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  • - [Narrator] This is Chris Anderson,

  • a retired fugitive investigator

  • who spent 25 years hunting down violent criminals.

  • - Most of the guys that we look for

  • were usually murderers, robbers, bank robbers.

  • We ran the gamut of the most violent crimes

  • that we have in our society today.

  • - [Narrator] Today, Chris is going to review

  • some of Hollywood's greatest manhunt scenes

  • to determine what they get right and wrong.

  • [suspenseful orchestral music]

  • - So today we'll be looking at some clips.

  • These clips will be of movies

  • that we've all seen or heard of.

  • And we'll take about how some of those clips

  • relate to real life fugitive investigative experience

  • and some of it relates to more of movie magic.

  • [television static blaring]

  • First up, "Joker."

  • In this scene, cops are chasing the Joker

  • through the city.

  • - Arthur!

  • [man yelling] [car horn blaring]

  • [tires screeching]

  • - I've seen that happen so many times

  • it's ridiculous.

  • Some of the guys can get up and go right back to running

  • just like Arthur did,

  • and then some of them can't.

  • [announcer muffled by loudspeaker static]

  • [tense orchestral music]

  • [passengers muttering]

  • As a fugitive investigator,

  • this is probably your worst nightmare.

  • The person that you're pursuing

  • gets on a crowded train

  • and everyone is, in some way, almost dressed alike.

  • But you still have to pursue that person.

  • You have to find some way to take the person into custody

  • because now he knows that you are after him.

  • - Police, police!

  • [passengers yelling]

  • [tense orchestral music]

  • [police yelling muffled by passengers]

  • - I would never pull my weapon out in the place where

  • I didn't have as much control as possible.

  • As fugitive investigators we train to have your gun

  • down and low ready,

  • close to your body where you can have as much control

  • over it as possible.

  • You don't go through a train

  • full of people and a huge crowd

  • with your weapon pointed out in front of you.

  • That's a tactical error.

  • - Go, go, go!

  • [passengers yelling]

  • [passengers yelling]

  • [laughing]

  • - You see where that tactical error

  • caused him to be jumped on by the citizens

  • that are inside of that train

  • who really don't know that these guys are cops.

  • And they are doing what they know in order to keep

  • themselves from being his next victim.

  • They take him down, they take his weapon

  • and they begin to, to plummel him.

  • But that mistake is what causes the Joker,

  • who's the fugitive in this case, to get away.

  • [television static]

  • [mysterious orchestral music]

  • Next up, "The Fugitive".

  • In this scene, Tommy Lee Jones chases Harrison Ford,

  • the fugitive, through a very crowded substation.

  • [mysterious orchestral music]

  • Tommy Lee Jones, to me, is the perfect example in this role

  • of what a fugitive investigator is.

  • Kinda brash, kinda cocky, extremely confident

  • in everything that he does.

  • And that's the type of mindset that you need.

  • [intense orchestral music]

  • Any fugitive investigator, that sees a person that he's

  • investigating or sees a convict that he's looking for,

  • if he's worth his salt, he's gonna pursue him.

  • He should pursue him.

  • That's a part of the job.

  • There have been plenty of vehicle chases,

  • there have been plenty of foot chases

  • that I've been involved in, but I don't chase 'em

  • nearly as far as I did back when I was much younger.

  • [tense orchestral music]

  • - Officer, officer, there's a man in a blue top coat

  • waving a gun and screaming at a woman.

  • - Stop that man!

  • Get his coat!

  • - Now I could see that happening.

  • Got someone that looks normal,

  • doesn't look like he could be into anything.

  • He comes out and says,

  • "There's a guy that's screaming at a female."

  • And then you see a guy screaming.

  • You know, you gonna automatically respond.

  • So that's not a stretch of the imagination.

  • [intense orchestral music]

  • - Hold it!

  • [shots blasting]

  • [intense orchestral music]

  • [shots blasting]

  • [alarm blaring]

  • Open the door!

  • - That is a stretch.

  • That should not happen.

  • In 1985, Tennessee versus Garner, the Supreme Court ruled

  • that no officer can use lethal force

  • in order to subdue or take into custody a fleeing fugitive.

  • You shouldn't see an officer firing a weapon at a person

  • who's simply running away from him.

  • That shouldn't happen.

  • [television static blaring]

  • [tense orchestral music]

  • Next up, "The Legend of Billie Jean".

  • [retro pop music]

  • - Oh I see her, you just sit and you let her walk on in.

  • - In this scene, police confront a person they think

  • is Billie Jean, the fugitive.

  • [retro pop music]

  • [crowd yelling]

  • As you can see in this scene, there is a possible hostage

  • in play.

  • Hostage taking is something that goes with the territory.

  • I mean, you have to be ready for it

  • as a fugitive investigator because

  • that's where your tactical mindset should come into play

  • because, whenever you have a fugitive,

  • you wanna take that person into custody

  • where you'll have the least amount of casualties.

  • [crowd yelling]

  • [tense orchestral music]

  • The fact that law enforcement is allowing

  • all of these people to crowd up on the beach,

  • that's not gonna happen.

  • You know, if we have our tactical unit in place

  • out in an area that could be crowded

  • with a bunch of citizens,

  • you wanna negate any outside influences.

  • So they would've had those folks

  • way way back and

  • not even having the officers in the line of fire.

  • So for this situation, this clip is inaccurate.

  • - Shutup dork!

  • [crowd yelling]

  • [gun firing]

  • - The tactical officer with the sharp shooter,

  • he has the right to use lethal force,

  • because he's using it in the protection

  • of another person.

  • So that portion of the scene

  • is not too far fetched to believe.

  • It can happen and it has happened.

  • [television static]

  • [tense orchestral music]

  • Next up, "Dirty Harry".

  • In this scene, Dirty Harry, a detective,

  • is pursuing a fugitive who's just hijacked a bus.

  • [car horn blaring]

  • - What the hell you doing?

  • Pass the VW!

  • Pass it, will you?

  • [engine roaring]

  • - When I look at this clip I see Dirty Harry

  • and he's pursuing this guy alone.

  • That's something that, in this day and time,

  • that does not happen.

  • You got yourself, this convict or this fugitive,

  • and he has about 10 to 15 potential hostages.

  • So that, you don't want that.

  • [gun shot firing]

  • [screaming]

  • [gun shot firing]

  • [screaming]

  • [gun shot firing]

  • [screaming]

  • [children crying]

  • In the situation like this, the proper protocol would be

  • to back off, give this person some space,

  • hopefully the bus'll break down and run out of gas

  • or he'll stop, someway we'll get him stopped.

  • Maybe even blow to the tires on the bus.

  • Just to get him stopped.

  • But what you don't want to have is him

  • with 15 potential hostages, inside of a bus.

  • Really he's putting the lives of the kids in danger.

  • [children screaming]

  • [door crashing]

  • At the end of this clip, you see the fugitive

  • jump from the back of the bus and that's probably

  • the best thing that you could hope for.

  • Now all of the kids are in a place where they are safe

  • and away from him,

  • and you can begin your pursuit there.

  • [television static blaring]

  • [suspenseful orchestral music]

  • - Step out of the bathroom!

  • - Next up, "Catch Me If You Can".

  • In this scene, the fugitive tricks law enforcement

  • into believing that he's not the guy they're looking for.

  • - Five seconds-- - Shutup!

  • - Just pop out the ball.

  • - Put your hands on your head. [plates crashing]

  • Put your hands--

  • - You know, he's got over 200 checks here, a gallon

  • of India ink. - Hands on your head!

  • - Drafting, even has little payroll envelopes.

  • - Put it down. - Addressed to himself.

  • - Put it down.

  • Drop it! - Relax!

  • You're late, all right.

  • My name's Alan, Barry Allen.

  • United States Secret Service.

  • Your boy just tried to jump out the window.

  • My partner has him

  • in custody downstairs. - I don't know

  • what you're talking about.

  • - In a case like this, set in this time,

  • I can imagine that happened,

  • probably more than most cops wanna even admit to.

  • You know, now most investigations are more technology based.

  • We would have stacks and stacks of intel

  • on the person we were pursuing

  • and that intel would have picture after picture

  • after picture after picture.

  • But during this time, these guys were barely

  • taking photographs, you know?

  • They didn't have access to the type of technology we have.

  • - Take a look outside, look.

  • Look out the window.

  • My partner's walking him to the car as we speak, look.

  • Old guy almost pissed in his pants

  • when I came through the door.

  • He jumped right through the window

  • onto the hood of my car.

  • Hey, Murph?

  • - Yeah?

  • - Call the LAPD again.

  • I don't want people walking through my crime scene.

  • - When Leonardo pulls Tom Hanks over to the window

  • and says, "Look my partner is walking him out the window,"

  • you know, how,

  • that just doesn't happen.

  • Now, I would have questions as to, why is this joker

  • not in handcuffs?

  • You know.

  • Why are you walking him out to a car?

  • I wasn't a cop back then, so I don't know

  • what the mindsets were back then.