they don't, we won't treat them with the drug.

Se for preciso uma dose menor da droga para interromper o crescimento de uma célula cancerígena , significa que o alvo é mais efetivo nesse cenário particular. " Ele disse. Então ao invés de prosseguirmos  com essa droga, por que não tentarmos descobrir se os pacientes tem  ou não essa mutação antes de tratá-los? Se eles tiverem a mutação , os trataremos; mas se não tiverem não os trataremos com essa droga.

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16- "We have, in fact, spoken with AstraZeneca, who owns this compound, and we are going to be part of an international study. The enrollment of this study will be limited to patients who have mutations of this particular gene in their [ras mutant] tumors," Garon said.

" De fato temos falado com AstraZeneca, que possui esse composto, e seremos parte de um estudo internacional. O ingresso  nesse estudo será limitado  a pacientes que apresentam mutações desse gene particular em seus  tumores mutantes (ras)" , Disse Garon

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17- Tackling a rare cancer

Tap described his work with patients suffering from sarcoma, a rare form of cancer that strikes approximately 15,000 people in the United States each year. Yet with more than 80 different types, sarcoma is very difficult to study, he said.

Combatendo um cancer raro.
Tap descreveu seu trabalho com pacientes que sofrem de sarcoma, um tipo raro de cancer que atinge aproximadamente 15.000 pessoas nos Estados Unidos a cada ano. Até agora com mais de 80 tipos diferentes, o sarcoma é muito difícil de estudar, diz ele.

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18- In one type, Ewing's sarcoma, an aggressive tumor invades bone and is formed when pieces of chromosomes, in the act of dividing in a cell, break off and attach themselves to other chromosomes, Tap explained. When that happens, two genes that aren't supposed to be together are placed next to each other. In some cases, genes that are important for the cell to grow are placed next to genes that turn on that growth factor.

Em um tipo, sarcoma de Ewing, um tumor agressivo invade os ossos e se forma quando pedaços de cromossomos, no ato de se dividir em célula, se separam e se juntam a outros cromossomos,  explicou Tap. Quando isso acontece, dois genes que não deviam estar juntos se alojam próximos um do outro. Em alguns casos, genes que são importantes para o crescimento das células são colocados perto de genes que causam o fator de crescimento.

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19- Each cell has hundreds of "antennae" that receive signals from around the body, telling the cell when it needs to grow, Tap explained. In an abnormal cell, the number of antennae increases; suddenly, the cell has thousands and thousands of antennae that continually tell it to grow.

Cada célula tem centenas de " antenas" que recebem sinais do corpo, dizendo a célula quando ela precisa crescer, explicou Tap. Em uma célula anormal , o número de antenas é maior;subitamente , a célula tem milhares e milhares de antenas que ininterruptamente que a pedem para crescer.

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20- Drugs have been developed that actually go into the cell and "cut the cord" between the antennae and the cell's nucleus, shutting the cell off, Tap said. "We were really excited, after years and years, to have these new compounds," he said. "We've been putting patients in this big international trial now for about a year."

Tem sido desenvolvido drogas que , na verdade entram na célula e " cortam o cordão" entre a antena e o núcleo da célula, isolando a célula, Tap disse: " Estávamos realmente animados, após tantos anos, em ter esses compostos" , Ele disse ainda: " Temos colocado pacientes nessa experiência internacional por aproximadamente um ano"

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21- Tap has been trying to figure out why only certain patients respond to this drug. What he and his colleagues have discovered is that cancer cells are finding ways to get to these blocked receptors. Other pathways get turned on, and the cells continue to grow. But they don't happen in everybody, he said, and based on the research they've done, they can often identify which patients will or won't respond to the drug.

Tap tem tentado descobrir porque apenas certos pacientes respondem á essa droga/medicamento. O que ele , e os colegas dele, descobriram é que as celulas do câncer estão encontrando meios de pegar esses receptores bloqueados. Outros atalhos foram tentados mas as células continuam a crescer. Mas elas não crescem em todos, ele disse, e com base na pesquisa que eles fizeram, podem identificar quais pacientes responderão ou não á droga.

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22- "The key is to continue from what we've learned in the past," Tap said. "As we get new information, our job is not done. We really have to figure out how to apply it to the patients. This is one score on which I think we're moving along."
" A chave é continuar a partir do que aprendemos no passado."   disse '"Tap". " Enquanto houver  uma  informação nova , o trabalho não estará concluído. Nós , na verdade, temos que descobrir como isso pode ser utilizado com os pacientes. Isto é apenas um gol, uma marca positiva e eu acho que estamos progredindo.

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23- For more information about the Jonsson center and the groundbreaking work of Slamon and his colleagues, visit www.cancer.ucla.edu.
Para mais informações sobre o Centro Johnson e sobre as novidades dos trabalhos do Doutor Slamon e seus colegas visite o site: www.cancer.ucla.edu 

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Alex - doubts

a) auxiliar

b) pronome pessoal

c) verbo

d) complemento

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1- Do

2- Did

3- will

4- would

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Questions Words = Wh

1- What = O que / qual 

2- Where  = Onde

3- When  = quando

4- Who = quem

5- Why = Porque?

6- which = qual 

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Shopping

Useful Vocabulary

Shop(s)	Customer(s)	Cashier(s)
Wallet(s) (m) Purse(s) (f)	Scales	Till(s)
Shelf	Shelves	Barcode(s)
Trolley(s)	Lift(s)	Bag(s)
Basket(s)	Changing Room(s)	Escalator(s)
	Ways to pay
Cheque(s)	Cash	Note(s)
Coin(s)	Credit card(s) Debit card(s)

Build Up

Where to buy what

	Chemist's
	Ladies Clothing Shop or Boutique
	Mens Clothing Shop or Tailor's
	Shoe Shop or Cobbler's
	Jeweller's
	Electrical Store
	Toy Shop or Toy Store
	Record Shop
	Book Shop
	Newsagent's
	Ironmonger's
	Optician's
	Haberdasher's
All or most of the above	Department Store
	Butcher's
	Fishmonger's
	Greengrocer's
	Baker's
	Delicatessen
	Grocer's
	Off Licence
	Florist's
	Post Office
All or most of the above	Supermarket

Naturally Speaking

Useful Shopping Phrases

Finding a Shop	Opening Hours
Questions Can you recommend a good toy/clothes shop? Is there a chemists/supermarket in the area? Where can I get toothpaste/pet food? Where's the nearest shopping centre? Answers/Comments There's a really good bookshop just around the corner. You can buy that here in the hotel. The best toy shop is in the shopping centre. The nearest one is a few miles away.	Questions What time do you open, please? What time do you close, please? What are your opening hours? Are you open all day? Are you open on Sundays? Answers/Comments We're open 24/7. (24 hours a day / 7 days a week) We're closed at lunchtime, between 12 and 2pm. We're open from 9am till 6pm, Monday to Friday.
Shopping for Clothes	Paying
Questions Could you help me, please? Could you tell me where the ................ department is? Excuse me, I'm looking for a .......... . Is there somewhere I can try this on, please? Does it suit me? Do you have this in a (larger/smaller size) (different colour), please? Do you do alterations? Do you have a refund policy? Is this in the sale? Answers/Comments It's too long / short. It's too tight / loose. The ladies / gents changing rooms are over there. You can bring it back and exchange it or get a refund within 2 weeks if you keep the receipt.	Questions Do you take credit cards? Do you give credit? Do you have a loyalty card? Does it have a warranty? Can I pay by cheque? Do you offer a cash discount? Could I have a VAT receipt, please? Could I leave my bags here and pick them up later? Answers/Comments We take all the major credit cards. We only accept cheques with a cheque card. We are offering 6 months free credit with no deposit. Sorry, no. Yes, certainly.

Dialogue

Here we have two conversations. The first is between Mrs Smith and her younger son John at the shops. The second is between Mrs Smith and a shop assistant.

It's Saturday morning and Mrs. Smith is going shopping.
Mrs S:	John, I'm going to the shops. Is there anything you want?
John:	Yes please! Can you pick up my magazine from the newsagents?
Mrs S:	Of course. Do you want to come with me?
John:	No way, I'm going round to Mike's house, sorry.
Mrs S:	No problem. I'll be about an hour, be home by 5 o'clock at the latest.
John:	O.K. I'll see you later.
A bit later......
Mrs S:	John are you home?
John	Yes mum, I'm up stairs.
Mrs S:	Come down here, I bought you a new Nike T-shirt, I want you to try it on.
John	Nike? Great I'm coming!
A few minutes later.....
Mrs S:	Well, does it fit?
John	I think it's a bit too small.
Mrs S:	Let's have a look. Hmmm, I think you've grown again!
John	I can't wear it though.
Mrs S:	Do you like it?
John	Yeah, it's a nice colour.
Mrs S:	I'll take it back to the supermarket and see if I can change it.

Mrs Smith had bought a nice new T-shirt for John, but when he tried it on it didn't fit.

It's Saturday evening and Mrs Smith has to return the T-shirt.
Mrs S:	Excuse me, can you help me?
Shop Assistant	Yes of course, what can I do for you?
Mrs S:	I bought this T-shirt for my son this afternoon, but it doesn't fit him, it's too small.
Shop Assistant	Do you want to change it or get a refund.
Mrs S:	I'd like to change it for a larger size. Do you have these in large?
Shop Assistant	I'll just check. Let's see, yes we have large or extra large, which would you prefer?
Mrs S:	I think large will be fine, it's for my son.
Shop Assistant	That's fine, if it doesn't fit just bring it back again. If you take it to the customer service desk, they'll sort it all out for you.
Mrs S:	Thank you. Just as a matter of interest do you give refunds?
Shop Assistant	Yes, of course. You can bring any clothing items back up to three weeks after purchase, but you must keep the reciept.
Mrs S:	I see, thanks again.
Shop Assistant:	You're welcome.

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Friends Support Vocabulary

1- hump - corcunda
" So does he have a hump? " - Então ele é corcunda?
2- hair piece - peruca
" a hump and a hairpiece? - Corcunda e usa peruca?
3- bemused - estupefatos/estupefação
4- mortified - mortificado/cansado
5- reach down - descer

Friend Script - Pilot

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[Scene: Central Perk,* Chandler, Joey, Phoebe, and Monica are there.]

Monica: There's nothing to tell! He's just some guy I work with!

Joey: C'mon,* you're going out with the guy! There's gotta* be something wrong with him!

Chandler: All right Joey, be nice.  So does he have a hump?* A hump and a hairpiece?*

Phoebe: Wait, does he eat chalk?*

(They all stare, bemused.)*

Phoebe: Just, 'cause, I don't want her to go* through what I went through with Carl- oh!

Monica: Okay, everybody relax. This is not even a date.* It's just two people going out to dinner and- not having sex.

Chandler: Sounds* like a date to me.

[Time Lapse]

Chandler: Alright, so I'm back in high school, I'm standing in the middle of the cafeteria,* and I realize I am totally naked.

All: Oh, yeah. Had that dream.

Chandler: Then I look down, and I realize there's a phone... there.

Joey: Instead of...?

Chandler: That's right.

Joey: Never had that dream.

Phoebe: No.

Chandler: All of a sudden, the phone starts to ring. Now I don't know what to do, everybody starts looking at me.

Monica: And they weren't looking at you before?!

Chandler: Finally, I figure* I'd better answer it, and it turns out it's my mother, which is very-very weird,* because- she never calls me!

[Time Lapse,* Ross has entered.]

Ross: (mortified) Hi.

Joey: This guy says hello, I wanna* kill myself.

Monica: Are you okay, sweetie?*

Ross: I just feel like someone reached down my throat, grabbed* my small intestine,* pulled it out of my mouth and tied it around my neck...

Chandler: Cookie?

Monica: (explaining to the others) Carol moved* her stuff out today.

Joey: Ohh.

Monica: (to Ross) Let me get you some coffee.

Ross: Thanks.

Phoebe: Ooh! Oh! (She starts to pluck* at the air just in front of Ross.)

Ross: No, no don't! Stop cleansing my aura! No, just leave my aura alone, okay?

Phoebe: Fine!  Be murky!

Ross: I'll be fine, alright? Really, everyone. I hope she'll be very happy.

Monica: No you don't.

Ross: No I don't, to hell with her, she left me!

Joey: And you never knew she was a lesbian...

Ross: No!! Okay?! Why does everyone keep fixating* on that? She didn't know, how should I know?

Chandler: Sometimes I wish I was a lesbian... (They all stare at him.) Did I say that out loud?

Ross: I told mom and dad last night, they seemed to take* it pretty well.

Monica: Oh really, so that hysterical phone call I got from a woman at sobbing 3:00 A.M., "I'll never have grandchildren, I'll never have grandchildren." What was what?  A wrong number?

Ross: Sorry.

Joey: Alright Ross, look. You're feeling a lot of pain right now. You're angry. You're hurting*. Can I tell you what the answer is?

(Ross gestures his consent.)

Joey: Strip joint! C'mon, you're single! Have some hormones!

Ross: I don't want to be single, okay? I just... I just- I just wanna be married again!

(Rachel enters in a wet wedding dress and starts to search the room.)

Chandler: And I just want a million dollars! (He extends his hand hopefully.)

Monica: Rachel?!

Rachel: Oh God Monica hi! Thank God! I just went to your building and you weren't there and then this guy with a big hammer said you might be here and you are, you are!

Waitress: Can I get you some coffee?

Monica: (pointing at Rachel) De-caff. (to All) Okay, everybody, this is Rachel, another Lincoln High* survivor. (to Rachel) This is everybody, this is Chandler, and Phoebe, and Joey, and- you remember my brother Ross?

Rachel: Hi, sure!

Ross: Hi.

(They go to hug but Ross's umbrella opens.  He sits back down defeated again.  A moment of silence follows as Rachel sits and the others expect her to explain.)

Monica: So you wanna tell us now, or are we waiting for four wet bridesmaids?

Rachel: Oh God... well, it started about a half hour before the wedding. I was in the room where we were keeping all the presents, and I was looking at this gravy boat. This really gorgeous Lamauge gravy boat*. When all of a sudden- (to the waitress that brought her coffee)Sweet 'n' Low?*- I realized that I was more turned on by this gravy boat than by Barry! And then I got really freaked out, and that's when it hit me: how much Barry looks like Mr. Potato Head[1]. Y'know, I mean, I always knew looked familiar, but... Anyway, I just had to get out of there, and I started wondering 'Why am I doing this, and who am I doing this for?'. (to Monica) So anyway I just didn't know where to go, and I know that you and I have kinda drifted apart*, but you're the only person I knew who lived here in the city.

Monica: Who wasn't invited to the wedding.

Rachel: Ooh, I was kinda hoping that wouldn't be an issue... [Scene: Monica's Apartment, everyone is there and watching a Spanish Soap on TV and are trying to figure out what is going on.]

Monica: Now I'm guessing that he bought her the big pipe organ, and she's really not happy about it.

Chandler: (imitating the characters) Tuna or egg salad?  Decide!

Ross: (in a deep voice) I'll have whatever Christine is having.

Rachel: (on phone) Daddy, I just... I can't marry him! I'm sorry. I just don't love him. Well, it matters to me!

(The scene on TV has changed to show two women, one is holding her hair.)

Phoebe:  If I let go of my hair, my head will fall off.

Chandler: (re TV) Ooh, she should not be wearing those pants.*

Joey: I say push her down the stairs.

Phoebe, Ross, Chandler, and Joey:  Push her down the stairs! Push her down the stairs! Push her down the stairs!

(She is pushed down the stairs and everyone cheers.)

Rachel: C'mon Daddy, listen to me! It's like, it's like, all of my life, everyone has always told me, 'You're a shoe! You're a shoe, you're a shoe, you're a shoe!'. And today I just stopped and I said, 'What if I don't wanna be a shoe? What if I wanna be a- a purse, y'know?* Or a- or a hat! No, I'm not saying I want you to buy me a hat, I'm saying I am a ha- It's a metaphor, Daddy!

Ross: You can see where he'd have trouble.

Rachel: Look Daddy, it's my life. Well maybe I'll just stay here with Monica.

Monica: Well, I guess we've established who's staying here with Monica...

Rachel: Well, maybe that's my decision. Well, maybe I don't need your money. Wait!! Wait, I said maybe!!

[Time Lapse, Rachel is breathing into a paper bag.]

Monica: Just breathe, breathe.. that's it. Just try to think of nice calm things...

Phoebe: (sings) Raindrops on roses and rabbits and kittens, (Rachel and Monica turn to look at her.) bluebells* and sleighbells* and- something with mittens*... La la la la...something and noodles* with string.  These are a few...

Rachel: I'm all better now.

Phoebe: (grins and walks to the kitchen and says to Chandler and Joey.) I helped!

Monica: Okay, look, this is probably for the best, y'know? Independence. Taking control of your life.  The whole, 'hat' thing.*

Joey: (comforting her) And hey, you need anything, you can always come to Joey. Me and Chandler live across the hall. And he's away a lot.

Monica: Joey, stop hitting* on her! It's her wedding day!

Joey: What, like* there's a rule or something?

(The door buzzer* sounds and Chandler gets it.)

Chandler: Please don't do that again, it's a horrible sound.

Paul: (over the intercom) It's, uh, it's Paul.

Monica: Oh God, is it 6:30?  Buzz* him in!

Joey: Who's Paul?

Ross: Paul the        , Paul?

Monica: Maybe. Joey: Wait. Your 'not a real date' tonight is with Paul the Wine* Guy?

Ross: He finally asked you out?

Monica: Yes!

Chandler: Ooh, this is a Dear Diary moment.

Monica: Rach, wait, I can cancel...

Rachel: Please, no, go, that'd be fine!

Monica: (to Ross) Are, are you okay? I mean, do you want me to stay?

Ross: (choked voice) That'd be good...

Monica: (horrified) Really?

Ross: (normal voice) No, go on! It's Paul the Wine Guy!

Phoebe: What does that mean?   Does he sell it, drink it, or just complain a lot?[2] (Chandler doesn't know.)

(There's a knock on the door and it's Paul.)

Monica: Hi, come in! Paul, this is.. (They are all lined up next to the door.)... everybody, everybody, this is Paul.

All: Hey! Paul! Hi! The Wine Guy! Hey!

Chandler: I'm sorry, I didn't catch your name. Paul, was it?

Monica: Okay, umm-umm, I'll just--I'll be right back, I just gotta go ah, go ah...

Ross: A wandering?

Monica: Change!  Okay, sit down. (Shows Paul in) Two seconds.

Phoebe: Ooh, I just pulled out four eyelashes. That can't be good.

(Monica goes to change.)

Joey:  Hey, Paul!

Paul: Yeah?

Joey: Here's a little tip, she really likes it when you rub her neck in the same spot over and over and over again until it starts to get a little red.

Monica: (yelling from the bedroom) Shut up, Joey!

Ross: So Rachel, what're you, uh... what're you up to tonight?

Rachel: Well, I was kinda supposed to be headed for Aruba on my honeymoon, so nothing!

Ross: Right, you're not even getting your honeymoon, God.. No, no, although, Aruba, this time of year... talk about your- (thinks) -big lizards... Anyway, if you don't feel like being alone tonight, Joey and Chandler are coming over to help me put together my new furniture.

Chandler: (deadpan) Yes, and we're very excited about it.

Rachel: Well actually thanks, but I think I'm just gonna hang out here tonight.  It's been kinda a long day.

Ross: Okay, sure.

Joey: Hey Pheebs, you wanna help?

Phoebe: Oh, I wish I could, but I don't want to.

Commercial Break

[Scene: The Subway, Phoebe is singing for change.]

Phoebe: (singing) Love is sweet as summer showers, love is a wondrous work of art, but your love oh your love, your love...is like a giant pigeon...crapping on my heart.  La-la-la-la-la- (some guy gives her some change and to that guy) Thank you. (sings) La-la-la-la...ohhh!

[Scene: Ross's Apartment, the guys are there assembling furniture.]

Ross: (squatting and reading the instructions) I'm supposed to attach a brackety thing to the side things, using a bunch of these little worm guys. I have no brackety thing, I see no whim guys whatsoever and- I cannot feel my legs.

(Joey and Chandler are finishing assembling the bookcase.)

Joey: I'm thinking we've got a bookcase here.

Chandler: It's a beautiful thing.

Joey: (picking up a leftover part) What's this?

Chandler: I would have to say that is an 'L'-shaped bracket.

Joey: Which goes where?

Chandler: I have no idea.

(Joey checks that Ross is not looking and dumps it in a plant.)

Joey: Done with the bookcase!

Chandler: All finished!

Ross: (clutching* a beer can and sniffing*) This was Carol's favorite beer. She always drank it out of the can,* I should have known.

Joey: Hey-hey-hey-hey, if you're gonna start with that stuff* we're outta* here.

Chandler: Yes, please don't spoil all this fun.

Joey: Ross, let me ask you a question. She got the furniture, the stereo, the good TV- what did you get?

Ross: You guys.

Chandler: Oh, God.

Joey: You got screwed.

Chandler: Oh my God!

[Scene: A Restaurant, Monica and Paul are eating.]

Monica: Oh my God!

Paul: I know, I know, I'm such an idiot. I guess I should have caught on when she started going to the dentist four and five times a week. I mean, how clean can teeth get?

Monica: My brother's going through that right now, he's such a mess. How did you get through it?

Paul: Well, you might try accidentally breaking something valuable of hers, say her-

Monica: -leg?

Paul: (laughing) That's one way! Me, I- I went for the watch.

Monica: You actually broke her watch?  Wow!  The worst thing I ever did was, I-I shredded my boyfriend's favorite bath towel.

Paul: Ooh, steer clear of you.

Monica: That's right. [Scene: Monica's Apartment, Rachel is talking on the phone and pacing.]

Rachel: Barry, I'm sorry... I am so sorry... I know you probably think that this is all about what I said the other day about you making love with your socks on, but it isn't... it isn't, it's about me, and I ju- (She stops talking and dials the phone.) Hi, machine cut me off again... anyway...look, look, I know that some girl is going to be incredibly lucky to become Mrs. Barry Finkel, but it isn't me, it's not me.  And not that I have any idea who me is right now, but you just have to give me a chance too... (The maching cuts her off again and she redials.)

[Scene: Ross's Apartment; Ross is pacing while Joey and Chandler are working on some more furniture.]

Ross: I'm divorced!  I'm only 26 and I'm divorced!

Joey: Shut up!

Chandler: You must stop! (Chandler hits what he is working on with a hammer and it collapses.)

Ross: That only took me an hour.

Chandler: Look, Ross, you gotta understand, between us we haven't had a relationship that has lasted longer than a Mento.   You, however have had the love of a woman for four years.   Four years of closeness and sharing at the end of which she ripped your heart out, and that is why we don't do it!  I don't think that was my point!

Ross: You know what the scariest part is? What if there's only one woman for everybody, y'know? I mean what if you get one woman- and that's it? Unfortunately in my case, there was only one woman- for her...

Joey: What are you talking about? 'One woman'? That's like saying there's only one flavor of ice cream for you. Lemme tell you something, Ross. There's lots of flavors out there. There's Rocky Road, and Cookie Dough, and Bing! Cherry Vanilla. You could get 'em with Jimmies, or nuts, or whipped cream! This is the best thing that ever happened to you! You got married, you were, like, what, eight? Welcome back to the world! Grab a spoon!*

Ross: I honestly don't know if I'm hungry or horny.

Chandler: Stay out of my freezer! [Scene: A Restaurant, Monica and Paul are still eating.]

Paul: Ever since she walked out on me, I, uh...

Monica: What?..... What, you wanna spell it out with noodles?

Paul: No, it's, it's more of a fifth date kinda revelation.

Monica: Oh, so there is gonna be a fifth date?

Paul: Isn't there?

Monica: Yeah... yeah, I think there is. -What were you gonna say?

Paul: Well, ever-ev-... ever since she left me, um, I haven't been able to, uh, perform. (Monica takes a sip of her drink.) ...Sexually.

Monica: (spitting out her drink in shock) Oh God, oh God, I am sorry... I am so sorry...

Paul: It's okay...

Monica: I know being spit on is probably not what you need right now. Um... how long?

Paul: Two years.

Monica: Wow! I'm-I'm-I'm glad you smashed her watch!

Paul: So you still think you, um... might want that fifth date?

Monica: (pause)...Yeah. Yeah, I do.

[Scene: Monica's Apartment, Rachel is watching Joanne Loves Chaci.]

Priest on TV: We are gathered here today to join Joanne Louise Cunningham and Charles, Chachi-Chachi-Chachi, Arcola in the bound of holy matrimony.

Rachel: Oh...see... but Joanne loved Chachi! That's the difference!

[Scene: Ross's Apartment, they're all sitting around and talking.]

Ross: (scornful) Grab a spoon. Do you know how long it's been since I've grabbed a spoon? Do the words 'Billy, don't be a hero' mean anything to you?

Joey: Great story!  But, I uh, I gotta go, I got a date with Andrea--Angela--Andrea...  Oh man, (looks to Chandler)

Chandler: Angela's the screamer, Andrea has cats.

Joey: Right.  Thanks.  It's June.  I'm outta here. (Exits.)

Ross: Y'know, here's the thing. Even if I could get it together enough to- to ask a woman out,... who am I gonna ask? (He gazes out of the window.)

[Cut to Rachel staring out of her window.]

Commercial Break

[Scene: Monica's Apartment, Rachel is making coffee for Joey and Chandler.]

Rachel: Isn't this amazing? I mean, I have never made coffee before in my entire life.

Chandler: That is amazing.

Joey: Congratulations.

Rachel: Y'know, I figure if I can make coffee, there isn't anything I can't do.

Chandler: If can invade Poland, there isn't anything I can't do.

Joey: Listen, while you're on a roll, if you feel like you gotta make like a Western omelet or something... (Joey and Chandler taste the coffee, grimace, and pour it into a plant pot.) Although actually I'm really not that hungry...

Monica: (entering, to herself) Oh good, Lenny and Squigy are here.

All: Morning. Good morning.

Paul: (entering from Monica's room) Morning.

Joey: Morning, Paul.

Rachel: Hello, Paul.

Chandler: Hi, Paul, is it?

(Monica and Paul walk to the door and talk in a low voice so the others can't hear.  The others move Monica's table closer to the door so that they can.)

Paul: Thank you!  Thank you so much!

Monica: Stop!

Paul: No, I'm telling you last night was like umm, all my birthdays, both graduations, plus the barn raising scene in Witness.

Monica: We'll talk later.

Paul: Yeah. (They kiss) Thank you. (Exits)

Joey: That wasn't a real date?! What the hell do you do on a real date?

Monica: Shut up, and put my table back.

All: Okayyy! (They do so.)

Chandler: All right, kids, I gotta get to work. If I don't input those numbers,... it doesn't make much of a difference...

Rachel: So, like, you guys all have jobs?

Monica: Yeah, we all have jobs. See, that's how we buy stuff.

Joey: Yeah, I'm an actor.

Rachel: Wow! Would I have seen you in anything?

Joey: I doubt it. Mostly regional work.

Monica: Oh wait, wait, unless you happened to catch the Reruns' production of Pinocchio, at the little theater in the park.

Joey: Look, it was a job all right?

Chandler: 'Look, Gippetto, I'm a real live boy.'

Joey: I will not take this abuse. (Walks to the door and opens it to leave.)

Chandler: You're right, I'm sorry. (Burst into song and dances out of the door.) "Once I was a wooden boy, a little wooden boy..."

Joey: You should both know, that he's a dead man.  Oh, Chandler? (Starts after Chandler.)

Monica: So how you doing today? Did you sleep okay? Talk to Barry? I can't stop smiling.

Rachel: I can see that. You look like you slept with a hanger in your mouth.

Monica: I know, he's just so, so... Do you remember you and Tony DeMarco?

Rachel: Oh, yeah.

Monica: Well, it's like that. With feelings.

Rachel: Oh wow. Are you in trouble.

Monica: Big time!

Rachel: Want a wedding dress?   Hardly used.

Monica: I think we are getting a little ahead of selves here. Okay. Okay. I am just going to get up, go to work and not think about him all day. Or else I'm just gonna get up and go to work.

Rachel: Oh, look, wish me luck!

Monica: What for?

Rachel: I'm gonna go get one of those (Thinks) job things.

(Monica exits.)

[Scene: Iridium, Monica is working as Frannie enters.]

Frannie: Hey, Monica!

Monica: Hey Frannie, welcome back! How was Florida?

Frannie: You had sex, didn't you?

Monica: How do you do that?

Frannie: Oh, I hate you, I'm pushing my Aunt Roz through Parrot Jungle and you're having sex!  So? Who?

Monica: You know Paul?

Frannie: Paul the Wine Guy? Oh yeah, I know Paul.

Monica: You mean you know Paul like I know Paul?

Frannie: Are you kidding? I take credit for Paul. Y'know before me, there was no snap in his turtle for two years.

[Scene: Central Perk, everyone but Rachel is there.]

Joey: (sitting on the arm of the couch)Of course it was a line!

Monica: Why?! Why? Why, why would anybody do something like that?

Ross: I assume we're looking for an answer more sophisticated than 'to get you into bed'.

Monica: I hate men!  I hate men!

Phoebe: Oh no, don't hate, you don't want to put that out into the universe.

Monica: Is it me? Is it like I have some sort of beacon that only dogs and men with severe emotional problems can hear?

Phoebe: All right, c'mere, gimme your feet. (She starts massaging them.)

Monica: I just thought he was nice, y'know?

Joey: (bursts out laughing again) I can't believe you didn't know it was a line!

(Monica pushes him off of the sofa as Rachel enters with a shopping bag.)

Rachel: Guess what?

Ross: You got a job?

Rachel: Are you kidding? I'm trained for nothing! I was laughed out of twelve interviews today.

Chandler: And yet you're surprisingly upbeat.

Rachel: You would be too if you found John and David boots on sale, fifty percent off!

Chandler: Oh, how well you know me...

Rachel: They're my new 'I don't need a job, I don't need my parents, I've got great boots' boots!

Monica: How'd you pay for them?

Rachel: Uh, credit card.

Monica: And who pays for that?

Rachel: Um... my... father.

[Scene: Monica and Rachel's, everyone is sitting around the kitchen table.   Rachel's credit cards are spread out on the table along with a pair of scissors.]

Rachel: Oh God, come on you guys, is this really necessary?  I mean, I can stop charging anytime I want.

Monica: C'mon, you can't live off your parents your whole life.

Rachel: I know that. That's why I was getting married.

Phoebe: Give her a break, it's hard being on your own for the first time.

Rachel: Thank you.

Phoebe: You're welcome. I remember when I first came to this city. I was fourteen. My mom had just killed herself and my step-dad was back in prison, and I got here, and I didn't know anybody. And I ended up living with this albino guy who was, like, cleaning windshields outside port authority, and then he killed himself, and then I found aromatherapy. So believe me, I know exactly how you feel.

(Pause)

Ross: The word you're looking for is 'Anyway'...

Monica: All right, you ready?

Rachel: No.  No, no, I'm not ready!  How can I be ready?  "Hey, Rach!  You ready to jump out the airplane without your parachute?"  Come on, I can't do this!

Monica: You can, I know you can!

Rachel: I don't think so.

Ross: Come on, you made coffee!   You can do anything! (Chandler slowly tries to hide the now dead plant from that morning when he and Joey poured their coffee into it.)

Ross: C'mon, cut. Cut, cut, cut,...

All: Cut, cut, cut, cut, cut, cut, cut... (She cuts one of them and they cheer.)

Rachel: Y'know what?  I think we can just leave it at that.  It's kinda like a symbolic gesture...

Monica:  Rachel!  That was a library card!

All: Cut, cut, cut, cut, cut, cut, cut..

Chandler: (as Rachel is cutting up her cards) Y'know, if you listen closely, you can hear a thousand retailers scream.

(She finishes cutting them up and they all cheer.)

Monica: Welcome to the real world! It sucks. You're gonna love it!

[Time Lapse, Rachel and Ross are watching a TV channel finishing its broadcast day by playing the national anthem.]

Monica: Well, that's it (To Ross) You gonna crash* on the couch?

Ross: No. No, I gotta* go home sometime.

Monica: You be okay?

Ross: Yeah.

Rachel: Hey Mon, look what I just found on the floor. (Monica smiles.) What?

Monica: That's Paul's watch. You just put it back where you found it. Oh boy. Alright. Goodnight, everybody.

Ross and Rachel: Goodnight.

(Monica stomps on Paul's watch and goes into her room.)

Ross: Mmm. (They both reach for the last cookie) Oh, no-

Rachel: Sorry-

Ross: No no no, go-

Rachel: No, you have it, really, I don't want it-

Ross: Split it?

Rachel: Okay.

Ross: Okay. (They split it.) You know you probably didn't know this, but back in high school, I had a, um, major crush* on you.

Rachel: I knew.

Ross: You did! Oh.... I always figured* you just thought I was Monica's geeky* older brother.

Rachel: I did.

Ross: Oh. Listen, do you think- and try not to let my intense vulnerability become any kind of a factor here- but do you think it would be okay if I asked you out? Sometime? Maybe?

Rachel: Yeah, maybe...

Ross: Okay... okay, maybe I will...

Rachel: Goodnight.

Ross: Goodnight.

(Rachel goes into her room and Monica enters the living room as Ross is leaving.)

Monica: See ya.... Waitwait, what's with you?

Ross: I just grabbed a spoon. (Ross exits and Monica has no idea what that means.)

Closing Credits

[Scene: Central Perk, everyone is there.]

Joey: I can't believe what I'm hearing here.

Phoebe: (sings) I can't believe what I'm hearing here...

Monica: What? I-I said you had a-

Phoebe: (sings) What I said you had...

Monica: (to Phoebe) Would you stop?

Phoebe: Oh, was I doing it again?

All: Yes!

Monica: I said that you had a nice butt, it's just not a great butt.

Joey: Oh, you wouldn't know a great butt if it came up and bit ya.

Ross: There's an image.

Rachel: (walks up with a pot of coffee) Would anybody like more coffee?

Chandler: Did you make it, or are you just serving it?

Rachel: I'm just serving it.

All: Yeah. Yeah, I'll have a cup of coffee.

Chandler: Kids, new dream... I'm in Las Vegas. (Rachel sits down to hear Chandler's dream.)

Customer: (To Rachel) Ahh, miss?   More coffee?

Rachel: Ugh. (To another customer that's leaving.) Excuse me, could you give this to that guy over there? (Hands him the coffee pot.) Go ahead. (He does so.) Thank you. (To the gang.) Sorry.  Okay, Las Vegas.

Chandler: Okay, so, I'm in Las Vegas... I'm Liza Minelli-

End

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