Cops Save Hostages From Killer's House Of Horrors | Forensic Files

[Music] Who shot? Who shot? There's a gun. There's a gun. >> Police are surrounding a house in the
middle of Kenosha City. Inside, an unknown gunman is holding wounded hostages and exchanging heavy gunfire
with officers. >> Who is it? Ma'am, you got to move. Get out of here. Get moving.
>> Get the [ __ ] out of here. Leave. >> In the middle of this chaos, officers have no idea who they're dealing with or
why he's even firing at them. But by the time police finally confront the gunman,
it will already be too late. >> I have a hostage right here. Police officers trying to move
already. >> Watch that window. I window contact. >> Around 8:15 p.m. on a Monday night,
multiple gunshots ring out in a quiet neighborhood in Kenosha, Wisconsin. Minutes later, at 8:19 p.m., 911
dispatch receives an alarming call from a man claiming someone just tried to kill him. Kenosha 911. What's the
address of the emergency? >> I need medics and I need ambulance. [ __ ] hurts. >> 132456
Street. I've just been shot. >> Is that a house or an apartment? >> It's it's a house. It's it's uh it's a a
duplex. I've been shot in the leg and possibly the arm. The shooter is in the apartment next door and I know he's got
felony warrants out of Ohio or New York. Okay. Following this call, officers are
quickly dispatched to the scene. The caller also warns them that the gunman may have felony warrants out of state.
At the time, it sounded just like another detail in a frantic call for help, but it was really a glimpse into
someone far more dangerous than police expected. Just minutes later, police officers
arrive at the scene. Almost immediately, they hear a woman screaming outside the
duplex. Hey, we have a shooting right here. Let me see hands. [Music] He's in the house.
>> Is he Who's shot? >> Who's shot? >> Show me where he is. >> Where is he, Luke?
>> Show me. Come out here. Come out here. >> Okay. Who got shot? >> Uh, I think they got in the back of him.
>> Okay. >> Where, Johnny? >> Is this all one house? >> No, it's two. >> Okay. Where do we get to his his unit?
>> Hold on. >> Wait. No. Where do we get to his unit? I need to know that. >> Where do we go?
>> You got to tell us so we can help people. Spit it out. >> The guy was shot. >> Yes.
>> The second one the light is. >> The second one the lights out. As soon as officers make contact with the shaken
woman outside, someone from inside quickly slams the door shut before they can get any answers. With the duplex
having two separate apartments and multiple firing angles, police can't afford to wait. They need to move the
woman out of danger and secure the perimeter. But just as officers begin pressing the shooter to surrender,
things take a dangerous turn. >> Get into your head. Oh [ __ ] >> There's a gun. There's a gun.
>> Shots fired. >> He's in the house. >> The gunman suddenly opens fire from the
window, forcing police to scramble for cover. With Officer Luke and his partner retreating to the west side, and Officer
Bray diving behind a car directly in the shooter's sights. It offers some cover,
but leaves her dangerously pinned. But in the scramble, police left the woman they just spoken to completely exposed
in the line of fire. Officer Lou quickly realizes she's still in danger and they'll need to get her out before the
situation escalates further. >> Get that lady out of there. >> Get out of here. >> There's a lady in the house. We have
shots fired. He's firing out the window at us. >> Get covered. Get cover there. Get
>> He's at the front of the house on the south side of the road. >> With danger escalating by the second,
more backup units race to the scene. And within minutes, multiple officers swarm
the neighborhood, unaware that this is just the beginning of a deadly shootout. One that will put both officers and
civilians at fatal risk. In these types of highstakes situations, officers must make split-second
decisions, and every choice could mean the difference between life and death. Over the next few minutes, we'll follow
how they manage chaos and respond under immense pressure. Starting with Sergeant
Brian Miller and Adam Jurgens, who are just arriving from the west and east side while the gunman continues firing.
>> He's at the front of the house on the south side of the road. >> Where's he at? Where's he at?
>> House. >> Where's he at? >> What house? What house? [Music] >> Where's the stucker? What do you have?
>> What do you have? >> There's a house. I have shots fired. He's firing out the window at us.
>> Okay, come back here. Can you come? Can you come back? Which one? >> The front of the house. You got to come
>> Christ. >> Ma'am, you got to move. Get out of there. Get moving. >> Where is he?
>> Second house. >> Second house upstairs or what? Where? All right. >> He was in the front window. Yeah.
>> Clearly, the situation facing officers is extremely unpredictable. The gunman
has already fired from three exposed windows at the front of the house and another on the east side where Sergeant
Jurgens returned fire. On the west side, two more exposed windows are accessible
to the shooter, as well as a garage and a back exit. officers don't even know about, giving the gunman even more ways
to slip outside or stage an ambush. But in the midst of all of this, there are two urgent problems at play. First,
police think they're only dealing with an active shooter, but there are hostages inside the house, and officers
have no idea yet. Second, officer Bray and the civilian woman remain trapped and exposed to the shooter's sights. The
longer they wait, the more likely they'll be caught in the crossfire. Hey, Bri, can you move? Can you come
back to me? >> I can't. >> I can't. >> 495, do you have the shield? We have somebody that's stuck right in front.
Shields in the squad. I'm up on the front corner. >> Someone gave me a shield. >> Stay right there. Just stay behind the
engine block. >> I am. >> Anything else? You see anything or no? >> Where's this susp?
65 coming from the east. >> Hey, >> he's got my husband hostage. >> Are there people inside?
>> This revelation finally puts everything into perspective for officers. With hostages involved, it's clear that the
situation is becoming much more complicated and a rescue plan is needed urgently. So, with the stakes now
higher, officers have two critical priorities. First, they need to extract the pinned officer before the situation
becomes even more dangerous. Second, they must clear the perimeter and breach the house to rescue the hostages trapped
inside. To move forward, Sergeant Adam Jurgens requests a shield as they prepare to move with the extraction
plan. But before we get to that, these cases often affect the mental health of both the officers involved and the
innocent people involved, and stressful situations in your life can often have the same effect on you. This was the
case for me. I hit a point where powering through it wasn't working. I wasn't equipped to manage what I was
feeling alone. My therapist gave me one assignment. write down how I feel every hour. Within days, the patterns were
obvious. What spiked me, what grounded me, reporting back kept me honest. Seeing wins in black and white made me
proud. That's what finally showed me what needed to change and how. That's why I'm sponsored by BetterHelp. They're
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or go to betterhelp.com/drinsanity to get 10% off your first month. With that said, let's get back to the scene
where officers are about to move ahead with the rescue plan. >> Hey, we need a shield up here.
>> I got somebody stuck right in front of the house. I need a shield. We got to get them out of there.
>> Okay, we're coming up to you. Stay stay here. Stay in here. You see her? No. You see her right here where
she stopped by the car? >> She's right over here. We have to get her out of that way. No, she's
>> the house is this one right here. He was shooting right from the front window
towards me. So there's somebody in there. Okay. >> Okay. >> So I think our priority is we have to go
get Bray out of there >> cuz she's really stuck. So you tell me what you want to do from here. That
woman is saying that there's two people in here and that this dude just has a guy hostage. So
>> all right. Hey, can you come with me? >> Y >> take your rifle. You just go that way.
>> Yeah, we'll go. >> Coming towards you. Okay. [Music] Hey, we got to get out. Let's go.
>> Hey, you faced out. >> I got it. I got it. >> Holy [ __ ] [Music] >> Fortunately, the extraction goes
smoothly and Officer Britney is pulled to safety. Though the real danger is still far from over. By now, multiple
officers have surrounded the house from both the east and the west sides with additional backup units arriving from
the east end. But things are still dangerously unpredictable. Because in the middle of all of this chaos, CCTV
captures a car pulling slowly into the parking lot near the house, seemingly oblivious to the active gunfire
unfolding just a few feet away. Watch this movie. >> Who is this? >> Stay. >> Get the [ __ ] out of here. Leave.
>> I'll move right there. >> I don't give a [ __ ] Move. >> Get out. [ __ ] shooting across the
street at us. You're not paying any [ __ ] attention. >> With the civilian swiftly cleared from
the scene, officers refocus on the real danger ahead. They need to extract the civilian woman still stuck at the corner
of the house and then quickly devise a plan to confront the gunman without risking casualties. But as officers
begin coordinating their next move, the gunman is already preparing to do something far worse. something that will
force police to act whether they're ready or not. >> Go ahead. Come on. [Music] >> Roing ambulance.
[Applause] >> Ma'am, are you hurt at all? >> No. >> Sarge. Serge, I got four. Okay. So, there's a woman that's in this
corner of this house that's going to be at the uh northeast side and she's kind of stuck right in here.
Um I think she's right there. Did you see that? >> Did you see that? >> I see the lady.
>> We can work a team to get her out. That's what we want to do next. >> You guys see anything or no?
>> We have a female on this side just saying that they're shooting from the apartment out, I think, on the east
side. Is she okay to be injured? >> No. >> Do you have any idea where the shots are
coming from? >> So, so when I was shooting, I shot towards the house and he was looks like
he was shooting at this front window this way towards Bray. >> Okay. >> Now, I've seen him break windows and I
can see gunshots that are actually on uh like all sides of the house. So, I don't
know where he's at. >> Okay. We can see the freight trans going to move up a little bit to a couple
garages. We can take cover up. More shots fired. >> There people inside. >> Those painful screams that followed the
gunshot confirm the worst. The gunman has just shot one of the hostages inside the house. Now more than ever, officers
know they need to act. If they wait any longer, more lives could be put at risk.
With that terrifying realization, officers immediately scrambled to collect as much critical information as
possible before moving inside to confront the shooter. They still don't know exactly how many people are inside,
where the shooter is positioned, or who exactly they're dealing with. But that is about to change. Okay, we need to
figure out if we have a hostage in there and we got to move. >> So, she says there is. She told me that
there's there's a her husband is with the shooter and those the only two that are in there.
>> Yeah, let me let me let me work on that. >> Ma'am, who's inside the house again?
What's their name? [Music] >> Matthew Lopez. Got it. >> Okay. I see what you got associated for
Matthew Lopez in the house. This woman out here is saying that that's the gunman. And I believe a Gary Tubs is the
husband and she's saying he's stuck inside with him. With a suspect name identified, officers can finally begin
to piece together who they're dealing with. And what dispatch relays back raises serious concerns.
According to their checks, Matthew Lopez is a registered offender. Even worse, the initial 911 caller also told
dispatch that Lopez has felony warrants in Ohio or New York and is possibly using a fake name, though his true
motives would prove to be far more complicated. With all this in mind, police realize they're dealing with an
armed offender with a violent, disturbing past. But just as that information is sinking in, something
completely unexpected happens. The supposed perpetrator inside the home picks up the phone and calls 911
himself. >> Hello, this is Kosha 911. What's the address to the emergency? >> I have a hostage right here and your
[ __ ] police officers are trying to sue me. I've already got two people already. I'm not afraid of dying about
the kill. God, I got it right through the [ __ ] back of his head right now. I see one.
This is the problem with the [ __ ] police. I'm telling you, you guys want to play,
>> okay? >> I don't give a [ __ ] And I don't have much battery left either. So, if you got
to get this mother battery, I got a [ __ ] really trigger figure, lady. And I still got three balls left. Please
don't. >> And who how many people are in there with you? >> Two. >> The people that are with you, are they
injured? >> Yes. >> Okay. Where where do they have injuries to? >> In his femur.
>> In the femur. Cuz your officer kept coming in here. I asked them for simple commands.
>> Both of them shot in the femur. >> I The other man with the intruder scared the [ __ ] out of me. You understand me?
He's my neighbor. a [ __ ] break down me one more time right now. >> I'm going to hang up so that somebody
can call and talk with you. Okay. >> Okay, ma'am. Just make sure to answer your phone.
>> Okay, dear. Okay. What do you need me to do? >> Okay, hang up and then they're going to
call you. >> It's your fault. I didn't mean to tell you that you was looking down. Okay.
Above the above. Although Lopez never explains his motives or makes demands, he does
confirm he's already shot two people inside the home. And in the background of the call, a wounded hostage can be
heard groaning, "He's going to do it. He's going to kill me." So, with hostages already bleeding and the gunman
threatening to kill, the margin for error is razor thin, and the choices police make within the next 10 minutes
will determine who makes it out alive and who doesn't. >> Watch that window. Watch that window.
pants. Pants. >> For now, the situation is becoming more hectic than before. And the longer
police wait to make a move, the worse things will get. They have to get inside. >> We have a male on the phone saying he
has two hostages shot two already and that he has three bullets. And with the phone numbers in the narrative, we still
have them on the line. He's really going to [ __ ] try to call this while 553. Move up to that truck. Okay,
>> I am stand by >> headquarters talking with the male in the house. Would you say that he's talking with an
officer and that he shot people in the house? What do we have for the contact team?
>> You got Peps and O'Neal and I >> Well, if we have injury, I don't think we have we have to go here.
>> Okay. You want me to try to call them first and see if we can work this? >> We could try to get better. We'll kind
of [ __ ] >> if you can make the team I think you're right. I think we're probably going to
have to. >> You got a team. Reach over there. >> Yeah. All right. On cover. >> Cover.
At this stage of the standoff, multiple developments are happening behind the scenes. Negotiators are patched in,
calling Lopez's phone and trying to draw him back into conversation as the perimeter tightens around him. Medics
are staged just blocks away, waiting at a nearby elementary school. And around the neighborhood, roadblocks are set up
to keep any more civilians from wandering straight into the middle of a gunfight. With all these precautions in
place, officers on the ground prepare to make one final attempt to reach Lopez and push for a surrender.
>> Keep doing your thing, but I'm going to try to call them two. >> You guys two or three, I think, over
here on the northeast corner of the house. If we can move these guys up around here around the trees and try to
get them out, I think that'd be beneficial. >> This is a multi [ __ ] So, we There's
three doors. [ __ ] >> I think the one on the east is a different unit. Big one on the south
here. >> So that that window in the southwest has rounds through it. Shattered. Uh we can
get a rifle there and just go in the front. >> Probably the best option. >> 5532 is not working. So I need the phone
number for this guy. >> 515 stating his name is Matthew. >> Please leave your message.
>> Will he come out? >> Well, he just went the voicemail. With Lopez's phone now going straight to
voicemail, any chance of negotiating a peaceful surrender is gone. Officers realize they can't wait any longer. It's
time to go in. Sergeant Brian Miller coordinates a contact team. Their plan is simple but
high risk. Enter through the front door with a ballistic shield, neutralize the threat, and extracts the hostages. At
the same time, other officers are instructed to reposition and cover additional angles around the perimeter.
Officers know this is extremely risky. And once they breach the door, they could be walking straight into a
gunfight. >> All right. Well, get moving. >> There's a shield team. O'Neal, want you
I'll walk up with this split off and take that that window on the southwest side.
>> I got it on contact. So, >> keep trying me. Yeah. You know what I mean? I don't. So,
>> yep. >> Who's got the shield? >> I got the shield. >> All right. What's the plan? Where are we
headed? >> Front door. >> Run. Run. >> Right there where the mailbox is. O'Neal's going to take it to the window
that's cracked in the southwest side. >> I see it. >> Right next to the door. >> Yeah.
>> So, peel off Shan or move up your right side and left side of the shield. >> All right. Nice and slow.
>> One left. Tell me we're moving up. >> All right. Ready? >> Ready. >> All right. Moving.
>> Nice and slow. I got the window just to the left of that front door. >> Copy.
>> That window. >> Got it. >> Window all the way around the corner. >> Pull up that wrong side.
>> What do you want? What do you want? Why don't you peel up the other side of the
house? Go >> ahead. Watch right. Yep. Contact. Contact. I see one left. We got We got Hey, watch that window. Watch
that [ __ ] window. Watch the window. >> Hey, pants. Pants. I got him. >> What you got? What do you got?
>> Where's the shooter? What do you got? I don't get here. the head. >> As police barge inside the house, they
find two severely wounded men, both lying on the floor, bleeding and barely responsive. It's not yet clear who they
are, but both appear to be hostages suffering from gunshot wounds. However, the situation is still far from under
control. Beyond this room, there is still a kitchen area, multiple bedrooms, as well as a basement. And with the
shooter still unaccounted for, Lopez could be anywhere. This dude's right hand right here. You find that?
Stop. >> I need light. Someone give me light. I got the hand. >> Give me light. I got
>> Yeah. Hey, we need to drag him out. >> Come on. Come on. I got it. Okay. Come
on. Push up or push up. Bring that up. What do you want? 657. We got med. >> Hey, drag him out. Drag him out.
>> He's probably got a gunshot to the leg, man. Nope. He's got a head shot to the
wound. Hey, we need to find They said there was two injured in here. >> One, two,
the house. >> 5 seconds. We got two apparently flood shots to the head. >> All right.
Keep the stage for a minute. We got to clear the house. >> We got a stroll. Trust me. All right.
>> Okay. All right. Let's go. You're going to take this right. I'm going to take a
left. >> I got you. I'm holding on kitchen. >> Give me one. >> I got you right. >> Check there.
>> Give me one. One. Hold on. Hold on. Hold right there. >> Okay. Room clear. Room clear.
>> Okay. I got closer to my left. Kitchen opens up to the right. >> Okay. Switch out. She'll go first.
I got light on in that room under there. >> All right. All right. I got open door right. lead
to it looks like a back exit door here. >> All right, >> we can go. You want to >> go up a little bit?
>> Hey, give me one guy. >> Yeah. >> Where does this lead to? >> It might go to a basement. I don't know.
So, just move this. >> Scope a little bit. See if that goes out to us. >> Closed door. Closed door. Hold on that.
>> I got it. I got it. >> Hey, how many How many missing people are we still missing right now?
>> Uh, so all right. What they told? They had two hostages. >> So far, we got two.
>> So, we both done shopping. We don't know about anybody else. >> Okay. So, all three people accounted
for. >> No, just two. >> There's two. >> Hold that. >> Just come. >> All right. Just uh hit that door now.
Ready? >> Yep. >> Locked. >> With the basement door being locked, a major complication faces officers.
Basement entries are some of the most dangerous spaces for law enforcement. The narrow layout, blind corners, and
poor lighting make it almost impossible to clear safely, especially when a suspect is barricaded inside. If Lopez
is down there, officers could be walking straight into an ambush. So instead of forcing the door, a sergeant makes the
call to hold the basement for now, and shifts the priority to secure the outside perimeter, confirm whether the
gunman slipped out or is still hiding elsewhere on the property. Officer Eric Glam heads out to check the exterior,
and that's when they hear someone in the garage. >> You guys over here? >> Yeah, just come with me.
Just hold. Someone hold there. >> Are you guys in the garage? >> How many How many people are in there?
>> Just you and the two dogs. >> Yeah. >> Can you leave the dogs in there and come
out? >> Okay. We're going to open the door. Okay. >> Just make sure I can see your hands. All
right. >> All right. Okay, bring who? Who was all inside the apartment? >> My husband, Gary Puff,
>> and who else? >> Uh, Matthew. >> Is there anybody else we don't know? Was there anybody else that was in there?
>> No. >> Okay, ma'am. Why don't you? >> Dewey lives in the side apartment. >> The one that got shot.
>> Turns out the civilian woman from earlier managed to run and hide inside the garage. According to her, there's
someone else still inside the house in a different section of the duplex that officers haven't cleared yet. Until now,
all attention has been focused on the front unit and the basement. But the layout of the home is a twounit
structure with the second unit still unaccounted for. But before officer Eric Glom can relay that information,
Sergeant Brian Miller is already patrolling near that side of the house unaware. It hasn't been cleared.
>> What door is that? Zero. >> This is You don't know where >> you don't know where where anything's
at. >> Okay. >> Who's going where? >> This is the That >> should be the living room. Just the
kitchen. >> Living room. >> Living room. >> Living room. >> Kitchen. >> Kitchen. All right.
What >> we got? Here we go. Yeah. What? >> Police. Come on. One person up. >> Police department.
>> What's your name? >> Sergeant Miller. >> Hi. >> Come on out here, guys. >> I'm trying. I'm trying. I'm shot.
>> You're shot where? >> In my leg. >> Okay. Anybody else in here? No, just me and my dog. All right, let's come off.
>> Okay, I've got officers right here by me. >> Okay, I'm going to let them help you.
Okay. >> Okay, thank you. >> Use the door. Come on out. Come on out. >> You're welcome.
>> All right. Bye-bye. >> Hold that right there on the step. >> Yep. Go ahead and shut my door, please.
Don't let my dog out. >> Your dog's going to be fine. >> He's friendly. >> Who else is here with you?
>> Nobody. It was just me and my dog. >> Did this wrap around the same apartment?
>> No. No. >> 295. >> Yes. >> Hey, so you got two victims. Where we got him at? >> We can't clear the base yet. This is a
different guy at a different apartment. >> Okay. >> Watch that window, guys. >> Yep. Is that where he's headed? That's
where I do believe he's at. >> Inside the second unit, Sergeant Miller finds the same man who first called 911.
He's also suffering from a gunshot wound, making him the third confirmed victim extracted from the scene so far.
But Sergeant Miller quickly realizes something is not adding up. Earlier, Lopez claims there were only two
hostages, but now police have found a third victim. If this man is a hostage, just like the other two they extracted
earlier, that means Lopez might have been lying, and there could be even more people inside the house unaccounted for.
Police proceed to check the unit, but find no sign of the gunman. That leaves only one place they haven't cleared. The
basement officers quickly regroup and head back towards the locked basement door, prepared to face whoever might be
hiding there. >> Ready? >> Open. [Music] >> Okay, get the shield up. >> All right, Miller.
>> Yep. You warm >> ready. >> Okay, cool. >> Okay, I'm going to move open to the door
if you want to check to the left here. >> Got more here. Okay, slow down, Eric. Let me clear this.
I'm one. Yep. Ready. [Music] Blue. Blue. Go to >> this side. >> Okay. There's a a dead corner here I
can't clear yet. >> All right, I got you. >> [ __ ] See that top corner I'm talking
about? >> Yep. >> All right, let me peel off. >> Okay, >> I'll peel off this left side here.
>> Clear back here. >> All clear. >> So, we got a big room to clear. We could probably use one more.
>> All right, you got four. >> You got four. You got four total, >> Eric. I'm gonna go one. I'm gonna go
right. Okay. >> Hold on. >> All right. >> I got this door here. Someone check that
corner. >> Got the corner. I'm on you. >> Corner's good. >> That's good. >> Yeah.
>> Okay. I'm going to open this door. Mike, >> I think this is the cellar door. >> Dead space.
Officers go on to clear the rest of the basement with no sign of Lopez or any additional hostages. For a brief moment,
they believe Lopez escaped during the chaos and could still be at large. That changes when one of the surviving
hostages gives a description of the suspect. A Hispanic male, early 30s, heavily tattooed, wearing a green shirt.
With that description, officers quickly realized Matthew Lopez isn't missing. He
was one of the wounded men they already carried out earlier. He shot himself and
was critically injured the moment officers forced their way inside. With the scene fully secured, Lopez and
the injured hostages were transported to hospital for treatment. In the meantime,
detectives got to work piecing together the night's events, why Lopez opened fire, and what his true motives may have
been. What they discovered was a spiral of paranoia and violence. In the days before the shooting, Matthew
Lopez had been living in the duplex with housemates after moving from New York to
start fresh. But over the weekend, he disappeared with a friend to use drugs, came back agitated and paranoid,
claiming he was targeted and drugged, that his phone was wiped, and ranting about a stolen kilo of cocaine. On the
evening of December 19th, while others cooked and watched a movie, Lopez finally snapped. He suddenly grabbed a
woman, pulled out a pistol, shouted about people outside trying to kill him, and fired two rounds into the ceiling.
Investigators later confirmed the bullet holes above the living room area. As panic spread, Lopez turned the gun and
shot one resident in the femur. When a neighbor stepped outside to investigate the commotion, Lopez shot him as well.
Detectives later concluded that it was the peak of a drugfueled paranoia spiral that made Lopez lash out at those around
him before confronting police and turning the gun on himself. The injured victims were treated and discharged from
hospital, but Matthew Lopez was later pronounced dead, and with him, the true motive for the Kenosha standoff died as
well.

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Police are surrounding a house in the middle of Kenosha city. Inside, an unknown suspect is holding wounded hostages, and exchanging heavy gunfire with officers…

In the middle of this chaos, officers have no idea who they’re dealing with or why he’s even firing at them. And with every passing minute, the situation spirals further out of control.

But by the time police finally confront the gunman… it will already be too late. --- This video was made for educational purposes only.

The video is presented to provide genuine footage of police incidents to promote transparency in government while providing educational, informative and newsworthy content allowing viewers to examine and assess public safety material. This is a fact-checked documentary using authoritative sources.

Brief Summary

A police standoff in Kenosha reveals a gunman with hostages, escalating chaos, and tragic outcomes from drug-fueled paranoia.

Key points

Police Confront Gunman. Officers face an unknown gunman holding hostages in a tense standoff.
Hostages Confirmed. The situation escalates as officers learn hostages are involved, raising the stakes.
Gunman Calls 911. In a shocking twist, the gunman calls 911 himself, revealing he has shot hostages.
Police Encounter Hostages. As police enter the house, they find two severely wounded men, both appearing to be hostages.
Locked Basement Complication. Officers face a major complication with a locked basement door, a dangerous space for law enforcement.
Third Victim Discovered. Sergeant Miller finds a third victim, raising concerns about unaccounted hostages.

Episode highlights

Episode quotes

Get the [ __ ] out of here. Leave.

0:32WatchSep 15, 2025

Tension

85/ 100High tension

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