Stop and search: what it really looks like

Stop and search is one of those police powers that everyone has an opinion about. Most people have seen it on TV, read about it in the news, or perhaps been stopped themselves. Depending on which side of the argument you’re on, it’s either an unacceptable invasion of privacy, or a vital tool in fighting crime. From my own experience, it is also one of the powers that is easiest to misunderstand and, sometimes, easiest to get wrong.

“Gotta have grounds”

Officers have to have grounds to stop and search someone (most of the time – there are some exceptions, but for a street encounter these rules apply). It’s some level of reasonable suspicion based on what they can actually point to, not just a feeling or a guess or a gut instinct.

The officer has to be able to explain why they suspect the person is carrying something unlawful, such as drugs, a weapon, stolen property, or something intended for crime. Oh and that also applies if they want to search a car - none of this, “mind if I have a look in the boot, mate”!

That is where a lot of poor portrayals fall down. TV often makes stop and search look like a random confrontation, but in real policing there should be an identifiable reason behind it. If the grounds are weak, the whole encounter can look and feel weak.

The explanation matters

If I have one message for scriptwriters, it is this: the explanation matters. A good stop and search encounter is not just about the search itself. The officer should be able to say who they are, what power they are using, what they are looking for, and why they are doing it. It’s a good way of sneaking in some exposition, moving the viewer’s understanding forward.

It is about professionalism, not theatre

In my view, the best officers treat stop and search as a professional task, not a performance. There is no need for unnecessary drama, raised voices, or a big show of authority. The search should be justified, proportionate, and carried out in a way that offers the suspect dignity (no “hands up on the wall” stuff please) and stands up to scrutiny.

And while we are at it – searches should be carried out in a particular, methodical way to ensure nothing is missed. The suspect should be under control – often this means they’ll be handcuffed. Ideally, another officer is present to watch the first, and to take control of any items which are found and/or seized. And a mantra I always remember, and told newer officers was this: “never put your hands where your eyes haven’t already been”. So often drama portrays officers shoving their hands deep into a suspect’s pockets. There could be all sorts in there – needles, knives, half chewed sweets with hairs stuck to them – always have a look in the pocket first!

That is why I think stop and search scenes are more interesting when they are written and portrayed with restraint. A well-handled search can tell you a lot about an officer’s judgement, communication skills, and confidence. Once your story has established how it should look, a badly handled search can tell the viewer so much about the officer, who they are, and what motivates them.

What writers should remember

If you are writing a scene involving stop and search, my advice would be simple. Do not treat it as a shortcut to tension. Build it around the grounds, the explanation, and the officer’s judgement. That is where the realism is, and that is what makes the scene believable.

The search power itself is not the problem. The problem is how it is used, how it is justified, and how it is perceived. Get those elements right, and you will have something far more authentic than the usual TV version.

Are you working on a drama which shows officers doing stop and search? Give me a shout, I can help make it dramatic and realistic!