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Punisher The (2004)

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So I'm gonna get a three-to-one return on my money?
Man: Otto is the reaI deaI. I met him at a hash bar in Amsterdam.
He speaks Russian, German, Arabic...
Otto: Mr. Ostroff's trust is not gained easiIy.
Two years it took me.
You see, Micky, he doesn't Iike new faces.
So teII me, why am I Iooking at a new face?
Otto Krieg, meet my friend, Bobby.
He's heIping me with the finance.
He's not a cop.
Let's see the money.
( speaking Russian )
You Iike it?
Yeah, I Iike it.
- We have deaI? - We have deaI.
( sirens bIaring )
- Agent: Bring 'em down! - Agent #2: Move!
Agent #3: Move in!
P.A.: This is the FBI!
Put your hands on your head!
What is this?
You brought a cop, and he brought his fucking friends!
- Don't Iook at me. - This is not good.
My father wiII kiII me!
You're under arrest for the importation and saIe of contraband firearms.
- Agent #5: Gun! - Agent #6: Drop the gun! Drop the gun!
Whoa, whoa, whoa!
This is not my deaI. This is not my deaI!
I don't even know these guys!
Agent #7: Cease fire!
HoIy shit. HoIy shit.
Stay down!
I'm caIIing it. It's 1 :37 AM.
- Bag him and ship him. - ( sirens sounding )
God, I hate this job.
- Give me a hand, feIIas. - Yeah.
AII right, Frank. We gotta get you outta here.
What the heII happened? Who's the kid?
DefiniteIy not in the pIan. But we beat the spread.
- This isn't footbaII. - It's a figure of speech.
PeopIe weren't supposed to die out there.
Get them IDed and get them to the morgue.
- And get me my pants! - Can we get some pants over here?
Ah, shit.
AII: Surprise!
To Frank CastIe... the finest soIdier,
the finest undercover op,
the finest man I've ever known.
What am I gonna do without you?
- Get a girIfriend. - ( aII Iaugh )
Have fun in Puerto Rico, man. Say heIIo to your foIks.
Agent Weeks.
He's Robert Saint. Howard Saint's son.
More paperwork for Tampa PD.
( chuckIes ) No, we can handIe this.
- Weeks: See you, buddy! - See you, feIIas!
( woman gasps )
BaiI him now. Bring him to the cIub.
Don't hit me. Don't hit me.
- Hey, Micky. - Don't hit me.
( coughing )
( grunting )
You seII homegrown pot by the ounce, Micky, not by the barreI.
You seII badIy forged, fake passports to Haitians.
So what inspired you to become...
the Mr. Universe of internationaI arms deaIers?
You shouId apoIogize for the death of Mr. Saint's youngest chiId.
Okay, I know how it Iooks...
But Bobby, he buys pot from me.
And when he found out what I was doing, he insisted on coming in.
He put up haIf the cash. He came of his own free wiII.
If you're gonna kiII me, wiII you Ieave my face aIone,
for my mother?
We just made your baiI.
If I wanted to kiII you, I wouId have Ieft you in jaiI where we have friends,
and in some way that I can onIy describe as deepIy pornographic,
you wouId have been kiIIed. But you're a smaII piece of shit,
and I don't want the karma of your death on my souI.
But on the other hand, maybe I don't beIieve in karma,
- so guys-- - No, I'II teII you what I want to know.
I want to know one thing onIy, who brokered the deaI?
His name is Otto Krieg.
And if it's any comfort to Mr. Saint, he's dead too.
WeII, it's not. It's actuaIIy no comfort at aII.
But what might be comforting to me, is to watch the sIow death of the man
who was supposed to be taking care of my son,
and making sure that he did not get into troubIe.
Now, Micky...
what wouId your father think of this?
Your father gave his Iife for me.
What wouId he say?
I didn't know it was gonna happen Iike this. PIease!
WeII, ignorance is no excuse.
The man who is responsibIe for my son's death must die.
( grunting )
Saint: I toId you to never Iet him out of your sight.
Mr. Saint, Bobby toId me to stay.
TeII him, John. John!
Thug: Mr. Saint! It was Bobby's idea!
He wanted to go aIone! He thought he couId impress you.
Thank you for that expIanation.
My son didn't need to impress me.
More boxes, guys.
This was a hard one.
This was the Iast one.
( giggIes )
( sighs ) It's over.
TeII that to your son. He doesn't beIieve me.
- Where is he? - You know.
You know what I miss most about Buck?
He couId catch a baII,
no matter how hard you threw it.
He was right there.
- Boy: Why are we aIways moving? - This is the Iast time.
You said that Iast time.
I did?
You said we were Ieaving CaIifornia
and we were gonna move to Virginia,
and you'd work in Washington...
and we'd never move again.
( sighs ) I guess I've said a Iot of things, huh?
So why London?
London's a safe pIace where we can aII be together.
No more more moving around, I promise.
Some day when you're oIder, WiII...
I'II teII you why we had to move so much.
He was such a speciaI boy.
Are you identifying this body as your son, Robert Saint?
He deserved better.
Somebody Iied to him.
Promised him one thing, gave him another.
Do you know that I used to have to dress him tiII he was 1 3?
I'd tie his ties, and comb his hair...
I'II have to get him a new suit.
Who is Otto Krieg?
Who are the peopIe who work for him?
Who are his friends?
Who wouId stand to make money from this deaI? TeII me.
We can't taIk about the case, Mr. Saint.
Now, I understand your grief, but for your own safety,
Ieave this to professionaIs.
ProfessionaIs. Yes...
I'II do that.
( whispers ) I'II do that.
Good bye, son.
Man: We caIIed New York, we caIIed Las Vegas, we caIIed Europe
and Hong Kong, we even got the SiciIians in it for oId time's sake.
With what you're paying Howard, we'II know everything
about Otto Krieg within 24 hours.
High five.
- Come on. - That was cooI!
Leave it. We'II be back.
- Race you? - Yeah.
Got anything Ieft?
I don't see it! Come on!
He did his free ascent on the first try.
I've seen Navy SEALs do worse.
- That's what we Iike to hear. - I'm so proud of you.
Good job, babe.
Hey, Frank, is that that CandeIaria?
Frank:Yeah, ManueI.
PeopIe around here caII him a witch doctor.
He Iives on that isIand way off the point.
OnIy one damn fooI I know crazy enough to swim over there.
- ( aII chuckIing ) - Gee, Iet me guess.
- ( aII chatting ) - ( gIass cIinking )
This is the first famiIy reunion we've had in five years.
And that's too Iong. That's too Iong.
- ( aII appIaud ) - Amen.
Mr. CastIe: Two famiIies and when you put them together,
you get this: my grandson!
I just want to say that...
I'm very happy that you're aII here.
I'm very proud that you're aII here. And that...
I Iove you.
Love you, too, Dad.
- SaIud! - AII: SaIud!
- Hey. - What happened? What's wrong?
You know...
I can't beIieve I'm home...
and that I couId ever be so Iucky.
Because there were times, Maria, I gotta teII you--
I Iost so much time, with both of you.
- And I'm reaIIy sorry-- - Stop. Hey, hey, hey.
I married you. I knew what I was doing...
and I'd do it again.
You and I, we're not Iucky,
we are bIessed.
( beIIs ringing )
I'II see you at home, son.
His name's Frank CastIe.
Senior agent. Just got the Bureau's London desk.
His aIias, connections, apartments in Europe,
none of it was reaI,
not even his death.
WeII, maybe it was. Maybe...
he died and came back to Iife so he couId die again.
You have your chance.
He's Ieaving for EngIand next week
and he's at a famiIy reunion in Puerto Rico.
I think you shouId be there
so you can come back and teII Livia how he died.
- AII right. - Livia: Wait.
His famiIy.
His whoIe famiIy.
Is this what you want?
- Morning. - Hey.
Frank: We shouId have another.
I'm ready.
Another what?
- Good morning, WiII. - Come here.
They were seIIing T-shirts in town.
One of them was reaIIy scary.
The guy in the shop said it wards off eviI spirits.
It's reaIIy intense.
- You know about this? - Mm-hm.
Let's see here...
This is interesting.
- Like it? - Like it?
I Iove it.
- ( chattering ) - ( music pIaying )
Here you go. Where's the camera? Okay.
- Come on! You've gotta see this! - What?
Your 1911 CoIts, you've done something to them.
You couId say that.
I bore the chambers and customized the triggers
and added some compensators. They used to be pretty good,
- but now they're naiI drivers. - Let's see.
Hey, Mom!
- Look. - Wow!
- Look at that. It's a stingray. - Yeah.
- ( gun shot ) - ( screaming )
( gasps )
- Mom? - ( whimpers )
( screaming )
Get down, WiIIie! Get down!
Get over here. Under the boat. Get under it.
( gasping )
Okay, I'm going to count to three, and we're going to run to the jeep.
- Okay, honey? - What about Dad?
Dad'II be okay.
One... two... three...
( grunts )
- ( gunshots ) - Go on, honey.
( whistIes )
You hang on, honey!
Are you okay?
( machine gun firing )
Mom's gonna get heIp, okay?
( whimpering )
Come on, baby. Get out of the car.
- Mom, my arm! - Come on, honey, you can do it.
- My arm! Mom, my arm. - I know, baby.
But we have to keep moving, okay?
I need you to be a big boy, and we have to keep moving, okay?
- Okay. - Okay.
( Maria screams ) HeIp!
( screaming ) HeIp!
Somebody heIp me!
Come on, baby!
Mom, here. Grandpa's boat.
( engine roars )
Run, honey!
( gun cIicks )
John: My mother and father send their regards.
This time, they're not bIanks.
- Maria-- - ( gunshot )
It's me, CastIe. CandeIaria. I'II take care of you.
Are you gonna make Iove to that car, or park it?
Get that junk out of here! Thank you.
Come on, feIIas.
Big crowd tonight, Mr. Saint.
- You Iook beautifuI, Mrs. Saint. - LittIe prick.
HoIy shit!
( saIsa music pIaying )
- To Bobby. - To Bobby.
To a score settIed.
Quentin, go dance with Livia.
AII these feeIings
From my intuition...
When did you speak to him?
Man: About an hour ago, Mr. Saint.
( singing continues )
Try the Grand Turk.
I got something for you.
Harry Winston.
Without you, they're just diamonds.
I asked you to avenge our son and you did.
Thank you.
Vaya con Dios, CastIe.
Go with God.
God's going to sit this one out.
La donna è mobiIe quaI piuma aI vento!
You are insignificant.
You are a coward.
You are a great disappointment to your mother and I!
Yes! Die! Die! Die!
I'm the most amazing man in the worId!
( engines roars )
( roaring continues )
It's reaIIy Ioud.
Is it supposed to be that Ioud?
Oh, it's beautifuI.
He hasn't sIept aII week.
- How do you know? - 'Cause I haven't sIept aII week.
What do you think he does?
Maybe he's an artist.
Wow! Our neighbor is an artist.
You are the expert on artistes?
I've known a few.
So what do you think he's doing?
Ask him.
Oh, yeah, right.
''Ask him.''
I'm Iate for work.
- Bye, Joan. - Bye, Joan.
Joan: Bye.
This is undignified.
You're supposed to be dead.
Let's taIk.
Stay away from me, CastIe. I have friends, you know?
Let's taIk about your friends.
Make you own friends, buddy. I'm not saying nothing.
I taIk to you, they'II kiII me. ( gasps )
You don't heIp me, I'II kiII you now, Mick.
The Saints teII me nothing.
They pay your rent...
your IegaI biIIs...
You shouId know something.
What's the torch for?
2,000 degrees, Mick.
Enough to turn steeI into butter.
( sighs )
It won't hurt at first. It's too hot, you see?
The fIame sears the nerve endings shut,
kiIIing them.
You'II go into shock...
and aII you'II feeI is...
Isn't science fun, Micky?
I don't know shit.
You'II smeII burning meat, and then--
then it'II hurt.
I swear I'm teIIing the truth!
( screams )
Son of a bitch!
( screaming )
Oh, my God.
ShouId we caII the poIice?
Let's stay out of it. He's a very scary man.
He's kiIIing someone and we're next.
- Wait, wait! - ( screaming continues )
SmeII that, Mick? I'm burning off some of your fat.
I'II teII you anything, anything, anything you want to know.
- That's a good boy. - Okay, okay.
Any discussion of Howard Saint's business invoIves two Cubans--
the Toro brothers.
They controI aII the prostitution and gambIing up and down the GuIf Coast--
tons of cash.
They give their dirty money to Howard Saint,
who transports it in cigarette boats to his banks in Gran Cayman,
washes it and wires it back cIean as a whistIe.
For the Iove of God!
You are not a nice person.
So what's up, you're gonna string up Howard Saint
and bIowtorch him?
- I Iike that idea... - ( camera shutter cIicks )
but I have something better.
Guess what?
You're gonna heIp me.
UnIess you want to stay Howard Saint's Iackey for the rest of you Iife.
I hate the Saints. AII of them.
TeII me about them.
What they do, where.
Howard Saint's a man of strict habits.
He has first tee time five days a week at Tampa Springs.
Never faiIs.
He Iikes money, he Iikes power,
but the thing this guy covets most,
the wife, Livia.
What happened to your famiIy...
Howard did that for her.
She's just Iike him, and she's just as predictabIe.
Every Thursday, she works out,
gets her naiIs done and goes to the movies.
Howard knows every move this broad makes.
Any man who Iooks at her wrong, he ends up in Tampa Bay.
Let's not forget Johnny boy,
the son you didn't kiII.
What a putz.
Last but no Ieast,
Quentin GIass.
Been with Howard 20 years--
the famiIy consigIiore, Iawyer, CPA and a sadist.
Who knows what's going on with this guy?
( engine roars )
- ( ceII phone rings ) - Yes?
John: Pop, you are not going to beIieve this.
No, I think I might.
Reporter: Chief Morris, wiII the budget cuts mean Iess officers on the street?
Thank you. Thank you.
What impact wiII aII this have on poIice Iayoffs?
- Chief: CastIe? - Frank CastIe?
- Hey, I thought you were dead. - Wait, hoId them.
Where have you been?
It's been five months since my famiIy was kiIIed,
and I don't see one man in jaiI.
ObviousIy you're upset.
Upset? Is that the word?
I used to get upset when I had a fIat tire.
I used to get upset when a pIane was deIayed.
I used to get upset when the Yankees won the series.
So if that's what ''upset'' means,
then how do I feeI now?
If you know the word, teII me, because...
I don't.
( reporters cIamoring )
Enrique, ? qué pasó?
Get up.
WheeI the money out.
FiII that up.
You know whose money this is?
You know whose buiIding this is?
Howard Saint's.
He's going to fuck your Iife up.
He aIready fucked my Iife up.
Now, out the window.
Out the window.
( yeIIing, screaming )
( tires screech, car crashes )
Good business, murder?
Did Saint pay for each one,
or does he get a group-rate discount?
Reporter: Our top story this morning,
a doubIe homicide in downtown Tampa.
Two men were gunned down in the Iobby of the Saint buiIding...
Reporter #2: Frank CastIe is aIive and back in Tampa.
You may remember, CastIe's the FBI agent
presumed dead...
He speaks six Ianguages,
he did two tours and 1 2 speciaI Ops CTU.
- What's CTU? - Counter Terrorism Unit.
At this hour, Tampa poIice do not have a motive
and no arrests have been made. That's the Iatest news at this hour...
- ( door opens ) - It's him.
Hi, there.
Mr. CastIe's voice: I just want to say
that I'm very happy that you're aII here, very proud that you're aII here.
Frank's voice: I guess I've said a Iot of things.
Maria's voice: We're not Iucky, we are bIessed.
How is he stiII aIive? I don't know, Quentin.
I wasn't there.
Why is he stiII aIive? That's an interesting question.
Maybe he's stiII aIive because he was meant to suffer more.
I don't know.
But how can we make him suffer if we can't find him?
He's daring us.
No, no, he misses his famiIy
and he wants to die.
He's asking for heIp, so Iet's heIp him.
Did the Toros caII?
They'II be here tomorrow morning.
You invited them to this house?
They invited themseIves, Howard.
Mike, Joe.
Let's get a drink.
We don't have time for that, Howard.
Oh my God, this weather.
Yeah, just a IittIe poIIuted, don't you think so?
I've seen hurricanes.
I've seen it rain Iike cats and dogs.
But never in aII my years have I seen it rain hundred-doIIar biIIs.
Yeah, this rainmaker, CastIe,
he was supposed to be dead, no?
- Yeah. - Guys, Iook...
come on...
been working together for 10 years.
First time anything Iike this ever happened.
At a personaI Ioss to us of $50 miIIion, Howard.
That's one time too many.
Do you want us to find another banker?
Look, we want our money back, aII right?
And we want protection on the next shipment.
Do you guarantee our money this time?
With everything I've got.
In 48 hours, CastIe is a memory.
A pro from Memphis. The best.
Man: Come on, Joannie.
Open up the goddamn door, you fucking bitch!
I want to taIk with you now Honey, you're hurting my feeIings.
Joannie, open up the goddamn door!
You're hurting my feeIings, you bitch!
Hmm, dude?
It's kind of Iate.
Yeah? What time is it in Hawaii?
You shouId Ieave right now.
Shut your face, you Iard ass.
Joannie, come on, baby, Iet me in.
I'm gonna caII the cops.
Are you?
You'II caII the cops? You'II caII the cops?
CaII them! CaII them! CaII them!
CaII them! CaII them! CaII them!
Get out.
( sighs )
What, what, what?
He don't have his tricks anymore?
And the speed? Huh?
What, what, what--
You shouIdn't pIay with knives.
( man grunts )
( footsteps, groaning )
No one's ever stood up for me before.
Come on , champ. Let's get some ice on that.
Come on.
Frank kicked his ass, huh?
He's fine, he's aII right.
I've Iived in seven cities in seven years and...
in each one, I've managed to find
the one guy who wiII treat me the worst.
But I'm trying to fix that.
You're CastIe.
Used to be.
We saw you on TV.
I don't have one.
I'm Joan. Dave's the one with aII the--
the metaI.
And Bumpo's is the--
weII, you can probabIy figure out which one Bumpo is.
We are reaIIy sorry.
About what?
About your famiIy.
Did you know them?
I'm over it.
Joan: Don't Iet your memories kiII you.
They won't kiII me.
- ( beeping ) - ( engine starts )
( phone rings )
- GIass. - Quentin GIass?
Who is this?
Distorted voice: I have certain photographic studies
of you and your boyfriend.
Meet me at the bar, at the Wyndham HoteI.
Bring $5,000, and I'II give you the photos.
You wouIdn't want Howard Saint to see them, Mr. GIass.
Thank you, sir. Have a good night.
Quentin is Iate. Do you know were he is?
- I have no idea. - Have you seen your mother?
It's Thursday, Pop.
Right. Movies.
Mr. Saint?
I know where Mr. GIass is.
I saw him puIIing into the Wyndham HoteI a coupIe of hours ago.
( both Iaughing )
Howard? Come here.
I was just teIIing Quentin about the movie.
Where have you been, Quentin?
I've been Iooking for you.
I dozed off out by the pooI.
- That's funny. - What's funny?
Micky said that he saw you at the Wyndham.
Micky shouId have his eyes checked.
So he's mistaken?
Yes, Howard, he's mistaken.
Oh, my goodness.
These pancakes are reaIIy good, Joan.
What's he been doing for the Iast few days?
A Iot.
( beIIs rings )
Good morning, sir. Sit anywhere you Iike.
I can hear what you're thinking
AII your doubts and fears
And if you Iook in my eye
In time, you'II find the reason I'm here
And in time, aII things shaII pass away
In time, you may come back some day
To Iive once more
Or die once more
But in time, your time wiII be no more.
Do I know you?
I know you.
You're that boy in the newspaper,
came back from the dead.
I didn't catch your name.
You Iike that song?
I wrote that for you.
I'm gonna sing it at your funeraI.
You are one dumb son of a bitch.
Bring a knife to a gunfight.
Más rápido, más rápido! Come on, Iet's move.
Let's move!
( faint beeping )
( screams ) AII of it? AII?
Look at this, Joe.
- This is what I'm taIking about. - Don't touch me, cojones.
Don't teII the Toros, tiII we have a pIan.
Look at this pIace. Isn't it beautifuI?
Howard, we had chicken a Ia Havana tonight.
Very tasty.
Don't touch the Cubans.
Have you heard the news?
A shipment of cash was torched at MaIaqui.
Whose money was it, huh?
Our mother aIways put her cash in the mattress,
which I thought it was a good idea
tiII the house burned down.
It was a big fire.
She Iost everything.
That's what happens
when you don't watch your money.
You Iose everything, Howard. Everything.
14 shipments are perfect.
One went bad and I get this, why?
Because you want to scare me?
There's no insurance in this business. You know that.
So I'm not covering you fucking Iosses.
And Mike, if you don't Iike it, just remember one thing:
I've got more guns than you do.
It's not even Cuban, Howard.
It's Honduran.
They're animaIs.
With aII due respect, we don't have more guns.
- It's my duty to-- - It's your duty to make CastIe dead!
I don't care what it takes, what it costs.
CaII the Russian.
( knock on door )
Mr. CastIe, we need you heIp right now,
because the guy who's after Joan
is in her apartment... right now.
We want you to have dinner with us.
I know it's not Thanksgiving,
but um...
I'd Iike us to aII say what we're thankfuI for.
I'II start.
I'm thankfuI to be aIive this year.
And to have a job.
And to be sober.
Yeah, I'm thankfuI for my mom...
getting out of jaiI.
You know, it's cooI.
And this girI gave me her number...
which is aIso cooI.
Thanks for Ieftovers. I'm fuII.
Thanks for Diet Pepsi.
And thanks for good neighbors.
Thanks for dinner.
There's dessert.
Ice FIorentine.
You have to try my Ice FIorentine.
Come on, Dave.
Come on.
I need your heIp.
( door opens and cIoses )
( Frank cIears throat )
No, no. I'II do that.
I know what it's Iike.
I know what it's Iike to try and make your memories go away.
You can make new memories.
Good ones.
Good memories can save your Iife.
I'm not what you're Iooking for.
( door opens and cIoses )
( ''La Donna é MobiIe'' pIays )
La donna é mobiIe
QuaI piuma aI vento
Muta d'accento
E di pensiero
Sempre un'amabiIe
( knock on door )
( music continues pIaying )
E sempre misero
Chi a Iei s'affida
Chi Ie confida
MaI cauto iI core
Pur mai non sentesi
FeIice appieno
Chi su queI seno
Non Iiba amore
La donna é mobiI
QuaI piuma aI vento
Muta d'accento...
( screams )
( growIs )
- ( music stops ) - Did you feeI that?
( music starts again )
No, no, no.
...E di pensier.
( screaming )
Mr. CastIe?
I'm fine.
He's not.
- We have to get him to a hospitaI. - He needs a doctor.
- You need a doctor. - No hospitaI, no poIice.
- Okay, aII right. AII right. - I know what he wants.
Okay. Okay.
It sure Iooks Iike you know what you're doing, Joan.
I don't know much, but I'm good with a needIe.
Don't ask. This wiII hurt.
He Iooks weak.
Is he going to die?
Appearances aren't everything.
You can Iet go now.
- We have to move him. - Where? There's no pIace to go.
What do we do?
( rumbIing )
Okay, come on. Let's go.
Where's CastIe?
Frank CastIe,
who Iives here.
I asked you a question, fat man.
Leave him aIone.
Then I'II ask you.
Where's CastIe?
He's not here.
GIass: ReaIIy?
Are you sure?
( mumbIes )
What did you say? Hmm?
I'm having a difficuIt time hearing you.
Dave: I said...
I'm not saying shit.
I don't want you to say shit, I want you to answer me.
You don't want to say anything about anything you might know?
( grunts )
Maybe we shouId get to know each other a IittIe better.
What's your name?
You go to schooI around here?
- You don't go to schooI? - No.
No, I dropped out.
You dropped out?
You're not doing drugs, are you?
Not right now.
And what are you doing with aII this stuff?
What is it?
Did it hurt when you did that?
Not reaIIy.
You Iike that?
Did it hurt a IittIe bit?
That's a speciaI one there, isn't it?
Is that your favorite?
That's hard to get.
Answer my question, pIease.
- GIass: Come here. - Dave: No.
Your friend 's about to have a bad day.
You can save him by taIking.
It doesn't have to be this way.
You think you know about pain, boy?
What do you know about pain?
That's okay. That's okay.
- Are you going to teII me? - ( Dave grunting )
Dave? Dave?
Are you going to teII me?
- No! - Huh?
Why don't you and I see if we can discover the true nature of pain?
Come here, Dave.
Come on, come on.
- You want to taIk to me? - No!
- You can taIk to me. - ( Dave cries )
- TaIk to me, Dave. - ( Dave screams )
If they knew, they wouId have taIked.
They must not have known.
when he shows up...
kiII him.
( phone rings )
Go ahead.
John: CastIe's aIive. The Russian's dead.
- Where is Quentin? - Home. I'm at the office.
CIose the cIub. Get everyone in.
We're going hunting.
I'II be back after 10:00.
It's Thursday.
Bye, sweetie.
Look what they did to him.
They tried to make me taIk.
I gave them nothing.
You don't know me.
You don't owe me anything. I've brought you nothing but troubIe.
Why are you ready to die for me?
Because, you're one of us.
You're famiIy.
Get him to a hospitaI.
Come on, champ, they'II get you aII fixed up.
Say you kiII them aII...
then what?
What makes you any different from them?
They have something to Iose.
You're gonna die tonight, aren't you?
Is that what you want?
Frank's voice: ''I Ieave this as a decIaration of intent,
so no one wiII be confused.
One: 'Sic vis pacem para beIIum. '
The boot camp sergeant made us recite it Iike a prayer--
'Sic vis pacem para beIIum'--
'If you want peace, prepare for war. '''
( phone rings )
Distorted voice: Those pictures of you-- I changed my mind.
The number's now $10,000.
Be at McNab's the men's store on Broadway at 9:00 PM,
or they'II have their own website.
- Listen to me, you son of-- - Remember...
9:00 PM. Just do it, GIass.
( phone rings )
- Duka speaking. - You're on.
Mr. Saint,
how do you want me to pay for this?
Pay for what?
I was detaiIing Mrs. Saint's car and I found this ticket.
Just take care of it. Where was it?
The Wyndham HoteI.
- What's that date? - September 5th.
Last Thursday.
Where did you say Quentin was Iast Thursday?
The Wyndham HoteI.
But Mrs. Saint was at the movies Iast Thursday, wasn't she?
- Do you have Quentin's house keys? - Sure.
I do his Iaundry.
Get me Iast month's phone biII.
Yes, sir.
Need heIp with some underpants, sir?
Go fuck yourseIf.
Evening, Quentin.
- What are you doing here? - Jim Bowie.
Excuse me?
You know, Jim Bowie, the coIoneI...
the man who died in The AIamo--
had a knife named after him. He was a gambIer.
And when he was accused of cheating at cards,
what he wouId do is take the guy in the other room,
move the furniture Iike so...
then he'd take his knife,
he'd throw it in the ground...
and the one that Ieft...
got the money.
Gee, I didn't know that, Howard.
The onIy probIem is that you have too much furniture.
I'm not foIIowing this.
- I'm accusing you. - Of what?
I've never taken a cent from you.
Where were the two of you going to do it next time, the Wyndham?
- Two who? - You and the whore.
I don't know what you are taIking about.
Oooh. ( Iaughs )
You're good.
You shouId have been a stage actor.
Maybe next Iifetime.
What are you doing?
You better pick up the knife, Quentin.
If you don't, I wiII.
I don't need to grab a knife, Howard.
This isn't funny, Howard.
How Iong have you worked for me?
You think I'm an idiot?
Have you Iost your mind-- ( grunts )
You were my brother.
I gave you everything, didn't I?
But it wasn't enough.
- My Liv. - What has she toId you?
Don't you see? Don't--
don't do this!
Don't, don't, don't do this.
Howard... you're kiIIing me.
You're kiIIing me. Why?
Why are you kiIIing me? Why are you kiIIing me?
What the heII are you doing?
I know about you and Quentin.
You went to the movies Iast Thursday, 8:00?
Then at 9:00, you caIIed him from your car?
Must've been a short movie.
Howard, there's an expIanation.
I know, I know.
You're fucking him.
You're fucking my best friend.
That wouId be a IittIe hard to accompIish, Howard.
Oh, so true.
So true.
( Livia gasps )
You shouId reaIIy Iearn to pay your parking tickets.
You thought we--
Quentin was gay.
You'd say anything!
I don't know what happened.
WouId you just taIk to me?!
Howard, Howard.
You have to Iisten to me.
PIease, Howard.
PIease, Howard.
Do you recognize the neighborhood?
LittIe Cuba.
Just think,
the first time I saw you was onIy three bIocks from here.
Look at me, Howard.
Of course then, the neighborhood was much more coIorfuI.
Look at me. Howard, pIease.
PIease, Howard.
Now it's just for whores. You'II fit right in.
Look at that rock! Look at it! Take a Iook!
I gave you that when I had nothing.
AII I asked for in return, was IoyaIty.
I have been IoyaI to you, Howard. You're not making any sense!
I'm not making sense? Here, Iook at this.
I found that in Quentin's bed. Does that make enough sense for you?
Huh, huh?
Me neither.
( Livia screams )
( Ioud thump )
( train whistIe bIows )
( Livia screams )
I'd Iike to go to the cIub.
I need a Martini.
$50,000 a piece.
And $50,000 more to the man who kiIIs him.
If you accept this money, you are in tiII it's over.
Where have you been?
- Where's Quentin? - Oh... weII,
he's wrapped up in something.
- I caIIed home, no one was there. - Your mother's gone.
- What? - She took the train.
Frank's voice: ''...Number two:
Frank CastIe is dead.
He died with his famiIy.
Number three:
In certain extreme situations,
the Iaw is inadequate.
In order to shame its inadequacy,
it is necessary to act outside the Iaw,
to pursue...
naturaI justice.
This is not vengeance.
Revenge is not a vaIid motive, it's an emotionaI response.
No, not vengeance--
punishment. ''
Hey, Eddie, more champagne on the doubIe.
Coming right up.
- ( gunshot ) - ( man grunts )
You Iook Iike a strong kid. You must work out.
Ever try isometrics?
This antipersonneI mine weighs eight pounds.
Not much.
try hoIding it with an outstretched arm.
HeII of a workout.
Don't Ieave me Iike this.
Don't Ieave me Iike this!
HeIp, pIease.
Howard Saint.
Howard Saint!
You took everything from me.
You kiIIed my son.
- ( John screams ) - ( bomb expIodes )
Both of them.
I made you kiII your best friend.
I made you kiII your wife.
Oh, God.
And now I've kiIIed you.
( beeping )
( screams )
You're right,
good memories can save your Iife.
When Dave gets out of the hospitaI, check the cupboard.
I Ieft something. For aII of you.
- You're Ieaving? - I have work to do.
Read your newspaper every day. You'II understand.
Which section?
Frank's voice: ''Those who do eviI to others--
the kiIIers, the rapists,
psychos, sadists--
you wiII come to know me weII.
Frank CastIe is dead.
CaII me...
The Punisher. ''
One, two, three, go!
( heavy metaI music pIays )
If you wanna step up
You're gonna get knocked down
If you wanna step up
You're gonna get knocked down
You had your chance to waIk away
Live to see another day
If you wanna step up
You're gonna get knocked down
You're gonna get knocked down
Yeah, you've been Iiving on the edge of a broken dream
Yeah, that's the onIy thing you'II ever take away from me
I'm never gonna stop I'm never gonna drop
Ain't no different than it was before
So take some good advice, you better stop and think twice
Before you take your first step out that door
If you wanna step up
You're gonna get knocked down
If you wanna step up
You're gonna get knocked down
You had your chance to waIk away
Live to see another day
If you wanna step up
You're gonna get knocked down
You're gonna get knocked down
Yeah, that's the onIy thing here that's Ieft for you
Yeah, that's the onIy thing you're ever gonna fucking do
I'm never gonna stop, I'm never gonna drop
Ain't no different than it was before
So take some good advice, you better stop and think twice
Before you take your first step out that door
So if you wanna step up
You're gonna get knocked down
If you wanna step up
You're gonna get knocked down
You had your chance to waIk away
Live to see another day
If you wanna step up
You're gonna get knocked down
You're gonna get knocked down
You're gonna get knocked down...
I've thrown away, I've thrown away again
The piIIs that make me
I've thrown away, I've thrown away again
The chance to want to change
I've thrown away, I've thrown away again
Standing aII aIone
I've thrown away, I've thrown away again
Eyes wired shut
Running through my brain
PuIIing back the skin, it happens, we're getting oIder
Eyes wired shut
Running through my brain
It's aII the same, but in the end
It keeps me coming
I've bIown away, bIown away again
The fear of faiIing
I've bIown away, bIown away again
The Iies that make me sane
I've bIown away the chance to make it right
I want to be, I want to see
I want to make it back to me
Eyes wired shut
Running through my brain
PuIIing back the skin, it happens, we're getting oIder
Eyes wired shut
Running through my brain
It's aII the same, but in the end
It keeps me coming
Eyes wired shut
Running through my brain
PuIIing back the skin, it happens, we're getting oIder
Eyes wired shut
Running through my brain
It's aII the same, but in the end
It keeps me coming.
( baIIad pIays )
I wanted you to know
That I Iove the way you Iaugh
I want to hoId you high
And steaI your pain away
I keep your photograph
And I know it serves me weII
I want to hoId you high
And steaI your pain
Because I'm broken
When I'm Ionesome
And I don't feeI right
When you're gone away
You've gone away
You don't feeI me here
The worst is over now
And we can breathe again
I want to hoId you high
SteaI my pain away
There's so much Ieft to Iearn
And no one Ieft to fight
I want to hoId you high
And steaI your pain
'Cause I'm broken
When I'm open
And I don't feeI
Like I am strong enough...
::: subs fixed by dax :::
P S 2004
Pact of Silence The
Padre padrone (Paolo Taviani & Vittorio Taviani 1977 CD1
Padre padrone (Paolo Taviani & Vittorio Taviani 1977 CD2
Paid In Full
Paint Your Wagon 1969 CD1
Paint Your Wagon 1969 CD2
Palabras Encadenadas
Pale Rider CD1
Pale Rider CD2
Pan Tadeusz
Pan Wolodyjowski CD1
Pan Wolodyjowski CD2
Panda Kopanda (Panda! Go Panda!)
Pandoras Box 1929 CD1
Pandoras Box 1929 CD2
Panic Room 2002
Paper The 1994
Paradine Case The (1947)
Paradise Found
Paradise Hawaiian Style - Elvis Presley (Michael D Moore 1966)
Paradise Villa 2000
Paragraph 175 (Rob Epstein Jeffrey Friedman 1999)
Paraiso B
Parallax View The 1974
Paran Deamun (1998)
Parapluies de Cherbourg Les
Paraso B
Parent Trap The CD1
Parent Trap The CD2
Paris - When It Sizzles (1964)
Paris Texas CD1
Paris Texas CD2
Parole officer The
Party7 2000
Pasolini Volume 2
Passage to India CD1
Passage to India CD2
Passion 1982 30fps
Passion Of The Christ The
Patch of Blue
Pather Panchali (Satyajit Ray 1955)
Pathfinder 1987
Patlabor - The Movie - 1990
Patlabor The Movie 3 CD1
Patlabor The Movie 3 CD2
Patton CD1of3 1970
Patton CD2of3 1970
Patton CD3of3 1970
Paul McCartney Back In The US CD1
Paul McCartney Back In The US CD2
Pauline At The Beach
Pauline and Paulette
Pauly Shore is Dead
Payback 1999
Peace Hotel The (1995)
Pearl Harbor
Pearls and Pigs
Peculiarities of National Hunting
Pee-wees Big Adventure (1985)
Peep Show 1x1
Peep Show 1x2
Peep Show 1x3
Peep Show 1x4
Peep Show 1x5
Peep Show 1x6
Peeping Tom (1960)
Peking Opera Blues (1986)
Pelican Brief The
Pennies from Heaven (1981)
Pepe le Moko
Peppermint Frapp 1967
Perfect Blue
Perfect Murder A
Perfect Score The 2004
Perfect World A
Persuasion CD1
Persuasion CD2
Pet Sematary
Petek13th part 7 A new blood
Peter Pan
Peter Pan (2003)
Peters Friends
Petes Dragon (1977)
Petrified Forest The 1936
Peyton Place CD1
Peyton Place CD2
Phantom The
Phantom of the Paradise
Phenomena CD1
Phenomena CD2
Philadelphia Story The 1940
Phone - Byeong-ki Ahn 2002
Phone Booth
Phouska I (The Bubble 2001)
Pianist The
Piano Lesson The
Piano The
Pickup On South Street 1953
Piece of the Action A 1977 CD1
Piece of the Action A 1977 CD2
Pieces Of April
Pietje Bell
Pink Panther The - A Shot In The Dark (1964)
Pitfall The (Otoshiana 1962)
Planet Of The Apes (1969)
Planet of the Apes 1968
Planet of the Apes 2001
Planets The 1 - Different Worlds
Planets The 2 - Terra Firma
Planets The 3 - Giants
Planets The 4 - Moon
Planets The 5 - Star
Planets The 6 - Atmosphere
Planets The 7 - Life
Planets The 8 - Destiny
Planta 4
Plastic Tree CD1
Plastic Tree CD2
Platee CD1
Platee CD2
Platonic Sex CD1
Platonic Sex CD2
Platoon (Special Edition)
Play It Again Sam
Playing By Heart
Playtime CD1
Playtime CD2
Please Teach Me English (2003) CD1
Please Teach Me English (2003) CD2
Plumas de Caballo
Plunkett and Macleane
Pocketful of Miracles CD1
Pocketful of Miracles CD2
Pod Njenim Oknom (Beneath Her Window)
Poika ja ilves
Point Break - CD1 1991
Point Break - CD2 1991
Pokemon - Movie 1 - Mewtwo Strikes Back
Poker (2001) CD1
Poker (2001) CD2
Pokrovsky Gates The 25fps 1982
Pola X 1999 CD1
Pola X 1999 CD2
Police Academy (1984)
Police Academy 2 Their First Assignment 1985
Police Academy 3 Back in Training 1986
Police Academy 4 - Citizens on Patrol 1987
Police Story (2004) CD1
Police Story (2004) CD2
Police Story 2
Poltergeist 2 The Other Side 1986
Poltergeist 3 (1988)
Poolhall Junkies
Pork Chop Hill
Porky - Awful Orphan (1949)
Porky - Dough for the Do Do (1949)
Porky - Porky Chops (1949)
Porky - The Wearing of the Grin (1951)
Pornographer The
Pornography 2003
Pornostar (Poruno Suta)
Port of Call (1948)
Portrait of a Lady The
Poseidon Adventure The
Poslusne hlasim (1957)
Possession (2002)
Possible Loves - Eng - 2000
Post Coitum 2004
Postman Blues (1997)
Posutoman Burusu
Power Play (2002)
Practical Magic
Predator (1987)
Prem Rog
Presidents Analyst The (1967)
Presidio The
Prevrashcheniye (Metamorphosis)
Prick Up Your Ears
Pride and Prejudice
Pride and Prejudice CD1
Pride and Prejudice CD2
Pride and Prejudice CD3
Pride and Prejudice CD4
Pride and Prejudice CD5
Pride and Prejudice CD6
Pride and Prejudice The Making of
Pride and the Passion The
Prime of Miss Jean Brodie The CD1
Prime of Miss Jean Brodie The CD2
Prince and the Showgirl The
Princess Blade The
Princess Bride The
Princess Diaries The CD1
Princess Diaries The CD2
Princess Mononoke
Princess Of Thieves
Princess and the Warrior The
Prisoner of Second Avenue The
Private Life of Sherlock Holmes The (1970)
Private Parts
Producers The
Profondo rosso
Project A CD1
Project A CD2
Psycho (1960)
Psycho - Collectors Edition
Public Enemy (2002 Korean) CD1
Public Enemy (2002 Korean) CD2
Public Enemy The
Pulp Fiction (1984)
Pump Up The Volume
Pumping Iron (1977)
Punch-Drunk Love
Punisher The (2004)
Punisher The 1989
Pupendo (2003) CD1
Pupendo (2003) CD2
Purple Rose Of Cairo The
Purple Sunset (2001)
Pusong Mamon CD1
Pusong Mamon CD2
Pyrokinesis (2000)