All language subtitles for Manhunt.S02E04_English

-[bell tolling]
-MAN: Angiogenesis.

-Come on, dude. Angiogenesis.
-[sighs]

A
n
giogenesis. Uh, the process by
which cancer tumors hijack

-blood vessels.
-Vascular tissue.

Vascular tissue. Same thing.

Uh, enabling metastasis.

Spelling.

A-N-G-I-O-G...

[explosion]

-Oh, shit.
-[car alarms blaring]

-Wh-What was that?
-[dog barking]

That was an explosion.

-No way.
-Dude, that's smoke.

That was totally an explosion.

That's the place with all
the crazies out front.

You know,
the, uh, the abortion place.

[siren wailing]

Jesus, did one of those crazies
blow it up?

That guy ain't right.

What guy?

Him. Look.

He's, like, the only one
walking away from the explosion.

That's weird, right?

I guess.

[siren wailing, tires squealing]

JERMAINE:
I'm telling you,

something's not right
with this guy.

Oh, no, no, no,
you did notjust do that.

Yo, this is wigged out, man.

That's the guy who did it.

MAN:
You don't know that.

I'm going after him.

Someone else will take care
of it. We have a test.

Who? Who's
gonna take care of it?

[sirens continue wailing
in distance]

♪ ♪

[sirens continue wailing
in distance]

Oh, man.

[panting]

[quietly]: Come on.
Come on, come on, come on.

Come on.
Come on, come on, come on.

[panting]

Damn.

Come on, where did you go?

Where did you go?

[horn honks in distance]

[sirens continue wailing
in distance]

Hey, I got to use the phone.
It's an emergency.

Yo, come on, man, please! It...

There's no pay phone outside.
I need 911. Just let me use it.

Please.

-Thank you.
-[rotary dial spins]

-911. What's your emergency?
-Hello?

Okay, um, this-this is really,
really important.

So, you know
the explosion downtown?

-Yes.
-On 17th Street.

I-I think it was
the abortion clinic.

Okay, so, I saw this guy walking
away from the explosion.

And he was avoiding the cops.
He was white,

about 35, and...
he just looked intense.

-
O
kay, intense how, exactly?
-Okay, so that's the thing.

He saw me following him,

and then he went
in this building to hide.

And when he came out, he'd...
he'd changed everything.

He looked completely different.
He... he changed his jacket,

-his hat, he even had a wig on.
-CUSTOMER: Hey, man,

-why don't you quiet down?
-Sir, what kind of wig?

-I'm trying
to eat breakfast here.
-Long wig or short wig?

Uh, uh, long, long.
I think it was a long wig.

But he changed it, and then...

Wait. Wait, that-that's him!

-Sir...
-That's him in that car!

I-I can see him!

Jesus, he changed again.
Look, I'm...

I'm telling you, this guy is
very, very suspicious.

-Okay, sir...
-Ah, geez, man, I...

I can't see him anymore.
I-I think I got

to put the phone down
and go after him.

-No, I need you
to stay on the line, sir.
-Yeah, but...

G
r
een plaid shirt. Aviator
sunglasses.

-And he's in a silver truck.
-Sir, do not follow him.

Green plaid shirt,
aviator glasses, silver truck.

-Don't talk to this kid.
He's crazy.
-He's on the move!

JERMAINE:
I think he's gonna get away.
I got to go after him,

-or I'm gonna lose him again.
-Do not follow him.

-I'm going after him.
-What do you mean,
don't chase him?

-He's gonna get away.
Screw that, man.
-Sir, do not follow him.

-Just get some cops down here.
-Sir...

Shit. Silver Nissan.

Uh, you go right, I'll go left.

♪ ♪

No, no, no.
No, no, no, no!

-
Shit!
-
Shit!

Come on!

[
w
hispering]: K-N-D-1-1-1-7.

K-N-D-1-1-1-7.

K
-
N-D-1-1-1-7. K-N-D-1-1-1-7.

[panting]:
K-N...

K-N-D-1-1-1-7.

We got him.

K-N-D-1-1-1-7.
That's his license plate number.

[laughs]:
We got him.

♪ ♪

Jermaine Hughes, the eyewitness.

-Still our only lead?
-Mm-hmm.

Mr. Hughes,
how sure are you about this?

Uh, 100%.

Oh. Heard you missed a test.

Yeah, a biology exam.

If your professor
gives you any trouble

about making up that test,
have him call me.

Yeah.

Yes, sir. I-I will.

[
c
huckles]: Okay, great.

Go home, get some sleep.

Don't talk to the media.

A
n
d if you think of anything else,

call me directly, day or night.

Truck is registered
to a Bob Randolph

of Asheville, North Carolina,

butBob Randolph
doesn't exist.

The address on the registration
is a fake, too.

Anything that points
to a home address?

NCIC hits on the truck?

Not even a parking ticket.

So we have nothing
to narrow down our search.

-[Knox sighs]
-Sorry.

If a license plate's all we got,

that's what we'll have to use.

All right, huddle up!

I want to issue a BOLO
on the truck.

We got to go wide on it--

federal agencies,
but also local law enforcement,

tollbooths, harbors, junkyards.

Make it very clear
they are not to approach.

We cannot squander this lead,

b
u
t we absolutely cannot have
another cop blown to pieces.

All right.

-All right, Agents,
be advised...
-Hey. You're our forensic lead?

Um... look, how confident are we
that this is the same guy

that did Sandy Springs and
the Otherside Lounge in Atlanta?

Beyond a reasonable doubt.

And the guy
in the Nissan pickup,

when we find him,
how do we know he's the bomber

-and not just a witness?
-If he's been handling TNT,

the residue will be
all over the steering wheel.

Wipe it down with one of these.

If the swab turns purple...

you've got yourself
a serial bomber.

Okay.
Work with Knox here

to start prepping
the charging documents.

Soon as we get a purple swab,

we formally charge this guy
with all three bombings.

Uh, four.

Hey, whoa, oh, uh...
[chuckles]

You're probably
not gonna believe this.

Top floor,

that house yonder--

ejected from the blast, we just
found a steel directional plate.

What does that mean?

Well, it's virtually identical

to the plate we found
at CENTBOM.

This is
a strong forensic signature.

I think the guy
you are hunting today

is the same guy who bombed
Centennial Olympic Park.

BRENNAN:
Okay.

A] We already caught
the Centbomber--

his name's Richard Jewell.

B] CENTBOM and this bomb used
different explosives,

different container,
different triggering mechanism,

d
i
fferent targets and different
M.O.

Did I miss anything?

You found one similar part.

That's a coincidence,
not a signature.

Thank you.

Steel directional plate's
highly idiosyncratic.

In all my years as a bomb guy...

Stop. We're in the middle
of an active manhunt

for a serial bomber who
just murdered a police officer.

Believe me,

I will ask the suspect
about CENTBOM after I catch him.

Hey!

-That's Sanderson's badge?
-Mm-hmm.

Bomb guy!

Come here.

We gonna get
anything more from this?

O
r
is it just gonna sit in an
evidence warehouse for months?

Nah, they ran everything major.

Clean that badge up,

get it to Sanderson's son.

Today.

Thank you.

[door creaks closed]

WATSON:
Friggin' Atlanta

Police Department.

I had to bury them
in FOIA requests

to get hold of this thing.

[sighs]

And like it's a state secret

or some... damn thing.

DISPATCHER:
Atlanta 911.
What's your emergency?

MAN:
I planted a bomb
in Centennial Park.

You have 30 minutes.

DISPATCHER:
You know how
to spell "Centennial"?

DISPATCHER 2 [chuckling]:
I'd be lying if I said "yes."

DISPATCHER:
I got this man telling me

there's a bomb set to go off,
but I can't get the system

to recognize the name.

WATSON:
It's unbelievable.

T
h
e-the park security's not
getting a warning,

and 150 people are wounded,

all because
those women flunked spelling?

What kind of... system is that?

That's not Richard's voice.
Listen.

MAN:
I planted a bomb
in Centennial Park.

You have 30 minutes.

Well, he's disguising his voice.

That could be anyone.

That's why
the FBI wanted a voiceprint.

So they could put a filter on it

and make it sound
just like that recording

and feed it to the press.

That is such paranoid garbage.

If you hadn't interrupted them,

they would have taken
the voiceprint,

compared it to the recording

and-and let Richard off
months ago!

They have had this tape
for months.

You think they don't know
that that voice is not a match?

T
h
ey are not going to do a damn
thing

unless we force them to.

I found it!

Look.

The pay phone

where the bomber made the call

is at 32 Nassau Street.

It's right here.

And the bomb is right here.

Yup, that appears
to be the closest pay phone.

W
e
ll, not on the night of the
bombing. Look.

Let's go there.
I'll show you. You'll see.

Uh, I don't...
But it's all torn up.

They're de-- they're
redeveloping the whole park.

Well, it doesn't matter, Watson.

We will go there,
and I'll show you. Let's go.

-All right. Let's go.
-All right?
-What-what?

Wha-- where--
where-where are you going?

-Centennial Park.
-No.

No. The press just started
backing off us.

You want to go parading around
in broad daylight,

j
u
st asking for them to come back
at us?

Oh, I know, Mom, but...

[sighs]
Look at me.

Look at my face.

Look here. Look at my ribs.

Don't...

I don't want this, either.

I want to just keep my head down
and hide till it all goes away,

but it's not gonna go away.

I
t
's never gonna go away till I
make it go away.

I don't want to have to do this,

but if I don't do it,
nobody will.

Okay.

-Okay?
-Yeah. Go on.

You be safe.

Thanks so much
for making the time to see me.

When I found out
you were gonna be in town...

Oh, my God, for you, Kath,
I would have flown in

-just for this.
-Oh.

I think the last time we saw
each other, I ended up puking...

-Oh, God.
-...in a trash can

outside some...
I-I don't even remember.

-Was it a strip club?
-Lucky you.

I wish I didn't
remember that place.

Talk about
youthful indiscretions.

-Mm.
-[laughs]

So you guys are here
on assignment?

-What are you on?
-Oh, you know how it is.
Raking the muck.

We got a thing at 1:00,
but we got 30 minutes here.

Kathy, you've got to tell Ilana

the East Point story.

You heard this one before?

[indistinct chatter]

KATHY:
Where was I? Um...

Oh. So, I'm at the house,

and I realize

I've beat the cops to the scene
of the friggin' murder.

Oh, man. What'd you do?

What would youdo?
I pull out a credit card,

-pop the door and go right in.
-ILANA: No.
-[chuckles]

So there's the vic,

buck naked,

still has a raging hard-on even
though half his head's missing.

Murder weapon, condoms,
porn on the TV--

the whole story's right there.

Finally, APD uni shows up.

T
h
is kid's all nervous, gun out
and flashlight and everything.

[laughing]:
What'd you say?

"What took you so long?"

[both laughing]

DARRYL:
Oh, geez. We could

not get away with that in D.C.

I think the Postwould
actually fire you if you did
that.

Well, look, I was 23, this
little "Miss Augusta, Georgia."

But I had to prove
that I could hang with the cops.

And it worked.
That was the move

that made Atlanta PD
take Kathy Scruggs seriously.

-Yeah, that's what
it's all about.
-Mm-hmm.

K
n
owing your city, knowing its
people.

And building the skills
to make it

no matter what city you're in.

'Cause Atlanta's great, but, uh,

I'm starting to feel like a big
fish in a little pond, you know?

I'm ready to make the jump,
level up,

maybe even come join you guys
at the Post.

Well...

D.C.'s a big, big, bigpond.

KATHY:
Absolutely.

But after
the Richard Jewell story,

I think the world sees what
I can do, and that I'm ready.

Jewell was a great scoop.

Once in a lifetime.

Well, we have this thing, so...

I'd really appreciate it

if you'd put in a word
with your editors.

I-I think
I have a lot to offer any paper,

even the Post.

We can put in a good word,

but I have to be honest.

I don't think it'll matter.

You area great reporter...

in Atlanta.

You come to D.C.,
it's a different world.

And...

you're not23 anymore.

I
t
hink I have a lot to offer any
paper.

Pathetic piece of shit.

[phone ringing]

Kathy Scruggs.

MAN:
Yo, Kath, remember
when you told me

to give you a heads-up
when I saw Richard Jewell?

Well, I saw him.

And?

He and some weird,
loud dude were strolling

through Centennial Park
acting like they own the
place.

You want me to do something?

Yeah, stay with him.

I'm on my way.

[engine starts, revs]

[sniffing]

Ha. [sniffles]

[indistinct chatter]

[tires squeal]

You get my message?

Is photo here yet?

-That's him there.
-Hey, hon.

[camera shutter clicks]

KATHY:
This is good.

This is reallygood.

LINDSAY:
What are they even doing here?

Returning to the scene
of the crime.

RICHARD:
Yeah, they tore it down,
but the stage was right here.

[distorted cheering]

And the sound and light tower...

[distorted music playing]

...was right here.

And the bomb was under a bench
right there.

And the call was made
at 12:49 a.m.

from that pay phone over there,
right across

from the Olympic statue
right here.

And according
to witness statements,

I was seen
in the sound and light tower,

giving out waters at 12:46.

And I alerted Agent Donaldson to
the Alice pack at 12:51 exactly.

-We know that
'cause he radioed it in.
-Okay.

That leaves only a five-minute
window unaccounted for.

Meaning that they're claiming
that I walked

from that bench over there

over to that pay phone,
made the call,

and came back,
all in under five minutes.

So what? 30 seconds here,
30 seconds back.

-It's only, what, 50 yards?
-Not during the Olympics. Look.

That whole side
of the park was blocked off

w
i
th a security fence during the
Olympics.

Like this.

Like this construction fence.

There was only two points
of entry in the park.

There, behind you, and there.

That was the key
to the whole security plan.

I remember I had
to badge through and sign in

every time
I passed through a gate.

So this was the closest gate?

Yeah. Meaning...

to make that call,

I would've had to run
all the way to that gate,

and then back to where
the phone is, and from there,

back to the gate,
and then, from there,

up to the sound and light tower.

All in under five minutes.

Yeah, if you were running
during the Olympics,

somebody would have shot you.

Watson, according
to the FBI's own timeline,

there's no way I could have been
the Olympic Park bomber.

It's proof.

Maybe...

Maybe...

Oh, it doesn't look doable.

But if we're gonna find proof,
we got to prove it.

Right now?

I got a stopwatch.

Okay. Let's do it.

-
How are your legs?
-
My legs are okay.

My ankles are a little weird.

[laughs quietly]

But I'll be okay.

-You gonna run, too?
-No.

No, I just stand here.

Okay.

-You ready?
-I'll be watching.

-Okay.
-You got to do this

-with everything you got now.
We're gonna prove it.
-Okay.

On three...

two...

one.

-[watch beeps]
-Go! Go! Go!

P
i
ck it up! Pick it up!

Go, come on!

Come on, move your fat ass!

Come on, go!
You can do this!

♪ ♪

[laughing]

Come on!

♪ ♪

Come on, Richard.

Come on, beat it out!
Beat it out!

You're making it happen!

You're doing it!

Come on, go, you can do this!

[panting]

♪ ♪

And that's the pay phone
where he made the 911 call?

I think so.

You can do it, come on!
Come on!

There's a bomb
in Centennial Park.

WATSON:
Go!

Move it!

Go for that gold, lard ass!

Come on, don't stop now!
Don't stop now!

Come on, let's go!

What the hell are they doing?

Coming up with
an alternative theory.

But why?

[sighs]

Come on, come on, come on,
come on, come on!

Move!

You got it!

Come on, come on!

You're gonna prove it to them!

You're gonna
prove it to them!

Go, go, go!

[panting]

WATSON:
Come on now, come on, come on!

Beat it out!

Come on, pick it up!
Pick it up!

Y
o
u got this! You got this!

Come on, come on!

[huffing]

Come on, come on, come on!
Seven! Seven minutes!

-Seven? That's seven?!
-Seven minutes!

-You can't do it!
-I can't do it!

-You can't do it.
You can't do it.
-I definitely can't do it!

If ever there was
a time to be too fat

and too slow, this is it--
you nailed it!

You nailed it!

There is no way!

We're gonna get a camera and
we're-we're gonna do it again.

Okay. We'll get it on tape.

And take it to the FBI,
and lay it all out!

Have you learned nothing?

T
h
e FBI is only interested in
evidence that confirms

what they think
they already know.

They will never believe you.

And even if they do, they
will twist it around somehow.

Well, who else is there, then?

Why are we gonna tape it?

[camera shutters clicking]

The vultures are circling.

They're all looking
for fresh meat.

And we're the ones

who are gonna feed it to them.

DISPATCHER:
Uh, County says they can't

get out there for two days.

-Estimating Saturday morning.
-
Two days?

What's poor old Mrs. H supposed

-to do until then?
-Their crews are all

backed up because of this
thing out by Andrews.

They're saying
'cause it's a rural route.

Yeah, yeah, priorities.

I've heard that one before.

[radio static]

Well, just tell them
to forget it.

I'm on it.
[clears throat]

We're gonna get you
fixed up here.

I'd step back
a little bit, Mrs. H.

[chainsaw idling]

[chainsaw revving]

Just give me one sec.
Let me clear this.

Oh, you son of a bitch.

Oh, damn.

[grunts]

[sighs]

Ma'am, would you mind moving
to the other side of the road?

K-N-D.

Hey, Darla.

W
a
sn't there a BOLO out on a gray
Nissan pickup?

KNOX:
He's on the line right now.

-Right here?
-Yup.

[phone beeps]

This is FBI Supervisory
Special Agent Jack Brennan.

-Is this Sheriff...
-Thompson.

...Thompson? You the man
who spotted my truck?

Yes, sir, I got more
than your truck.

I got the owner.

The name is Eric Robert Rudolph,

white male, along about 35.

Uh, confirm for me:

Romeo, Uniform,
Delta, Oscar, Lima,

Papa, Hotel?

You got it.

Eric Robert Rudolph,
white male, 35.

No registered address,
no social,

no bank account,
no criminal record.

About as close to a ghost
as someone can get.

Only real records...

Here.

He served in the Army
eight years ago.

Special Forces candidate
before he washed out

for disciplinary issues.

Before he left,
he got specialized training

in escape and evasion, and--

you guessed it--

explosives.

Okay.

We need a full FBI SWAT team
on scene ASAP.

Call the Atlanta office,
have them dispatch.

A
n
d find out where the hell
Murphy, North Carolina is,

'cause we're going there
right now.

-Yup.
-Sheriff?

Do you know Eric Rudolph?

Do you know where he lives?

I can do better than that.

I'm looking at him right now.

Wha...?

What, what exactly do you mean

you're "looking at him"?

Well, I am...

sitting in his driveway.

He's in his trailer,

fixing himself something
to eat it looks like.

Truck is parked
somewhere in the back.

You want me
to detain him for you?

Absolutely not.

I want you to back off.
Rudolph is to be

considered
armed and dangerous.

[laughs]

Well, sir, this is Murphy.

Everybody around here is armed.

A
n
d most of the people are pretty
dangerous.

What-What's going on?

Is he, uh, is he wanted
for something?

Sir...

this is an extremely
serious situation.

You need to leave there,
right now.

Do you understand me?

[groans]

Well, look, sir, I could, uh,

hang back down the road
a little bit,

just in case
he takes a runner on you.

-Great...
-Where are we on SWAT?

-Two hours out.
-Um...

O-Okay, uh, stay well back.

Uh, out of sight.

Lights off, do not move.

And if Rudolph moves,

call me, but do not pursue.

Understood?

Yes, sir, I got you.

Out of sight, lights off.

I need verbal confirmation
that you have heard,

understood and are complying.

I heard.

I understand.

And I am complying.

[sighs]

Look at them.

FBI and media--
it's never gonna end.

WATSON:
Well, that's the point.

T
h
ey want to convict you and
sentence you to jail

without the inconvenience

of a goddamn trial or evidence

o
r
the goddamn truth, which we
just proved

is on your side,
undoubtedly, 100%.

Doesn't change the fact I can't
do a job interview with a tail.

I went to Sears
to buy a light bulb.

FBI showed up
and followed me inside on foot.

Don't you get--

You want them to follow you.

You want a whole flock
of flying monkeys

on your back 24-7 right now.

Until when?

What-what are we doing
with this?

We're gonna call
a press conference.

-
Watson, no.
-
Yeah, yeah.

-No, no... [stammers]
-We call a press conference.

W
e
're gonna turn every single one

of those camera lenses
back on them.

Put them on trial for once.

You can do a press conference
without me.

Um, I-I was on CNN.

Y
o
u ever heard the story of Jason
and the Medusa?

No.

The Medusa,
she's such an ugly bitch,

she turned anyone
who looked at her to stone.

Know what Jason did?

Busted in with a mirror.

She sees herself,
turns herself to stone.

And then Jason's able to...

cut off her head,
take a dump down her neck hole

and marry the princess

and whatever crap--
Anyhow, that's...

that's what you are about to do.

You are about to face
that damn media Gorgon.

Hold up a big-ass mirror.

And say, "Look at yourselves.

"Turn your cameras around...

"and look at yourself,

see how ugly you've become."

And the more looking,
the better.

-
Press conference?
-
Press conference!

MALE REPORTER:
Mr. Jewell! Mr. Jewell!
Any statements

-for why you're back
in Centennial Park?
-Come on, let's go, let's go.

-
F
EMALE REPORTER: Quick statement!
-
[engine starts]

We're calling
a press conference.

-Stay tuned, dickheads!
-MALE REPORTER: Are you
the bomber?

♪ ♪

Murphy, North Carolina.

Right on the edge
of the Nantahala Wilderness.

One of the most remote areas
in the country.

Murphy's full
of survivalists, militia,

sovereign citizens,
anti-government activity.

Look, people come here
to get away from the Feds.

Been that way forever.

Local militia group,
the North Carolina Regulators,

predates the Revolutionary War.

Fought the Brits,
then fought George Washington

once he sided
with the Federalists.

No shit?

They attacked George Washington?

They'll love us.

Bottom line, we shouldn't expect

a warm welcome
and we shouldn't stick around.

Unless we're looking
for headlines

with the word "standoff"
in them.

We get in and out.

Hit Rudolph's trailer
fast and hard.

We're back in civilization
and in a courtroom by morning.

Let's move.

♪ ♪

♪ ♪

Well, looks like
the cavalry's here.

Go.

Go around back.

Down! Get down! FBI!

AGENT:
Let me see your hands! FBI!

[TV playing indistinctly]

AGENT:
Back room clear!

AGENT 2:
Clear!

-[sizzling]
-[truck engine starting]

He was just here.

-AGENT: Movement outside!
-That's him! Go!

Go, go, go!

♪ ♪

We have visual on the vehicle.

Where's he going?

It's all wilderness west
of here; nothing but woods.

Good. It means he's about to run
out of road. We got him.

DISPATCHER [over radio]:
Stay in pursuit of the
suspect.

We'll dispatch local PD
up ahead.

BRENNAN:
Where is he?

Damn it!

Shit.

KNOX:
Damn it, we lost him.

♪ ♪

-Have Bravo go right.
-Bravo, go right.

Repeat, go right.

Alpha, go left.

Alpha, take the left.

Shit, watch out.

-Does anyone have visual?
-We lost him.

Do you have him? Copy.
Do you have him?

AGENT [over radio]:
Negative. No visual on
suspect.

♪ ♪

Come on.

-We got him.
-All right, we see him.

We see him.

Hang on!

Shit.

KNOX:
We lost him.
Do you have visual?

AGENT [over radio]:
Negative. Still no visual.

Where is he?

[dog barking]

[dog panting, whining]

AGENT:
Okay, shh.

Clear!

-[dog barking]
-Hold on. Hold on.

Go. Come on.

-Get 'em.
-[dog barking]

Get 'em.

Get him.
[shouting commands]

[dog barking]

[dog yelping]

[yelping stops]

Get the rest of the canines
up here now.

AGENT [over radio]:
10-4, we're on our way.

[dogs barking in distance]

[dog whimpering]

What the hell is wrong
with the dogs?

They need to be out
on the scent.

It's cayenne pepper.

These bootleggers
and these pot growers

up here in the mountains,
they use it

to throw these dogs off
the scent.

T
h
ey get a snout full of that,
they're no good for a few days.

Damn it, he got one,
he's not getting them all.

Get-get those dogs' noses
cleared out.

-Get them back out there, now.
-[dog whimpering]

Who the hell are you?

I'm Sheriff Thompson.

We talked on the phone,
remember?

I'm the one who could have
taken Eric into custody

about three hours ago.

Positive for TNT.

Eric Rudolph is a serial bomber.

His target is law enforcement.

He blew up a cop this morning.

I backed you off
so you wouldn't be next.

You're welcome.

Look, found this on the floor.

It's from today at the Bi-Lo.

Vitamin tablets, bulk oats,
dried fruit,

canned tuna, jerky--
there must be

t
w
o weeks' worth of food on here.

Classic backpacker stuff.

Calorie-dense,
light enough to carry.

So he wants to try
to hide out in the woods.

Good, we'll hunt him down
or starve him out.

And you're right.

25 tins of cayenne pepper.

It doesn't matter
how much pepper he's got,

he's trapped in the woods;
he's got nowhere to go.

[scoffs]
Nowhere to go?

D
o
you have any idea how big
nowhere is?

This is
the Nantahala Wilderness.

It's 500,000 acres out there.

It's the size of Rhode Island.

That may be.

You're forgetting:

he's one man, we're the FBI.

[
f
aintly]: Let's go.

On me.

Come on, boy.
Come on. Get 'em.

[dogs barking in distance]

♪ ♪

♪ ♪

♪ ♪