Vocabulary
2. Fill in the missing word. There are two words you do not need to use.
1. The heavy rain caused the driver to lose control of his car and crash into a tree.
2. What started out as a light breeze soon became a very strong wind.
3. The well-trained lifeguard was able to rescue the drowning swimmer and quickly bring him to safety.
4. The lead actor felt under the weather and Daniel was asked to replace him in the school play.
5. The big earthquake caused many buildings to collapse and people were left homeless.
6. When the avalanche hit the area, dozens of people were snowed in for many hours.
7. Cars and factories produce toxic fumes that harm the environment.
8. A terrible flood caused by three days of continuous rain has destroyed many houses inthe small fishing village.
9. drought will occur in an area when it hasn’t rained for an unusually long period of time.
10. The terrible fire left dozens of buildings in ruins
SCENE 1: CENTRAL PERK. (ALL PRESENT EXCEPT RACHEL AND ROSS)
MONICA: There’s nothing to tell! He’s just some guy I work with!
JOEY: Come on! 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?
(THE OTHERS STARE, BEMUSED)
PHOEBE: Just, cause, I don’t want her to go through what I went through with Carl — oh!
MONICA: Okay, everybody relax. Relax. This is not even a date. It’s not. It’s just two people going out to dinner and — not having sex.
CHANDLER: Sounds like a date to me.
(CUT TO SAME SET)
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 the sudden, the phone starts to ring. Now I don’t know what to do. Everybody starts looking at me.
MONICA: They weren’t looking at you before?
CHANDLER: Finally, I figure, I better answer it. And it turns out it’s my mother, which is very very weird, because — she never calls me.
(CUT TO SAME SET. ROSS HAS NOW 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. (TO ROSS) Let me get you some coffee.
ROSS: Thanks.
PHOEBE: Ooh! Oh! (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. (THE OTHERS STARE AT HIM) Did I say that out loud?
ROSS: I told Mom and Dad last night. They— they seemed to take it pretty well.
MONICA: Oh really? So that hysterical phone call I got from a woman sobbing at 3 AM, «I’ll never have grandchildren. I’ll never have grandchildren,» 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! Come on, 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!
(ENTER RACHEL IN A WET WEDDING DRESS. SHE STARTS TO SEARCH AROUND THE ROOM)
CHANDLER: And I just want a million dollars! (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 THE GANG) 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: Sure! Hi!
ROSS: Hi.
(THEY GO TO HUG BUT ROSS’S UMBRELLA OPENS. HE SITS, DEFEATED AGAIN)
(A MOMENT OF SILENCE AS RACHEL SITS; THE OTHERS EXPECT HER TO EXPLAIN)
MONICA: So you want to 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 Limoges gravy boat. When all of a sudden- (TO WAITRESS, WHO HAS BROUGHT HER COFFEE) Sweet ‘n’ Lo?- 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. You know, I mean, he always 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 2: MONICA’S APARTMENT (ALL PRESENT AND WATCHING A SPANISH SOAP ON TV)
MONICA: Now I’m guessing that he bought her the big pipe organ, and she’s really not happy about it.
CHANDLER: Tuna or egg salad? Decide!
ROSS: 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!
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+JOEY: Push her down the stairs! Push her down the stairs! Push her down the stairs! (SHE IS PUSHED DOWN THE STAIRS. THEY CHEER)
RACHEL: Come on Daddy, listen to me! 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 then today, I just stopped and I said, «What if I don’t wanna be a shoe? What if I want to be a — a purse, you 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!
(CUT TO SAME SET. 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)… blue bells and sleigh bells and — something with mittens… La la la… and noodles with strings—
RACHEL: I’m all better now.
PHOEBE: (GRINS AND WALKS TO KITCHEN. TO CHANDLER AND JOEY) I helped!
MONICA: Okay, look, this is probably for the best, you know? Independence, taking control of your life, the whole «hat» thing.
JOEY: (SITTING BESIDE HER) And hey, you need anything, you can always come to Joey. Me and Chandler live right 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. CHANDLER GETS IT)
CHANDLER: Please don’t do that again, it’s a horrible sound.
PAUL: (OVER INTERCOM) It’s, uh, it’s Paul.
MONICA: Oh God? Is it 6:30? Buzz him in!
JOEY: Who’s Paul?
ROSS: «Paul the wine guy» 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: Oh God, 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 he just complains a lot?
(A KNOCK AT THE DOOR. MONICA GETS IT; 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, I’m just— I’ll be right back. I’m just gonna go—
ROSS: A-wandering?
MONICA: Change! Okay (SHOWS PAUL IN) Two seconds. (ROSS GIVES HAND GESTURES SHOWING HIS APPROVAL)
PHOEBE: Ooh, I just pulled out four eyelashes. That can’t be good.
JOEY: Hey, Paul. 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 gets a little red.
MONICA: (FROM HER ROOM) Shut up, Joey!
ROSS: So Rachel, what are you, uh… what’re you up to tonight?
RACHEL: Well, I was kind of 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 a long day
ROSS: Okay, sure.
JOEY: Hey Pheebs, you wanna help?
PHOEBE: Oh, I wish I could, but I don’t want to.
[SCENE 3: SUBWAY: BLEECKER ST.]
PHOEBE: (SINGING AND PLAYING GUITAR) Love is sweet as summer’s 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 la la la (MAN DROPS CHANGE INTO PHOEBE’S GUITAR CASE) Thank you! La la la la la la la la! Ooooo…
SCENE 4: ROSS’S APARTMENT (THE GUYS ARE ASSEMBLING FURNITURE)
ROSS: (SQUATTING AND READING INSTRUCTIONS) I’m supposed to attach a brackety thing to the side things, using a bunch of these little whim guys. I have no brackety thing, I see no whim guys whatsoever and — I cannot feel my legs.
(CHANDLER AND JOEY HAVE APPARENTLY FINISHED A BOOKCASE, BUT THERE IS A BIT LEFT OVER)
JOEY: I’m thinking we got a bookcase here.
CHANDLER: It’s a beautiful thing.
JOEY: 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 ROSS IS NOT LOOKING AND DUMPS IN IN A PLANT POT)
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, hey. You’re going to start with that stuff, we’re out of 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.
(CUT TO MONICA AND PAUL EATING IN A RESTAURANT)
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 shredded my old boyfriend’s favorite bath towel.
PAUL: Ooh! Steer clear of you
MONICA: That’s right.
(CUT TO RACHEL IN MONICA’S APARTMENT, 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— (STOPS TALKING; DIALS A NUMBER ON THE PHONE) Hi, machine cut me off again. Anyway, 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 of who «me» is right now, but you just have to give me a chance to— (STOPS TALKING; DIALS A NUMBER ON THE PHONE)
(CUT TO ROSS’S APARTMENT)
ROSS: I’m divorced. I’m only 26 and I’m divorced!
JOEY: Shut up!
CHANDLER: Oh, you must — stop! (CHANDLER HITS SHELF WITH HAMMER AND IT FALLS APART; CHANDLER, JOEY, AND ROSS GIVE UPSET FACES)
ROSS: That only took me an hour.
CHANDLER: You got to under, between us (POINTS TO JOEY AND HIMSELF), we haven’t had a relationship that’s lasted longer than a Mento. (CHANDLER AND JOEY GET UP) 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! (ROSS LOOKS AT CHANDLER) 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? You 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. Let me 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!
(CUT TO THE RESTAURANT)
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 kind of 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: (SPITS OUT HER DRINK IN SHOCK) Oh God, oh God, I am sorry… I am so sorry…
PAUL: It’s okay…
MONICA: Being spit on is probably not what you need right now. Um… how long?
PAUL: Two years.
MONICA: Wow! 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.
(CUT TO RACHEL WATCHING ‘JOANIE LOVES CHACHI‘)
RACHEL: Oh… see… but Joanie loved Chachi! That’s the difference!
(CUT TO ROSS’S APARTMENT)
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 gotta go. I got a date with Andrea. Angela— Andrea. Oh man! (LOOKS TO CHANDLER)
CHANDLER: Andrea’s the screamer. Angela has cats.
JOEY: Right, thanks. It’s Julie. I’m outta here.
ROSS: You know, here’s the thing. Even if I could get it together enough to — to ask a woman out… who am I gonna ask? (GAZES OUT OF THE WINDOW)
(CUT TO RACHEL STARING OUT OF HER WINDOW)
SCENE 5: MONICA & RACHEL’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: You know, I figured if I can make coffee, there isn’t anything that I can’t do.
CHANDLER: No, I think it’s, «If I can invade Poland, there isn’t anything that I can’t do.»
JOEY: Listen, while you’re on a roll, if you feel like you gotta make like a Western omelette or something… (JOEY AND CHANDLER TASTE THE COFFEE, GRIMACE, AND POUR IT INTO A PLANT POT) Although actually I’m really not that hungry…
(ENTER MONICA FROM HER ROOM)
MONICA: Oh good. Lenny and Squiggy are here.
ALL: Morning. Good morning.
(ENTER PAUL FROM MONICA’S ROOM)
PAUL: Morning.
JOEY: Morning, Paul.
RACHEL: Hello, Paul.
CHANDLER: Hi, Paul, was it?
(MONICA AND PAUL WALK TO THE DOOR AND TALK IN A LOW VOICE SO THE OTHERS CAN’T HEAR. THE OTHERS SHUNT MONICA’S TABLE CLOSER TO TO THE DOOR SO THEY CAN)
MONICA: I had a really great time last night.
PAUL: Thank you. Thank you so much.
MONICA: Stop.
PAUL: No, I’m telling you. Last night was like, it was like all of my birthdays, both graduations, plus the barn raising scene at Witness. (MONICA LOOKS INTO APARTMENT. CHANDLER, RACHEL, AND JOEY PRETEND TO BE TALKING TO BE OCCUPIED WITH OTHER THINGS. MONICA CLOSES THE DOOR TO A NARROWER ANGLE.)
MONICA: We’ll talk later.
PAUL: Yeah. (PAUL AND MONICA KISS. CHANDLER, RACHEL AND JOEY MOVE THE TABLE) Thank you. (EXIT PAUL. MONICA ENTERS APARTMENT.)
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)
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, unless you happened to catch the Reruns’ production of Pinocchio.
CHANDLER: «Look, Geppetto, I’m a real live boy.»
JOEY: I will not take this abuse. (WALKS TO DOOR AND OPENS IT TO LEAVE)
CHANDLER: You’re right, I’m sorry. (BURSTS INTO SONG AND DANCES OUT OF THE DOOR) «Once I was a wooden boy, a little wooden boy…»
(EXIT CHANDLER)
JOEY: You should both know that he’s a dead man. Oh Chandler…?
(EXIT JOEY)
MONICA: So, how you doing today? Did you sleep okay? Did you 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… 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: Do you want a wedding dress? Hardly used.
MONICA: I think we’re getting a little ahead of ourselves 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, wish me luck!
MONICA: What for?
RACHEL: I’m gonna go get one of those job things.
(EXIT MONICA)
SCENE 6: IRIDIUM (JUST MONICA, WORKING)
(ENTER FRANNIE)
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. You know before me, there was no snap in his turtle for two years.
(CUT TO THE GANG MINUS RACHEL AT CENTRAL PERK)
JOEY: (PERCHED ON THE SIDE OF THE SOFA) 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 in 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, come here, give me your feet. (SHE MASSAGES THEM)
MONICA: I just thought he was nice, you know?
JOEY: (BURSTS OUT LAUGHING AGAIN) I can’t believe you didn’t know it was a line!
(MONICA PUSHES HIM OFF THE SOFA. ENTER RACHEL WITH SHOPPING)
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: Well, 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.
(CUT TO THE GANG AT MONICA + RACHEL’S, SITTING ROUND A TABLE. ON THE TABLE ARE RACHEL’S CREDIT CARDS AND A PAIR OF SCISSORS)
RACHEL: Come on, guys. Is this really necessary? I mean, I can stop charging any time I want.
MONICA: Come on, Rachel. You can’t live off your parents your whole life.
RACHEL: I know that. That’s why I was getting married.
PHOEBE: Come on, 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.
(A PAUSE)
ROSS: The word you’re looking for is «Anyway…»
MONICA: All right. You ready?
RACHEL: No, no no I’m not ready. «Hey Rach, you ready to jump out of an airplane without a parachute?» Come on, I can’t do this.
MONICA: Yeah, you can. I know you can.
RACHEL: I don’t think so.
ROSS: Come on, you made coffee! You can do anything.
(CHANDLER MOVES PLANT POT CLOSER TO HIM)
ROSS: Cut—
ROSS, MONICA, JOEY, & PHOEBE: Cut, cut, cut, cut, cut, cut, cut… (SHE CUTS A CARD)
ROSS: All right.
RACHEL: You know what? I think we can just leave it at that. Kind of like a symbolic gesture.
MONICA: Rachel, that was a library card.
ROSS, MONICA, JOEY, PHOEBE: Cut, cut, cut, cut—
CHANDLER: You know, if you listen very closely, you can hear a thousand retailers scream.
(RACHEL CUTS ALL CARDS. ROSS, MONICA, JOEY, PHOEBE, & CHANDLER CHEER)
MONICA: Welcome to the real world! It sucks. You’re gonna love it!
(CUT TO SAME SET. MONICA, RACHEL AND ROSS HAVE JUST FINISHED WATCHING A FILM)
MONICA: Well, that’s it.
RACHEL: (TO ROSS) You gonna crash on the couch?
ROSS: No. No, I gotta go home sometime.
MONICA: You’re going to be okay?
ROSS: Yeah.
RACHEL: Hey Mon, look what I just found on the floor. (MON SMILES) What?
MONICA: That’s Paul’s watch. You just put it back where you found it. Oh boy. Alright. Goodnight, everybody. (STOMPS ON PAUL’S WATCH AND GOES TO 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: Good night.
ROSS: Good night.
(EXIT RACHEL TO HER BEDROOM. ENTER MONICA IN DRESSING GOWN, AS ROSS IS LEAVING)
MONICA: See ya…. Wait wait, what’s with you?
ROSS: I just grabbed a spoon. (EXIT ROSS)
(CLOSING CREDITS)
CREDITS SCENE: CENTRAL PERK
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…
MONICA: (TO PHOEBE) Would you stop?
PHOEBE: Oh, was I doing it again?
MONICA, ROSS, CHANDLER, JOEY: Yes!
MONICA: (TO JOEY) I said that you had a nice butt. It’s just not a great butt.
JOEY: You wouldn’t know a great butt if it came up and bit you.
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.
CHANDLER, MONICA, AND JOEY: Yeah. Yeah, I’ll have a cup of coffee.
CHANDLER: Kids, new dream… I’m in Las Vegas.
MAN: Uhh… Miss… More coffee?
RACHEL: (GROAN) Excuse me. (TO ANOTHER MAN) Can you give this to that guy over there? Go ahead. Thank you. (TO FRIENDS) Sorry. Okay, Las Vegas—
CHANDLER: Okay, so, I’m in Las Vegas. I’m Liza Minnelli —
Пословицы и поговорки – это отражение народной мысли, установок, моральных ценностей. Обычно они имеют аналоги в других языках, поскольку воспроизводят “простые истины”, свойственные любому человеку каждой нации. Пословица может иметь другие образы, но будет доносить тот же смысл:
Английские пословицы | Русские эквиваленты английских пословиц |
When in Rome, do as the Romans do. | В чужой монастырь со своим уставом не ходят. |
The early bird catches the worm. | Кто рано встаёт – тому Бог подает. |
Too many cooks spoil the broth. | У семи нянек дитя без глазу. |
⠀
Но есть высказывания, которые вообще не имеют эквивалента в русском языке. Такие пословицы в наибольшей степени отражают отличия менталитета, поэтому составляют для нас особый интерес.
Кстати, сегодня мы узнаем не только смысл этих английских пословиц, но и связанные с ними занимательные истории.
Обрати внимание: если вдруг ты не согласен с описанным примером и точно знаешь русский аналог, то обязательно пиши об этом в комментариях – подискутируем! 🙂
Уникальное наследие: пословицы на английском языке с переводом
1. If you can’t be good, be careful.
Дословный перевод: Если не можешь быть хорошим, будь осторожен.
Если ты собираешься делать безнравственные вещи, убедись, что они не опасны для тебя или общества. Когда ты планируешь сделать что-то аморальное, удостоверься, что об этом никто не узнает.
Первое упоминание именно этой формулировки датируется 1903-м годом, но смысл выражения намного старше и берет свое начало из латинской пословицы “Si non caste, tamen caute” (если не целомудренно, то по крайней мере осторожно).
2. A volunteer is worth twenty pressed men.
Дословный перевод: Один доброволец стоит двадцати принужденных.
Значение пословицы по сути прямое: даже маленькая группа людей может быть полезнее, если у нее есть энтузиазм, стремление и т.д. Зародилась эта пословица в начале 18-го века.
В то время Королевский флот имел группу матросов, вооруженных дубинками, чья цель была “насобирать” моряков на флот. Они могли делать это, рассказывая о небывалых преимуществах службы, или же просто силой (все же вооружены дубинками они были неспроста).
Такое стечение обстоятельств не делало принужденного хорошим моряком. Отсюда и “вытекло” это умозаключение.
Заметь, что в этой пословице можно менять соотношение цифр:
100 volunteers are worth 200 press’d men.
One volunteer is worth two pressed men
и т.д.
3. Suffering for a friend doubleth friendship.
Дословный перевод: Страдание за друга удваивает дружбу.
Значение этой шотландской пословицы понятно без особых объяснений. Казалось бы, в русском языке есть довольно похожая пословица “друг познается в беде”. При этом очень интересен сам смысл “страдания за друга”. Если в русском варианте говорится о том, чтобы не отвернуться от друга и помочь ему в трудной ситуации, то здесь именно страдать вместе с ним, тем самым усиливая дружбу.
Еще одна интересная с точки зрения образов английская пословица о дружбе: Friends are made in wine and proven in tears (дружба рождается в вине, а проверяется в слезах).
Также читайте: Какой он — живой английский язык?
4. A woman’s work is never done.
Дословный перевод: Женский труд никогда не заканчивается.
Ну вот и о нашей нелегкой женской доле английские пословицы позаботились 🙂 Выражение пошло от старинного двустишия:
Man may work from sun to sun,
But woman’s work is never done.
Получается, значение пословицы в том, что женские дела (в отличие от мужских) длятся бесконечно. Видно это из примера:
“A woman’s work is never done!”, said Leila. She added: “As soon as I finish washing the breakfast dishes, it’s time to start preparing lunch. Then I have to go shopping and when the kids are back home I have to help them with their homework.”
(“Женский труд никогда не заканчивается!”, – Сказала Лейла. Она добавила: “Как только я заканчиваю мыть посуду после завтрака, приходит время готовить обед. Потом я должна идти по магазинам и, когда дети возвращаются домой, я должна помогать им с домашним заданием”.)
5. Comparisons are odious / odorous.
Дословный перевод: Сравнения отвратительны / воняют.
Люди должны оцениваться по их собственным заслугам, не стоит кого-либо или что-либо сравнивать между собой.
Два варианта пословица имеет не просто так. Первый вариант (Comparisons are odious) очень древний, и впервые он был запечатлен еще в 1440 году. А вот измененный вариант (Comparisons are odorous) был “создан” Шекспиром и использован им в пьесе “Много шума из ничего”.
6. Money talks.
Дословный перевод: Деньги говорят (сами за себя).
Значение – деньги решают все. Происхождение выражения является предметом споров среди лингвистов. Одни считают, что пословица зародилась в Америке 19-го века, другие – что в средневековой Англии.
Кстати, пословица использована в названии песни австралийской рок-группы AC/DC.
7. Don’t keep a dog and bark yourself.
Дословный перевод: Не держи собаку, если лаешь сам.
Значение этой английском пословицы: не работай за своего подчиненного. Высказывание очень древнее: первое упоминание зафиксировано еще в 1583 году.
По поводу отсутствия аналога: в разных источниках дана разная информация. Кто-то согласен с тем, что аналогов в русском языке нет, другие в качестве эквивалента предлагают пословицу:
За то собаку кормят, что она лает.
Однако, в Большом словаре русских пословиц такой пословицы о собаке нет вообще. Возможно, то что предлагают нам в качестве альтернативы, это адаптированный перевод именно английской пословицы (такое бывает).
8. Every man has his price.
Дословный перевод: У каждого есть своя цена.
Согласно этой пословице, подкупить можно любого, главное предложить достаточную цену. Наблюдение впервые зафиксировано в 1734 году, но, скорее всего, имеет и более давнюю историю.
Также читайте: История Англии: список лучших документальных фильмов
9. Imitation is the sincerest form of flattery.
Дословный перевод: Подражание – самая искренняя форма лести.
Значение пословицы прямое. Эта формулировка восходит к началу 19-го века. Но сама мысль еще древнее и встречалась в текстах 18-го века, например, в 1714 году у журналиста Юстаса Баджелла:
Imitation is a kind of artless Flattery (Имитация является своего рода бесхитростной лестью).
10. It’s better to light a candle than curse the darkness.
Дословный перевод: Лучше зажечь свечу, чем проклинать темноту.
Вопрос об аналоге снова спорен: в некоторых источниках, где даны английские пословицы с переводом на русский, эквивалентом называют:
Лучше пойти и плюнуть, чем плюнуть и не пойти.
Хочу с этим поспорить. Значение русской пословицы: лучше сделать, чем жалеть, что не сделал. Смысл английской – лучше исправить положение, чем жаловаться на него. Лично мне смысловая составляющая про жалобы кажется первостепенной, поэтому приравнивать эти пословицы я бы не стала.
11. Stupid is as stupid does
Дословный перевод: Глуп тот, кто глупо поступает.
На самом деле это не совсем “народная пословица”, а фраза, которой Форест Гамп отбивался от назойливых вопросов о своем интеллекте:
Фраза ушла в народ 🙂 Прародитель этого выражения – пословица “Handsome is as handsome does” (красив тот, кто красиво поступает), уже имеющая аналог в русском языке: “Не тот хорош, кто лицом пригож, а тот хорош, кто для дела гож”.
Также читайте: Игра престолов с Lingualeo, или Hear me roar
12. You can’t make bricks without straw
Дословный перевод: Нельзя сделать кирпич без соломы.
Опять же в некоторых источниках в качестве аналога указывается русское “без труда не вытащишь и рыбку из пруда”. При этом английская пословица говорит не о трудолюбии, а о невозможности выполнить задачу без необходимых материалов.
“It’s no good trying to build a website if you don’t know any html, you can’t make bricks without straw.” (Не пытайся создать веб-сайт, если ты не знаешь HTML: ты не можешь делать кирпичи без соломы).
Согласно википедии выражение берет начало из библейского сюжета, когда Фараон в наказание запрещает давать израильтянам солому, но приказывает делать то же количество кирпичей, как и раньше.
Где искать пословицы и поговорки на английском языке по темам?
Возможно, это не все высказывания, не имеющие русских аналогов, ведь английских пословиц (и их значений) огромное множество. Кстати, ты вполне можешь поискать их самостоятельно в нашей Библиотеке материалов по запросу “proverb”, чтобы насытить свою английскую речь чудесными выражениями. Успехов! 🙂
Потому что мы говорим не словами, а устойчивыми фразами, раз за разом используя привычные словосочетания. Именно построение фразы выдаёт иностранца, говорящего так, словно он читает газету. У носителя же языка готовые словесные обороты выскакивают сами собой.
Фактрум публикует самые важные английские идиомы с переводами и примерами их употребления.
Come On Jeffrey You Can Do It Lyrics By Bo Burnham. Come on, Jeffrey, you can do it Pave the way, put your back into it Tell us why, show us how Look at where you came from, look at you now Zuckerberg and Gates and Buffett.
Come On Jeffrey You Can Do It Lyrics
CEO, entrepreneur
Born in 1964
Jeffrey
Jeffrey Bezos
CEO, entrepreneur
Born in 1964
Jeffrey
Jeffrey Bezos
Come on, Jeffrey, you can do it
Pave the way, put your back into it
Tell us why, show us how
Look at where you came from, look at you now
Zuckerberg and Gates and Buffett
Amateurs can f^^king suck it
F^^k their wives, drink their blood
Come on, Jeff, get ’em!
CEO, entrepreneur
Born in 1964
Jeffrey
Jeffrey Bezos
CEO, entrepreneur
Born in 1964
Jeffrey
Jeffrey Bezos
Come on, Jeffrey, you can do it
Pave the way, put your back into it
Tell us why, show us how
Look at where you came from, look at you now
Zuckerberg and Gates and Buffett
Amateurs can f^^king suck it
F^^k their wives, drink their blood
Come on, Jeff, get ’em!
CEO, entrepreneur
Born in 1964
Jeffrey
Jeffrey Bezos
CEO, entrepreneur
Born in 1964
Jeffrey
Jeffrey Bezos
Come on, Jeffrey, you can do it
Pave the way, put your back into it
Tell us why, show us how
Look at where you came from, look at you now
Zuckerberg and Gates and Buffett
Amateurs can f^^king suck it
F^^k their wives, drink their blood
Come on, Jeff, get ’em!
Can We Pretend That Airplanes In The Night Sky Lyrics