English Subtitles to Great Expectations (BBC, episode 1, text)

Great Expectations BBC English subtitles

We are glad to present to you the text of English Subtitles to Great Expectation (the film based on the novel by Charles Dickens). For those who learn English the subtitles are given in the form of a text and divided into scenes. Also you can download subtitles srt.file for free. I have done hard work to make the text of subtetles readable and would appreciate if you donate to the project English Story any sum. Thank you in advance! Enjoy learning English through movies!

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Watch the film Great Expectations BBC 2011

English Subtitles to Great Expectations BBC 2011

The Text of English Subtitles to Great Expectations (Episode 1)

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 SCENE 1

GASPS
GROANS
BELL RINGING
MEN SHOUTING
PANTS
SCREAMS
— You scream again and I’ll cut your throat.
WIMPERS
— Are you alone?
— Talk! Is anyone with you? You talk!
— No-one.
— Where’s your mother and father?
— They’re dead and buried.
— Who are you living with? — Don’t gawp at me, boy! Who you living with?
— My sister and Joe Gargery. He a magistrate? A soldier? What is this Joe Gargery?
— He’s a blacksmith!
— A blacksmith.
— Is he close by?

HE CRIES OUS
— Is he close by?
— The marsh road.
— A blacksmith.
— Do you know what a file is, boy?
— This is what we’re going to do. You’re going to run back to Joe Gargery’s forge. And you’re going to steal me a file.
— I can’t steal from Joe.
— You’re going to steal me a file and bring it back here. And if you breathe one word, I’ll know. Do you know how I’ll know? Cos I’ve got a friend, watching you. He’s watching you now. His eyes are always on you. And he’s a savage. And you think of betraying me and he’ll get you, he’ll eat your tongue, your liver and your lights. He’ll eat your beating heart right in front of you. Now, you go and fetch me that file and you bring it back here. Get. Get!

* * *

SCENE 2

 —  What happened to you?
— I fell over.
— You’re frozen. Get by the hearth.
— The state of you! Slarted in filth! — Like I’ve not enough to do!
— It’s only a bit of mud. Let him have his warm.
— He can warm himself working. — Unless you want me to do it all and wear my fingers to the knuckle? Is that what you want, Mr Gargery? Your wife worn to nothing and at Christmas too?
— No, Missus.
— Coal! Now! And boots off before you come in my parlour!
— Best go, Pip. Before she gets rampageous.

* * *

SCENE 3

— You are chilled to the bone, Uncle. A hot gin and water is what you need. What are you doing down there? Get up and fetch the gin.
— I have some news, niece. Wonderful news.
— Who’s died?
— Better than death. This concerns Miss Havisham of Satis House!
— Satis House?
— She wants a boy. And you have one. Where’s that gin?
— Oh, Uncle Pumblechook! I feel quite faint! The room’s spinning!

* * *

SCENE 4

— I didn’t breathe a word! I… I swear!
— Come here! Come here!
CANNON BOOMS IN DISTANCE
HE GROANS
CANNON FIRE CONTINUES
HE GASPS
— I didn’t tell, I promise.
— D’you get the file? The file, give us it. Go on!
HE CRIES IN PAIN
HE GROANS AND FILES

— It’s a bit crumbled from being in my pocket.
HE PANTS
— D’you not want it?
— I’ll have it
HE PANTS
HE MOANS
— What do they call you?
— Philip Pirrip. But I get Pip
— Pip.
— Aren’t you going to save any for your friend?
— Nah, nah, he’s not hungry.
— He looks hungry. You have to tell him. I didn’t breathe a word.
— Who looks hungry?
— Your friend! The one with the scar.
— Where was he?
— He was waiting for me back yonder.
— You run off home now, Pip.
— Don’t worry about him.
— You run home, go on, fast… get!
A SHOUT IN THE DISTANCE

* * *

SCENE 5

— Pip! There’ll be some sport this day. A man-hunt with guns. Well, they mighter caught you. How’d you like that? Gun at your head? Bang!
HE LAUGHS
— Should hang ’em all. Hang ’em all like rabbits. Their legs kicking.
— Pip! Found ‘im!
— Didn’t you hear the cannon?
— There’s been an escape, there’s convicts off the hulks!
— You know not to go out when there’s a cannon!
— Well, I… I lost my scarf.I… I… I wanted to find my scarf. I’m sorry, Joe, I’m sorry for what I done.
— Pip, old son, it’s only a scarf. Scarves get lost. Don’t go crying over some old scarf.
HE KISSES HIS HEAD
— Come on now. Let’s get you home. Good lad, Orlick.
— All right.

* * *

SCENE 6

HE GROANS
THE CHAINS CLINK
— Magwitch.
HE CRIES OUT
THEY GROAN AND PANT
HE YELLS AND GROANS
HE SCREAMS
HE CHOKES AND SPLUTTERS
HE GROANS

* * *

SCENE 7

— Teach you to get us out on a day like this.
— Drag him out, drag him out.
— Did you see her yourself, Uncle?
— Not in person … she’s a lady. But the message was from her.
— As is the quality way.
— I don’t understand what Miss ‘avisham wants a boy for.
— That’s not for us to ask what a lady wants from a boy. She wants a boy and dear Uncle Pumblechook has spoken for us!
— Ah! My food not good enough for you?
— It’s Christmas, Missus.
— If you can’t beat a boy at Christmas, when can you beat him?
— That’s right, Uncle. And you make a better show of yourself when you go up to the House.Don’t you go shaming me!
— Us ain’t decided if he’s going yet.
— Of course he’s going! It’s Satis House, Mr Gargery! Satis House! Think of what she could do for him! For us! For me! It could change this family’s fortunes. Raised up, Mr Gargery! All of us!
— And who’s to say where we could be raised up to? She ain’t been seen for years.
— Who’s to say what she’s like? Well, he can tell us, can’t he?
— I would dearly like to see inside that house.
PUMBLECHOOK MUMBLES
— Do you want to go, Pip? What you asking him for?
— What he wants don’t come into it! He’s going for me, to make up for the mud and dirt and the cleaning of wet clothes and the toil and the care and the drudgery that goes with raising a boy by hand in these freezing god-forsaken flatlands with thieves and villains running wild as would murder us all in our beds, he’s going and there’s an end to it!
SHE BANGS HER FIST ON THE TABLE
— I made something special, for you, Uncle. To tempt you.
— Oh, I couldn’t. I’ve the appetite of a bird.
— Just a little morsel, Uncle. It’s your favourite, a mutton pie, bursting with meat!
HE GULPS
SLOW FOOTSTEPS
SHE BREATHES HEAVILY
— Missus!

* * *

SCENE 8

KNOCK AT THE DOOR
— Blacksmith, don’t bother making a new pin. Just solder ’em shut.
— He can wear ’em the whole way.
HE GROANS IN PAIN
— What’s he done, then? Murderer, is it?
— What ain’t he done would take less time to tell, Missus.
— You see this. That’s where you’ll end up. Chained an’ flogged an’ locked away, bringing shame on me.
— Ain’t nothing’ to be a-feared of, Pip.
— Filed ’em straight off. How d’you do it? Someone help ya? Eh?
— Cos we’ll bear down heavy on ’em when they’re caught.
— No help. Then how d’you get the file?
— Hold him!
— I pinched it off you, mister. I pinched it off you.
— You come in here? I never noticed anything gone.
— Well, you wouldn’t. Not with this one.
— Varmint nonpareil, as they say.
— Bound for the end of the world now.
— If he makes it through the storms and the sickness and the cramping.
— Hold his leg.
HE MOANS
— He don’t feel a thing.
HE CRIES IN PAIN
HE SCREAMS
— I pinched somethin’ else off you,mister.- A bit of pie.
— Oh, we’ve pie-stealing to add to his list of felonies now!
— And very tasty it was, Missus. -Best I ever had. You can bake.
— Animal! You should hang! -Uncle! Don’t touch that pie. A dirty convict’s had his hands all over it!
— You got in my ‘ouse?
— I would say I was sorry but I ain’t cos I was hungry.
— Well, us don’t begrudge you a bit of pie.
— Us don’t begrudge no man a bite, do us, Pip?
— Blacksmith. Poor business, shacklin’ a man. I don’t want paying’ for it.
— Right, well we’ll drink to your health then, blacksmith.
— Good night, young ‘un. Merry Christmas!
— All right, get him up, come on.
— Come on, lads, give them a kick if they don’t step lively.
— Don’t slouch, boy!
— And close your mouth. You look soft-headed.

* * *

SCENE 9

THE GATES CREAK OPEN
— Whoa!
— Good day to you, Hannah.
— Tradesmen’s is round the back, as well you know.
— I am expected.
— He is. You’re not.
— This way. -Wait here.

* * *

SCENE 10

— You are Pip from the forge.
— Yes, Madam.
— I am not Madam. I am not married.
— You’ll call me Miss Havisham.
— Sorry, Miss.
— Are your feet not cold, Miss?
— All of me is cold. Come. Look closer if you wish. My brother’s collection. He went to the furthest reaches of the earth in his quest for the purest specimen of beauty. And when he found it, he stuck a pin through its heart. He’s dead now.Cholera. In the tropics.Struck down in his relentless pursuit of beauty.Perhaps it was beauty’s revenge,to stop his heart when he had stopped so many others. Do you think beauty is a destroyer of men, Pip?
— I can’t be sure, Miss.
— We must hope so. Mustn’t we, Estella?
— Yes, Mother.
— Estella is my adopted daughter.
— Estella, this is Pip from the forge.
— Play.
— Do you not play cards, Pip?
— No, Miss.
— You will learn.
— Your people, what do they think of you coming here?
— They like it, Miss.
— Tell me, what do you hope to be in the future?
— I want to be a blacksmith, Miss.Like Joe.
SHE SNORTS
— You sound awfully certain.
— Yes, Miss.
— It is wise not to plan the years ahead too completely. Everything that was certain can change in a heartbeat. I am told you are an orphan.
— I am, Miss.
— So am I. So is Estella. Are there sisters and brothers?
— There’s my sister what I live with. With whom I live.
— No-one else?
— There was five others, Miss.
— So they are all dead?
— Have you never wonder why you survived, Pip? Why you were chosen to live?
— I do, Miss.
— Perhaps you were meant for something special. Perhaps it is intended that you, like Estella will be different and extraordinary. That is all for now. Come again next week to play.
SHE RINGS BELL
— Hannah will show you out.
— Play.
— Practise on him.

* * *

SCENE 11

— Adopted daughter?
— Did you know about this, Uncle?
— A grocer must always be discreet.
— She wants him to keep company with her adopted daughter. As equals.
— Well, think what this means, Uncle! As equals!
— Don’t go filling the boy’s head with no nonsense, Missus.
— Did she say anything else about you, your future?
— Pip has a future, he’s to be a smith.
— Ain’t you, Pip?
— Oh, cos us is rollin’ in coin for his apprenticeship, ain’t we, Joe Gargery?
— Us’ll find it.
— A smith, indeed.
— A boy from the marshes don’t keep company with a rich lady’s daughter, as equals, and then go back to being a smith! She must have said something!
— Missus!
— She said, maybe I was meant for something special and different!
— Special and different.
— I always knew I was due more.
— Gin. To celebrate. And get your boots out of my parlour, Joe Gargery! We are associating with the quality now!

* * *

SCENE 12

— I heard all the clocks is stopped in that house and she goes around in only her petticoats and she don’t wear no boots and she don’t brush her hair. Is that true?
— Ain’t your place to ask questions.
— Ah!
— You’re not special yet.
— You don’t want to go again, you don’t have to go.
— Missus will rampage like the wrath of God Almighty but I shall shoulder that. You just say.
— No, I… I want to go.
— This adopted daughter. What’s she like, then?
— Quiet.
— Well. Don’t seem like much of a life, all shut up with no other young ‘uns.
— Lonely sort of life, I’d say. So you be friendly.
— D’you know any card games, Joe? Ooh, I know a few.
— You’s in charge of the eelin’ today.
— You’ll be coming here regular, then.
— You say anything about my lady in that village, you’ll answer to me.
— Ain’t no-one’s business.
— That’s right. No-one’s business but ours.

* * *

SCENE 13

— Wait here.
— I’m sorry, Miss. The door was open.
— You are curious. What do you think it is?
— It… It looks like a wedding cake, Miss.
— It is the ghost of a wedding cake. And I am the ghost of a bride. Time stands still, and yet everything turns to dust. Estella is waiting for you.

* * *

SCENE 14

— Jack trumps yours.
— He calls knaves jacks.
— He can call them what he pleases. He’s winning.
— Well done, Pip. Estella, you must concentrate, if you do not want your opponent to take advantage.
— That will be all for this week. Estella will see you out. — Love her, Pip.For me. Love her.

— Why did you keep smiling at me?
— To be friendly.
— Do you think I’m pretty, Pip?
— Do you?
— Yes. Do you want to kiss me? What’s that smell? What smell? Dirt. And sweat. It’s the forge. It’s you.
— Why would I want to be friends with you? Your clothes don’t fit.
— I grew.
— They’re dirty. Your boots are dirty. You’re dirty. You don’t speak correctly. I can hardly understand what you say. Why would I want to be friends with you?
— I thought you might be lonely.
— Ah!
— Smile now. Go on, smile. You’re crying. I ain’t crying.
— Ain’t? It’s, «I am not crying».
— But you are. I made you cry. And I can make you cry whenever I like.
— You ain’t ever going to make me cry.
SHE PLAYS PIANO
— Do you not have books in your house, Pip?
— No, Miss.
— None at all?
— How very strange. Still, I suppose your people don’t have time for the wonders of the world. Picking up some proper manners.
— Don’t know who I’ve got sittin’ in front of me sometimes.
— Do you still wish to be a blacksmith?
— I understand.
— Your eyes have been opened and now you cannot close them.
— Pip. She grows prettier every day, does she not? I was a beauty once. Am I beautiful still?
SHE STOPS PLAYING
— Yes, Miss.
— Borrow the atlas, Pip. And imagine what a world is out there for someone different and extraordinary.
SHE SLAMS THE LID DOWN
— My fingers slipped.

— You think you’re something, you. But you ain’t.
— Me and Joe don’t need people who thinks they’s something in our forge.
— What are you doing up there, Orlick?
— Pip is studying to be raised up. Get back down here and do what you’re paid to.

* * *

SCENE 15

— Why’s it me telling him this? It’s always got to be me.
— This is ridiculous.
— We have come considerable distance at great inconvenience.
— I’m sorry, Sir, but you have to wait.
— This is making me bilious. I need my tincture.
— Up the stairs. Straight ahead. Who the hell is that?
— Oh, Mr Pocket, you are not yourself! Can you blame me?
— Forced to wait like a common tradesman while some country urchin is allowed to roam at will.
— It’s insult enough that the girl has free rein when nobody knows who she is.
— Well, Jaggers?
— She declines.
— But she’ll see that boy with his boots!
— This is preposterous!
— I don’t believe you argued for us, Jaggers.
— I don’t believe you are for us at all.
— You are not my clients.
— I am for my clients.

— Pip. Estella.
SHE WHIMPERS
— Ain’t you well, Miss?
— Are The Pockets still here?
— There’s some people. If they’re the Pockets then yes, they’re still here.
— My family. Every year on this day, they come to gloat. Trumpeting their love and concern. But I am just carrion to them. They are crows,|gathered round my corpse, waiting to feast on me.
— But you’re not dead, Miss.
— Am I not?

— Not today.
— I should have sent word.
— I cannot do this today. I cannot, I cannot, not today!
— Pip, you will have to leave.
— Yes, Miss.
— I want them to go! I want to go downstairs, to my room and I cannot while they are here. When will they go?
— Pip, you must leave. Next week, I shall be quite recovered.I shall be quite recovered next week.
SHE WHIMPERS

* * *

SCENE 16

— What are you doing?
— Ain’t your business.
— Looking for something to steal, no doubt.
— Explain yourself. Don’t poke me with that.
— I am a gentleman. I can do as I please.And you, you can’t. So I will poke you with this.
— And you will just have to take it.
SHE LAUGHS
— Herbert? Herbert! We’re leaving
— What in damnation have you done?
— I fell.
— Useless!
WHIP CRACKS AND HORSE WHINNIES
— You hit him!
— I’ll get in trouble.
— No, you won’t. He’s not going to admit that you hit him! There’s blood! It’s on your hand.
— Why are you so happy?
— You made something happen!
HE LAUGHS
HE SIGHS HAPPILY

* * *

SCENE 17

— It’s addressed to you.
— Let Uncle Pumblechook read it. He has the better voice for such writing.
HE CLEARS HIS THROAT
— Dear Mr Gargery, I would be grateful if yourself and Pip could attend mein Satis House this Sunday. I wish to discuss the matter of Pip’s future. Sincerely yours.
— Oh, this is it. The reward. I told you, Mr Gargery, didn’t I tell you? We are all going to be raised up!
— I… I’m proud of you… Proud.

— Er, get those things away from here, I don’t want ’em dripping on my step!
— Didn’t bring ’em for you, brought ’em for Joe.
— Well, he don’t want ’em either. From now on, we’re going to be having the best cuts. Good beef and pork. We won’t be wanting your snared coneys. And you go your ways too. It’s bad enough. I’ve got to look at your\~face the whole week without you lurking today when we’re celebratin’. Get gone!
— You think you’re something, don’t you, Missus?
— Flapping your mouth. If us was Joe, us’d put our hand across you long time back. When Mr Gargery gets back, I shall tell him what you said.
— He gonna send you packing.
— Joe’d never get rid of me.
— Who d’you think’s got his ear? You? Or his wife? You’re done. Finished.

* * *

SCENE 18

— Mr Gargery. Pip.
— Estella is indisposed. Please sit down. Mr Gargery, you and Mrs Gargery have been so generous allowing Pip to come here. And Pip has been so kind and attentive.He’s an extraordinary young man.
— I think so, Miss ‘avisham.
— There has been no mention of payment for his time here, but I would like to make a gift.A significant gift. I’ve spent time thinking of what I could do to ensure Pip’s future. And I know what would make him happy. I am going to pay for his apprenticeship to you, Mr Gargery.
— That’s most… most, most kind of you, Miss ‘avisham.
— On his very first day, Pip told me he wanted to be a blacksmith, like you. Is that not right, Pip? I have the papers prepared. I believe Pip will be bound to you for seven years?
— He will, Miss ‘avisham.
— If all goes well and he works ‘ard but I know Pip and ain’t a boy works harder.
— It’s just you to sign now, Pip. Goodbye, Mr Gargery. Goodbye, Pip. You need not trouble yourself to come here again.

* * *

SCENE 19

— You have not learned to control your passions. You are too unruly. Has this taught you nothing? We will begin again. And this time, you will learn.

— What is beauty?
— A destroyer.
— What is happiness?

— Deception.
— What is love?
— Death.

 * * *

SCENE 22

— I know you wanted somethin’ else. I know you got sweet on the girl. I know it. But it could never happen, Pip. This is best. This is right. Might not feel like it now, but it is. And now I’ve to tell Missus and she’ll most likely smash all the china.
— Missus! Missus, my dear! Get the doctor.
— Who’d do such a thing, Joe? And on a Sunday too?
— Thieves looking for something to steal.

— Missus can’t tell and never will now, doctor says.
— Knew I should never have left her alone.
— Here. Here.
— That’s my job. That’s what I’m here for.
— Go on to the Missus and let old Orlick look after the forge.
— It goes Joe. It goes me. It goes you. That’s how it goes in this ‘ere forge. Joe. Me. You. Don’t get in my way.
DOOR OPENS
— “My dear Pip. I hope this letter finds you well. I wonder if I might prevail upon you to visit me.»
— You have grown, Pip.
— Thank you, Miss.
— How does your apprenticeship progress?
— It progresses very well, Miss.
— Estella was very curious to see you again after so long. Come down, Estella. Estella leaves for Paris soon.
— Paris?
— She requires some finishing touches. There is an establishment that will hone her accomplishments. Make her ready.
— When are you comin’ back?
— I will not live here again.
— She will go to London, a lady, and marry a gentleman. I believe she will make a very good match. She will have her pick. Do you not think, Pip, as I do, that Estella is beautiful?
— Yes.
— Yes.
— How very kind of you to come. I wish you good fortune.
— My jewel, my prize.

— Pip. Why did you come back?
— She asked me.
— Don’t come again. Even if she begs. Forget about this house and everyone in it.
— Why?
— You look well, Pip.
— Estella.

* * *

SCENE 23

— Orlick, I can’t pay you. I’m havin’ to pay the doctor for Missus and her medicines. Pip’s learned enough now. I’m sorry.
— I was ‘ere before him. I been with you since I was a young ‘un! I know…
— If things were different, you’d be stayin’. But things ain’t different. You send anyone to me and I’ll tell ’em how good you are. I swear to that.

— Whoa, there.
— Mr Pirrip? Known as Pip? My name is Jaggers. Shall we go inside?
— What’s he done, then?
— I am here with an instruction from a client.
— And my instruction is to communicate to Mr Pirrip that he has a benefactor. And this benefactor has bestowed upon you a handsome property.
— What?
— Money, Joe. Isn’t that right? Money?
— A fortune.
— Pip ‘as a fortune? From who?
— The owner of this handsome property also desires that Mr Pirrip be immediately removed from his present sphere of life, from his present place and go to London. Where he is to be instructed in the ways and manners of society, where he is to live the life of a gentleman, where, in short,
— he is to live as a young fellow of great expectations.
— Pip has to leave here? Leave his home?
— There are provisos. You are to be known and addressed by all as Pip. If you have any objections to that, speak now.
— No. None. Wait, stop. Who? Who done this?
— You must never enquire after the identity of your benefactor. You are prohibited from making any supposition or wild surmise. When you reach your majority, the identity will be revealed. Until then, you are bound by law to the proviso. Do you understand? Yes.
— This is for immediate expenses. Travel. And appropriate attire. When you arrive in London, come directly to me.

* * *

SCENE 24

— I shall write to Estella. She will be most intrigued. And perhaps, in London, me and ‘er will meet again. Pip, if you are to be a gentleman, you must modulate your speech.
— I’ll work on that, Miss.
— And you must avail yourself of a proper London tailor.
— I will, Miss. I’m a quick learner. I won’t let you down. Thank you, Miss Havisham.
— Good luck, Pip.
SHE TAKES SHALLOW BREATHS
HE CHORTLES
— And to think I gave you your first opportunity, Mr Pip!
— Be happy, Joe. She means me for Estella!
— Raised up, niece. As we said. Too late for you. Not too late for me.
— Don’t forget about us, Pip!

 

* * *
IN THE NEXT EPISODE

— So, the young gentleman of expectations arrives in London. Not quite the finished articles, but you will be.
— You are very late, Mr Drummle!
— Sir. You’ve no call to lay hands on me.
— Who’s there?
— Breeding, bloodlines and proven provenance.

Download English Subtitles to Great Exprectations BBC (Episode 1)

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