 Please help me find my son. Just keep picturing him sitting and watching cartoons waiting for us. I'm at a loss for words, man. If we, if we, if we don't know. And it's just go bring Sam home to sleep. I'm Scott Rouse from a body language expert and analyst and I train law enforcement in the military in interrogation and body language. And I created the number one online body language course, Body Language Tactics with Greg Hartley. Mark? I'm Mark Bowden. I'm an expert in human behavior and body language. I help people all over the world to stand out, win trust, gain credibility every time they communicate, including some of the leaders of the G7, Chase. Hey, I'm Chase Hughes. I've written five books on numberable communication, behavior profiling, influence and persuasion. I teach interrogation and all those things to the general public and intelligence agencies. Greg Hartley. I'm a former Army interrogator, interrogation instructor, resistance to interrogation instructor of written 10 books on body language and behavior. Put together this Body Language Tactics.com course with Scott and I spend most of my time on Wall Street or corporate America. Excellent. Well, today we're going in again on another couple that is dealing with a missing child. And what gives the details, Greg? Tell us what's going on. Yeah, so the best details are there are three people we're going to look at. One is the grandmother, who is the mother of the father of the child. And then the father will look at as well. And then the girlfriend of the father. This case is moving fairly rapidly in Texas right now. We won't tell you all the details. You can look it up as a pretty grisly, horrible account. But so far there is one person in jail and we'll let you go look up who that is. And we'll go from there. All right, great. Okay, we're good. Oh, wait, before we get started, please subscribe. We're trying to get as many people subscribe as we possibly can, as you know, as is everybody. So we want you to subscribe. And when you do, you become a panelist. What are you going to say, Greg? One last thing, go out in community. There is a bingo card and you can play bingo with us. Play along. All you have to do is go to that URL and you can click on each of those things and you'll keep track for you. People are already starting to enjoy it. So go have fun. Excellent. All right, ready? Yeah, let's go. Dolan, this must be some rough times. Can you tell me what it's been like? I feel like I'm living in a nightmare I can't wake up from. No parents should ever have to feel this. I can't eat. I can't sleep. I'm at a loss for words, man. I understand. Have the police told you anything or given you any? We're doing our best right now to get out there and search for him. We're trying to cooperate and give them everything. We've given him everything that we can. Any little information we think is important or even insignificant is we think it is we still hand it over. We're just trying to do everything we can to play our part to help bring my son home safe because that's all that matters at the end of today is please help me find my son. All right, Greg, what do you got? So when I first watched this video, I don't do this all the time, but I turned this to silent. When I first watched the video, the one thing that jumps off the plate to me, he's got a lot of grief down here. He's crying. I want to tell you that body language doesn't tell you everything. I always say we can't help a person's lying. We say red flag, red flag, red flag, and then we dig in. Those are clusters of behavior that we look for. He does have it. And Chase, you're going to cover the chin boss. You're going to see all that, all this lower face crying. His forehead is not involved in that crying. His forehead gets involved when he says, hey, we're handing over stuff to the police. Hey, it's bad for me. But it doesn't when he's talking, when he's crying and all that. His face is kind of smooth there. That's odd. That's odd to me. So my gut goes, hmm, let's pay attention to this guy and see what happens. I'm not going to go into a whole lot of detail, but that request for approval is he talks about handing over details as he talks about how hard this is for him that nobody should have to go through it as he talks about cooperating with the police is all there. He's got that request for approval. He's not got the arch there. He doesn't have that bald up griefy looking muscle. And it doesn't come up at the opportune time. People can be very upset and cry. And even if they kill someone, they can still feel grief. I'm not saying this guy killed his kid. I just want you to know, we can't tell by watching a guy's face that he killed his kid or didn't kill this kid. We can only go red flag, red flag, red flag. And something about this jumps off the plate at me that I don't see that grief, that tremendous grief that I expect in this point while all that crying is going on. That's all I see. I'm going to leave it at that and drop to you Chase. What do you got? Absolutely agree with you. I think the story and the response is focused on him. What he is doing, how he is helping and it's not really about the child at all and he couldn't eat or sleep, but had plenty of time to throw in all that hair gel, which I think is an interesting behavioral cue there. And when he says I'm at a loss for words, that's probably genuine. All the behavior syncs up at that moment and I think he is at a loss for words. I'm at a loss for words man. And when he's asked the police question, he's focused on them, him and his girlfriend, their efforts, their story, their contributions and all the things they did to make sure they did the right thing. Have the police told you anything or given you any? We're doing our best right now to get out there and search for him. We're trying to cooperate and give them everything. We've given him everything that we can. Any little information we think is important or even insignificant as we think it is. We still hand it over. We're just trying to do everything we can to play our part to help bring my son home safe because that's all that matters at the end of today is please help me find my son. And there's a very brief mention of the son at the end. I think it was interesting that there's a small pronoun shift here. He's saying we, we, we, we, we, we did all these things and then please help me find my son. And so we're shifting pronouns and typically in truthful speech we'll stay around the same thing especially towards the big capstone statement at the end. Scott. I call this a sympathy follow because he starts off like you said, Jason, like you said, Greg, he starts off with all these things going on. It doesn't talk about the child until the end there. We're doing our best right now to get out there and search for him. We're trying to cooperate and give them everything. We've given him everything that we can. Any little information we think is important or even insignificant as we think it is. We still hand it over. We're just trying to do everything we can to play our part to help bring my son home safe because it's all that matters at the end of today is please help me find my son. He talks about what he looks like in that but comes down to me about me. It's all this big sympathy thing pointing at me. Greg, you're right because nothing is, is, the top of his head does not match the bottom of his face in that expression for what should be going on. Those two don't mesh together at all not even a little bit if you look closely. This is called a glabella and that's where people usually even frow their brow when they're frustrated, when they're concerned, when they're thinking about something, and that's what's going on. We don't even see that with him. We'll see it in a few minutes on a couple other things. We don't even see that on him. It's all up. Everything is up the whole time. Now, if you'll take it and you'll block off the top of his face and the bottom of his face while he's talking, two completely different expressions that go along with what's, that don't go along with what's happening right there. When he says, again, Chase, you know that when he says, no parent should feel this. Well, of course not. Of course they shouldn't feel this, but that's not where you, how's it going for you? How do you feel? You wouldn't say no parents. We're going to see the grandmother during this. It's a completely different story from what's going on here. And she's in grief as well. Or he's supposed to be in grief and she actually is. We're seeing fake tears. If there are any tears, I don't see one, not one the whole time. I hear him sniffling. Now, I see his eyes look like he may have been up for a while because I would be too in that situation. But his eyes look all baggy and dark into there because he's probably been up because he's worried, but not as much about his son. I won't go, I won't go down their road. And then again, when the reporter says, have the police told you anything? Yeah, he answered that question. That's when I first started. Well, the first time I said, okay, maybe is when Greg said, hey man, something's up with this cat. But when I started looking to, this is one of the things that jumped out at me right out of the gate was when he said, have the police told you anything? And he didn't talk about what the police told him. He just talks about what they're doing. We're doing our best right now to get out there and search for him. We're trying to cooperate and give them everything. We've given them everything that we can, any little information. Part of a sympathy funnel going down to getting it on himself down there. Yeah, this is, that's not the correct behavior. You should be exhibiting in this situation in my opinion. Mark? Yeah, so I'll give him a fighting chance by steel manning his behaviors. Okay, just so, you know, just for variety. So, yeah, he does talk about stuff that's focused on him and his feelings, but that was the question from the question. Now, how does it feel? So he is answering the question. Now to straw man that, well, you could say that somebody in real grief would divert from that immediately. But he does answer the question there. Eyes are quite red, membranes are quite red, hard to do. He starts giving a list of things that he has done. So he seems kind of involved in it. He seems like he is anxious. So that could be an anxiety around he's got to find the kid and he does say, please help me find my son. So he is asking for help. I do see a tiny bit in the forehead here, right at the side. It does disappear, but I see a bit. So look, you know, I think there are some things going for him here. And now let me straw man it. We get this sway from side to side, which we've seen in all kinds of people, you know, as you've been watching us. We've explained this, what Greg often calls the chain elephant. My expectation would be more forward motion, more forward motion towards the interviewer and the camera and the public. But we've got this kind of escapee motion happening here. Don't like the look of that. I don't like the rapidity that he starts listing. We're doing our best right now to get out there and search for him. We're trying to cooperate and give them everything. We've given them everything that we can. Any little information we think is important or even as insignificant as we think it is. It feels like he's worked out all the things that should be done and he's rapidly listing them, listing them off to go, look at everything that we've done right now. I go back and listen to that. Feels kind of wrote, feels kind of learned in some way. So at this stage for me, there's some stuff that's going for him here and can be put down to how he's being interviewed. And there's some red flags to me around this way that's happening, that he's not forward into the interview and that he rapidly wants to get through this list of things that have been getting done. But jury is still out for me. Let's see how it progresses. Yeah, if I could add one thing, what Scott and I have referred to as the transfer, you know, you joke about this chase by Donner and Blitzen too in some of these cases. Transfer is a guy who is making himself emotionally unavailable by doing something and all that crying and all that stuff, not saying that the guy is not, not saying he killed his kid, but they're just, there's some incongruency. When we're looking for congruent messaging, I don't see it. I see the sway and all that kind of thing being part of the whole emotional play, if you will, that transfer. My first. Okay. We good. Dalton, this must be some rough times. Can you tell me what it's been like? I feel like I'm living in a nightmare I can't wake up from. No parent should ever have to feel this. I can't eat, I can't sleep. I'm at a loss for words, man. Have the police told you anything or given you any? We're doing our best right now to get out there and search for him. We're trying to cooperate and give them everything. We've given him everything that we can. Any little information we think is important or even is insignificant as we think it is, we still hand it over. We're just trying to do everything we can to play our part to help bring my son home safe because that's all that matters at the end of today is please help me find my son. What do you think? Where do you think he could be? Somewhere with... not with us. And that's what... that's the important thing is that he is not with us and we need to bring him back to us. So I can't... I can't say where he could be, where he might be, like, because honestly, we... we don't know. At this... at this point, we don't know. We can... all we can do is keep searching and doing, you know, everything we've been doing and we're going to continue to do it. All right. I'm going to go first on this one. We don't see any tears, any sign, not even a little bitty sign of any grief at all or feeling bad about what's happened. This is all fake. And what we're seeing in here, I get in the glabella, that's all squished together. We're not seeing anything up here where you see normally see the grief muscles. The grief muscle isn't down in here. It's up in here. It's not just because you're... our brow does this and you see those wrinkles. It comes down. Greg, do it. I can't do it. There it is. Nailed it. That's what a grief muscle looks like. And we're not seeing that on her at all. No tears. Not even any fake tears. We're not seeing anything like that. Her illustrators. I'm always talking about illustrators. Those are the things people use. That's how your brain emphasizes specific words or phrases like I did just then. Specific words or phrases. What we're hearing here are her illustrators not locking up. They're not in sync with what she's saying. And she's doing this little clap, slap thing with her hand when she makes a point. I can't say where he could be, where he might be. They should happen like this. But they happen like this. They happen out of sync with what she's saying. That he is not with us and we need to bring him back to us. That's a big red flag. We saw a lot of that with O.J. Simpson. We see stress mouth when she starts talking to her. Every time she answers something, we see that mouth get real tight. She takes a deep breath. These are almost fear cues as you're looking at them. Taking that deep breath, getting ready. Her limbic system is firing off because she's trying to protect herself, trying to think something up. I don't think she's ready for any of this. And as she goes through these, she tries to shut down the interview and the conversation by completing everything with the app. We're going to find him. They're going to like, that's it. We're going to find him. He is not with us and we need to bring him back to us. And we're going to continue to do it. But then they keep asking her questions. The best thing about this clip is the cameras like right here as she's talking to her that looks like. So there's no getting away. And she's pinned in the car doors open. She's pinned in between the door and the car. She can't go anywhere. Brilliant. And then the reporter, once she asks her question, shuts up. It's exactly what we'd want to see and what we would all do in that situation. When she says, we can't see where he is. No, you can't see where he is because you're going to go to prison if you do because we know where he is at this point. Then she goes into this thing where she starts doing her shoulder shrugs. She does in eight seconds. She does 22 shoulder shrugs. Because honestly, we don't know at this. At this point, we don't know. We can all we do is keep searching. Never seen anything like that for my life outside of someone. I'm not trying to be funny having a seizure. That's exactly what it looks like. When I first time I saw this, I thought, oh, here we go. She starts turtling over and over and over and over throughout this. This is great stuff. It's great for study. I'm sure we'll all use this when we're training from now on. Her answers make no sense whatsoever. I'll leave that to Chase because you always cover those, Chase. When she says, where do you think you could be? That's the first time we see a micro expression. We see it in the left side of her face. Her mouth goes up just a little bit there before she starts answering. She goes into stress mouth where some people call lip grip. You see her lips disappear. That thing starts even before she does that. She looks like she's smiling at that point. We could say doopers delight or duping delight. That might be what it is, but I don't think she's conscious enough to be thinking it's funny or she's duping him from that point. I think subconsciously she knows and maybe that's why it's happening because that's for sure. A micro expression that shows that. Then again, her hand slaps. Those hand slapping things are out of sync. We're going to hear him do those as well. That's part of a behavior virus where you'll hang out with somebody for a while. Somebody you really like or somebody in your family or one of your best friends and they'll do little odd things and you'll start doing those too. The first time I met Bootsy Collins was in Memphis and we got to hang out for a while and everything you see is like, oh yeah, man, we'll do this or that. For the next three months, no matter how it would be in meetings and these big high level meetings, I go, oh yeah, man. I'll start until somebody said, what are you doing, man? You sound like something's wrong with you. Everything is, oh yeah, man. And I was copying him. I was trying to be like him. I didn't even realize it. Yeah. So it's just, we'll copy those and that's what he's done. That's what you'll see her husband or her boyfriend doing because he's doing the very same thing. Chase, what do you got? Absolutely agree with you. This is one of the weirdest responses I've seen in a very long time. And I agree on the contempt facial expression. We see that micro expression here. Her left lip going back and she's using an external separation gesture where she's saying, where do you think they could be? And she's going somewhere with, she's just kind of pushing that away. What do you think? Where do you think you could be? Somewhere with... I thought that was really interesting if she's separating herself from where that person is. What do you think? Where do you think you could be? Somewhere with... And she cuts herself off quite a bit. There's a long pause to think. So that's, it's called question, answer, latency. What do you think? Where do you think you could be? Somewhere with... So she has a lot of time there which is indicative of deception. She says, not with us. There's immediate lip compression. Not with us. Or lip grip, whatever you want to call it. So the lips squeezed together there. And this is a completely nonsense answer. There's no emotion. There's mismatched baton gestures or illustrators. It's a non-answer statement. The mouth closes immediately after all of her statements which indicates deception. There's these bouncing shrugs that you talked about, Scott. I had that number. I had the same number you did. Okay. I had to cross it off. That's why I went first. Because I knew you were going to nail it. I'm so tired of marking stuff off. You get like that. I had to go first on that one. Sorry, man. Because that's why I said I believe in chasing stuff. So sorry about that, dude. I had to go. That was great. It was great. I think this is also a turtling from fear and an expenditure just burning off excess adrenaline that's pumping through her body. And she's unable to say a single group of words with any substance whatsoever. She's just filling time, make a statement and then talk around a bunch of stuff. And people might think that I have an IQ above room temperature. And I think that's what's going on here. Focus on the story. Focus on her story. And I want you to look at one thing that we've never mentioned before in these videos when it comes to missing people. My daughter's missing. My kids are missing. A deliberate introduction of ambiguity or difficulty into the search. We don't know where they could be. We don't know where they are. I mean, this is a massive area. I can't say where he could be, where he might be, like, because honestly, we don't know. At this point, we don't know. All we can do is keep searching and doing, you know. So it's one the person who is supposedly missing a child is deliberately inserting or injecting some kind of difficulty or vague information into the search. No idea where they could be. It could be 10 miles from here. They could have been on a plane and be 1,000 miles away. We have no idea. I can't say where he could be, where he might be, like, because honestly, we don't know. At this point, we don't know. All we can do is keep searching and doing, you know. So this lack of optimism like that, I think, is something you'll see in lots and lots of people who are later arrested and convicted of the murder of that missing person. Mark. Yeah, I agree that adding in that idea of hopelessness around searching, we saw it. I can't remember with who, but he was saying, you know, I told the parents not to bother flying over because, you know, it's just you can't find anything around here. It's like immediately putting in the idea that it is fruitless to even try and search. It's tough for me to steelman this one. I don't think it's got anything really going for it. So I've only got, you know, many of the negatives that people have already said. It's concern, not grief. These coming in here. That's concern, not grief. And even then the concern is static. Look how long it holds for. Now you might go, well, you know, the longer it holds, possibly the better the emotion is. No, emotions are really uncontrollable. They're transient. They kind of flow in. They flow out. Somebody who's having a real emotion, they don't seem to be in control of it, you know, or you'll see their body language reacting to it early on or too late or it's just uncontrollable. That's why a strong emotion, most human beings won't be able to hold a strong emotion for more than 10 minutes. That's why if you're angry with somebody, like go away for 10 minutes. Come back after 10 minutes. It's like, I can't remember what I was angry about. It's too much impact on the body to have an emotion for a long period of time. Emotions are designed to get something done right now. So I'm not seeing a strong real emotion in her. Now, to Scott's idea there of, you know, what's the link between the two? I think there are some links between them, but there's some radical differences between them. And I think you're hearing it in the background right now. I think if you listen to the background, you've got your man there who is chatting away there loud, fast, like we heard in his rapid delivery of what they've been doing, the jobs that they've been doing. What do you think? Where do you think he could be? Somewhere with, not with us. And that's what, that's the important thing is that he is not with us and we need to bring him back to us. So I can't, I can't say where he could be, where he might be, like, because honestly. Now contrast that to how comparatively relaxed this is. So often when you're reading body language, don't just look at the person, look at the other people around the person, the other rhythms going on, the elements around them. Like how are they reacting with everything else that's going on around them? Listen to that stuff happening in the background ago. That's pretty different from what we've got in the foreground with her. And in fact, we'll see their difference in one of the videos coming up as well. Just as everybody's been saying there, tight-lipped, tight shoulders, tight breath, everything's really kind of quite bound in rather than wanting to release the information of like, here's how you help. We're trying to find this person. Everything is in on the person at the moment, really short on the description there of the jobs to be done. Now compared to the mail there, which I'm still worried about how rapid that the release of that information was. Well, at least he's got some information on jobs to be done around this, whereas she doesn't seem to have any information around jobs to be done. And I think, you know, the icing is on the cake there around what Chase was saying. I said at the start again of like, she's even going probably no point in looking, probably no hope for this one. So not a good look so far. Greg, you got any saving graces on this one? Saving, no, but lots of stuff. So we talked earlier about these models. This is a stancer. A stancer takes high ground. They take a place where they say, look, we're suffering, we've done this, we've done that, as God is my witness, that's the way they approach lying. They take a strategy. She's a stancer right out of the gate. I watched this first time with no sound. And I'll show you, I'll tell you what my notes were before I even talk about what she says. She does a who knows, both shoulders up, slight smile, down, left, internal conversation, back up, one eyebrow up for skepticism or contempt. And then she does what I call the wash my hands move. You know, I'm just going to wash my hands of this, blow it off. And then she goes to lip compression. All that I saw without any sound. And then I saw the concern of the brow and then there's an explosive kind of breath. Interesting. And then she goes to some kind of feigned helplessness. Look, I've done what I can. All that stuff with all that face, without sound, you can see all that. Now let's talk about what she says. She reminded me of somebody who said, family isn't family without family, with that kind of vague answer she had. Well, where is the child? Well, somewhere not with us. That's what matters. What do you think? Where do you think he could be? Somewhere with not with us. And that's what, that's the important thing is that he is not with us and we need to bring him back to us. She also has a mixed message, which is really interesting. You would think if I'm going to find the baby, if I'm going to find this kid is my message, I wouldn't say somewhere not with us and that's all that matters. There's some mixed messaging in here from her. When I first watched this one, I first thought, okay, she's quirky, quirky, we got to forgive. You can look past that. And then the real grasper for me was push-pull words. Anytime I hear somebody using these words doesn't mean they're lying. It means I want to pay really close attention. Honestly, we don't know at this point. We don't know. Because honestly, we don't know. Hmm, okay. Well, at what point do you think you will know? Why don't you know at this point? Did you know yesterday? Did you know an hour ago? I go and probe and poke on those questions because they allow people to dance. What they're doing is kind of being a matador and dodging the bull with those kinds of words. And if you go after them and you penetrate that kind of cloak they're putting up, you'll get to a different place. So I see a mess here. And then in the end is one of my favorites I've ever seen. She does kind of a little dance thing where her head moves around and she waves both shoulders. And what I have written down at the note is that's what I got. That's the end of her statement. It's over. And that was enough for me to go, hmm, I'd call Scott when I first saw this and said, this girl's going to jail. This is before she was arrested. That's, guys, this is bleeding. None of us have any saving graces for this one. That's all I got. No. What do you think? Where do you think he could be? Somewhere with... Not with us. And that's what, that's the important thing is that he is not with us and we need to bring him back to us. So I can't, I can't say where he could be, where he might be, like, because honestly, we don't know. At this, at this point, we don't know. We can, all we do is keep searching and doing, you know, everything we've been doing and we're going to continue to do it. He is the sweetest, kindest, most loving child. He's so smart. He loves dinosaurs. He can tell you which ones are herbivores and carnivores and he puts them in the hibiscus trees and lets them eat and he loves Buzz Lightyear and Woody and Forky and he's got a really funny personality and he jokes about my name because I'm his egg. Chase, what do you got? This is what an honest plea looks like. There's a desire for the kid to return and I want, you know, anytime we're talking to anybody, me speaking to you through your iPhone or computer right now, I'm selling something to you. All of us are selling something to you. We're selling behavior on this channel and she's selling and I want you to pay attention to these people. Are they wanting you to agree with them and identify with them or do they want you to identify with the missing kid? She's selling how precious this kid is to you to get you interested and bought in to searching, finding and assisting in the search for the kid. And this is low latency responses which means the time between a question stopping and the answer starting is very quick and the eye contact is direct during the important points, the exact points a person is wanting to communicate an emotional part of the story. She's making solid eye contact. This is, in my opinion, absolutely honest. Greg. I agree with you. This is one of the saddest people I've seen. This is one of the best displays of sadness I've seen. These insisibus muscles, I think from calling the muscle right there goes hollow. The eyes, look at her eyes. Her eyes are sad. They're dragging down. You can see she does something that I say many, many times when people are crying and they're trying not to, they instinctively draw their eyes up and left. You see it all the time. A lot in women. I see it in men too occasionally, but in women you'll see them instinctively draw their eyes up and left. That's keeping them out of this area down here nobody wants to be in all these lower areas. And you see that, again, I did this in silent first and if you watch her, she is trying to tell happy stories about a kid in a sad time. And you can see her remembering and her rolling through her head that chin bosses up. She's got a grief muscle. These are real tears. Her whole body is illustrating about this kid she loves as she's asking for something. And at 40 seconds, she'll see this declaration where she's talking about her egg and that's a very emphatic thing from her. She's saying, I remember this kid, if you watch it without sound and go back and listen, all this is congruent. This is a sad person asking for help. She's telling you about the worst thing going on in her life. The messages, if you were, if this were a polygraph, all three symbols would be lined up. If this were sign waves, they would all line. This is congruent messaging. Scott, what do you got? I agree. This is 100% pure emotion and it's pain. It's painful. We're seeing flowing tears, not that single tear that comes from the front where they don't wipe it away or anything. She's not wiping hers away. They're over here, but they're over on the side. That shows just a little or that denotes there's a lot going on in there. She's been weeping. This is, she is grieving. That's what we're seeing here. She mostly talks about the little child. Rarely does it go to her except when she's talking about, she calls me here. I'm his egg and there's no grief in there. The grief we're seeing a lot of it is in the chin as well because you try to hold those in, try to hold what you're saying in the emotion as you're trying to speak and that chin lights up right there. Another thing we're hearing is these little gasps of breath she's having because when your stomach, you try to keep the emotions in your stomach, tightens up and almost spasms to get you some oxygen. It blips out a little bit to get you to breathe and that's why you hear this. When she breathes in, you hear her voice going, you hear that, that is higher pitch than that. Do you hear that going on? Because for an emotional aspect, those are the things that are happening that you can't control. This is one of the hallmarks of someone really experiencing true grief and emotional devastation right there. Mark, what do you got? Yeah, absolutely. Same stuff. This is exactly what grief looks like. What we see in terms of her eyes going up, that not only clears the tears away, but again, as Greg was saying, stops her going down and getting deeper in the emotion and isolating herself because she wants to clear the tears, get out of the emotion so she can contact that audience and get the data across. So she is very much forward into it. You don't see this side to side. You're not going to see any push away gestures of the questions. She wants the question. She wants to clear her emotion away so she can get contact with the audience and get help. We hear a list of things which are ascribed to the child, things he likes, not things he liked. So there's still hope for her that he's around and she's describing things which are really, really specific to that child which suggests to me this is the psychology of grief as well. Think about when you or when others have lost somebody very important to them. Do you not in your mind start to list all of these kind of little details that only you would know because that's where you locate the relationship directly with that person. So, you know, Chase might often talk about, oh, you know, they dislocated themselves from the person. In this case, they've finally located themselves with that person. You couldn't get a more detailed map of exactly who this is and the relationship to it. Yeah, I'm his egg. That's a really, you know, who else in the world is going, yeah, but I'm his egg as well. Oh, anybody could be his egg. No, it's super, super detailed. So this is what grief looks like and this is what grief looks like when you're also trying to manage getting the information out to an audience and getting that help. Really hard to, hard to watch, I think. Yeah, it's horrible. What's your grandpa? He is the sweetest, kindest, most loving child. He's so smart. He loves dinosaurs. He can tell you which ones are herbivores and carnivores and he puts them in the hibiscus trees and lets them eat and he loves Buzz Lightyear and Woody and Forky and he's got a really funny personality and he jokes about my name because I'm his egg. All right, here we go. What was your son's name? His name is Samuel Olsen. He just turned six years old on the 29th. He has a little bit of shaggy hair on top, shorter on the sides. And you said you could be passing out some flyers. Yes, sir, we're all in the area. We've been in the Pasadena, the Port Area passing out flyers. Right now we're over here on Southwest Side of Houston passing out flyers. We're going to go to the area where he was last seen and we're going to pass out flyers. I mean, anywhere we can just hand out anything for somebody if they've seen something. I mean, any little bit of information will help. Okay, thank you so much. All right, Greg, what do you got? I'm just going to tell you, go back, turn off the sound and watch and tell me what's happening based on what I told you in the first one. This is back at the transfer. The crying happens. The forehead happens. You tell me what's going on. I'm not going to go much further than that just to tell you that he does do one thing where he touches his chest and we'll let you guys leave it to that. And culture matters when we talk about this. In the Middle East, if I see a person touch their chest that means I'm being genuine. And it actually has meaning when they do it. We don't do that much in the US. So I'll leave that one to some of the rest of you guys. But go back, turn off the sound, pay attention and watch. Mark, what do you got? Yeah. So let me kind of steel man this guy up a little bit because there is some stuff going for him. He does give name, age, starts a description. That's all good stuff. His gestures join in to describe, kind of describes where he looks a bit like me. So there's a location as well. He's not putting the kid very far from him. He's saying you're looking for somebody just like me. So there's relationship there. He isn't saying it's hopeless because he's saying here's the jobs to be done in order to get the kid. However, we've still got this sway from side to side going on. And he's really feels to me like he's on his back foot as well. His center of gravity seems back. Certainly his shoulders seem back. I would really want him to be doing all of that stuff and be further into the camera without being, you know, right into the camera. Like I will convince you of this, which we're seeing from some others in this. So I got a bit of a problem with that, but here's my main problem with this, is look in the background and you're going to see somebody else coming out of the car and walking past. And as far as I could see, that's the younger female that we're watching. I believe that's the girlfriend. Look at the difference in rhythm. Look at the difference in, now both of these people have some kind of relationship to a kid that is lost. Potentially one more than the other. I grant you, you know, one is the biological father and the other is a girlfriend of that biological father. So I understand it's not the same position, but it is kind of like just, I don't know, it's just ambling along. There is certainly a huge difference between the rhythm of the guy up front and the female there coming out of the car. And so, and I don't know why then they don't, they're not holding something more of the same rhythm. I don't know why she's not as agitated as him. Why is she not picking up on this rhythm? Why does she not even look over? Check it, check that he's okay. You know, just a little bit of a look. She might have said, hey, you go out and do it. I'm not doing this, but if she's going to get out of the car, I would expect a little bit of a look to see how's that going. Is that going okay? Rather than I'm just going to go and check over here and, you know, amble around. It's really odd. It's really odd. And I would want to dig more into that. What is that about? What is that difference about there? Chase, what do you have? Absolutely agree, both of you guys. If you've noticed, if you're a subscriber, I've got a new background here because I just moved into a new house. My previous homeowner left me this gigantic TV and I'm not a big TV guy. So today I saw this and I like to, just like Greg, I like to watch it without the volume a couple of times. And this one was so good that I had to plug the iPad into this thing and I brought the kids in here and I had them watch it on mute. They had no idea who this guy was. And I said, what's going on in this video? And the two answers I got from my kids are begging for forgiveness and he's in trouble. And these are, the reason that we can subconsciously read body language a lot is because if you take the span of human evolution or the human creation, six million years, five million, we actually don't know, the amount we've been speaking to each other is like this big. So language is brand new. We're born with body language. We had a smile and frown and all this other stuff. We have to learn language later. So when we get these gut feelings and things like this, especially women, you get this intuition that's going on. That's the mammalian brain or the lower part of our brain sensing all of this stuff and it can't really speak English. So it kind of gives us an emotion instead. And the kids knew this intuitively. So I went back and watched it, you know, after my kids made this comment, and I think we're seeing a lot of crying from shame, then we see him get more animated and excited the moment, the precise moment that he is asked a question that allows him to talk about how great he's been doing at doing this search. He's able to talk about all he's done to try to get his son back. That's when he gets animated and that's when he gets passionate. So in my estimation, I'm very comfortable saying that this is likely deception. I will not hedge anything. Scott. All right. I agree with you completely. And we're seeing this clapping thing he's doing as an illustrator and they're not in sync with the words he's emphasizing. He's part of that behavior virus. I think he's picked up from his girlfriend, Teresa. And this this lets us know it indicates suggests that there's something going on. He's thinking as this is happening, am I saying the right thing? I've got to make sure these things are in a role like this. I don't think he's having a big as bigger problem as she's having because his is already planned out. And I think his involvement might be if there is any light in this compared to hers. So I think his he's pretty much got his story ready to go. And I'm not saying he had something to do with it, but I'm not saying he didn't. We don't see any chin grief. We don't see any grief in his chin. And the yelling when he starts getting really loud there at the end. That's again, that's his stomach compressing as he's trying to get the air out and to start breathing again because he's getting real loud because he's everything sort of shutting down in there. That's another thing that denotes fear. You get all you get ready to roll. Everything starts getting tied on you. So we're seeing all kinds of stuff here. You guys have nailed everything in this, but I just this this is just looks bad for this guy. They're really bad, really bad. All right. That's what I got. What's your son's name? His name is Samuel Olsen. He just turned six years old on the 29th. He has a little bit of shaggy hair on top. It's shorter on the sides. Yeah. And you said you'd be passing out suppliers. Yes, sir. We're all in that area. We've been in the Pasadena Port area passing out fliers right now. We're over here on the southwest side of Houston passing out fliers. We're going to go to the area where he was last seen and we're going to pass out fliers. I mean, anywhere we can just hand out anything for somebody if they've seen something. I mean, any little bit of information will help. Thank you, son. We're good. I can't believe he's not in the pokey yet. Yeah, I know he will be. I've got to put pokey on the card. You think he's definitely alive? Oh, yeah. We just keep picturing him sitting in watch cartoons waiting for us. Just sitting there waiting for us. And we're going to get him. We're going to find him. Mark, what do you got? Yeah. So that's a pretty amazing. Oh, yeah. Isn't it? It's pretty, pretty amazing. Like when you when you listen to that, what do you think it's saying to you? It's it doesn't seem to say the things that you think it should say. I mean, it's a tricky one because I can't really describe what it is trying to say. I just know it isn't saying what it should be saying and this is now all over the place. She this brain isn't working quite right around this. So on top of that, we start to get these push gestures away. You know, certainly on the on the picture of him. Yeah. Push gestures away and push gestures on the question. This whole idea is she has no words for it. She wants it pushed away. And I think there is a a snot of anger. Very much as you get from peach. I hear some dogs in the background there as well. Just reminding me, bring, bring peach into the picture. I'm just trying to blink so you guys don't know it's me. That's amazing ventriloquism that you can do there. Yeah. So peach will give that snot of anger when things aren't going quite right for her. I think we get the same from this character here. Pushes away, snorts, tight lip on the top. I think anger around this question being brought up and that, oh, yeah, doesn't have any substance to it. I wish I could put my finger on what the meaning is behind it, but I just can't. I just know it does not fit. Chase, what do you got? Yeah. So I'm going to do something different. I'm going to Tarantino this. So we're going to start at the end and I'm going to go back to the question. So here's the ending. The voice fades off into the distance as she talks about finding her potential future stepson. She goes into internal dialogue and rehearses this kind of cartoon line. We're going to find him. There's shame and go ahead and pause the video. Shame when she says, oh, yeah, you can pause right there. It's about a second, maybe a quarter of a second long, head bobbing, swiveling up and down between yes and no. The eyebrows are furrowed, almost in a micro movement, a rapid sharp inhale followed by an exit check, which is when we're really worried about the situation we're in. We tend to make lateral or horizontal eye movement and just check really quickly to make sure there's a way out, which is through the car door. It looks like where she's standing right now. And then someone asks, do you think he's still alive? With that said, I think this is one of the reasons that she's in jail right now. Scott. All right. So we get those clapping illustrators. And again, they're not in sync. So that's her classic so far. We see that deep breath. And again, we get that. It looks like duping delight, but I don't know. I don't think she's, again, smart enough to do that. See the turtling, her head goes down. This is just the whole thing is, it's like the worst. If you're going to show me speaking of Tarantino, if he was going to kick somebody out of, you know, come in and let's see if he can act well. Yeah, get rid of him. This is some of the worst acting I've ever seen in my life. And I don't know, I have no good example to compare it to, but I watched The Good Witch. That's some bad acting on there. The Bachelor. Oh yeah, The Bachelor. Oh yeah, okay. All right. I'm just talking about it. We picture him watching cartoons. It goes from a lot of the, it's a lot of we. It's a lot of we there. We do this. We do that. We picture him. Who pictures that when you're talking about a missing child? Do you think he'll be back? Well, we picture him watching cartoons. We know he'll be waiting on us. We picture him waiting on. No, you don't. Nobody's ever done that. That's the first time that's ever been said. That's ridiculous. I can go on forever about that. I won't. I'll end it there. All right, Greg. Yeah. So I'm almost leaning toward this is an Ekman-like expression. Think about shock or terror or fear when you inhale. I think there's some of that in this. This is the question she's been most fearful of is this kid dead. And you see that, oh yeah. And she goes with whatever she's prepared. And I'm not sure that's very smart. And then she does. She drops down to an internal conversation. She starts doing this little ramble that she's doing. And Scott, she uses fading facts. She mumbles part of the whole thing. And this is one of those times that you really can't agree to me, Mark. You really can't tell what all that means. You just know that's not congruent with someone who's answering a question. If you ask a question, they just went, I got to hope so. That makes something. But oh yeah, all that stuff is just not congruent. And we all know it. And your kids on silent would do the same thing. They would look and go, what kind of goofy was that? So the other one is listen to the background, Mark. You'll hear the guy doing all that stuff you're talking about. Yeah. It's interesting. I think they're interviewing them both at the same time. And so you're getting some really weird body language out of it. And I would expect maybe that's part of the reason she's having a little bit of fear symptom there is wonder what he's talking about over there. That's where I think some of that shock or fear or terror or whatever it is might be coming from is because he's also talking on the side. That's what I got. Oh, that's good. Didn't think about that. He thinks he's definitely alive. Oh, yeah. We just keep picturing him sitting and watching cartoons waiting for us. Just sitting there waiting for us. And we're going to get him. We're going to find him. All right. Here we go. Scott, I'll give you $100 for a 60 second clip of Greg doing that. Oh, yeah. You don't have to pay me for that. That one's on me. I know where you live. My son and all of us know nothing. We are shocked. We are devastated for everybody involved. All right. Greg, what do you got? My one question here would be are you certain that the people you love are not involved? And the only reason I would ask that is because she has weird speech patterns that could just be hers. She's clearly emotional. She's clearly devastated by this, but my son and all of us. That's a weird kind of combination. My family is not involved. Got it. My son and all of us when people call out things, it doesn't mean that she knows anything, but it might mean she's suspicious that something is going on. She further says, I feel whatever for everybody involved another odd choice of words. So I'm not saying she's involved in any way. But even when you don't know, you may be suspicious that somebody you love is involved in a crime. In this case, I would quietly, if I were talking to this woman and trying to investigate it quietly, then over. I close space. I do exactly what I do in pre-confession and say, it's okay. I know you're devastated. Anybody you know might be involved in this. I would give her the opportunity to confide in me that she thought somebody close to her might be involved. That's weird word patterns. I'll leave it at that. And then I'll pass that back to you, Scott. All right. I think she's, I think she says that because I think they've talked to her about the cops have said, look, don't say anything because if you do, she's going to run. I think she suspects, especially this kid's been missing since for what you say, three weeks, three weeks a month almost. Yeah. So, and last person to come and get him was, was Teresa. So I think they probably had that talk with the cops. That's probably what it is. But then again, you're probably right. She may have some suspicion as to whether or not he had anything to do with it. You know, who know? I can't, who knows. But I think we're seeing, again, true emotion, 100%. And I think a part of when her head goes back, it's her body trying to get oxygen. And you'll see this when people, when they're wailing and I know a couple of us have seen that when someone is in such deep grief that their head goes back and you'll see it when she says, please, you'll notice this stress on her. And please, it's almost like a wailing of, of please. But when her head goes back, she's, it's her, her body is intentionally making her do that. Her brain is to help get her oxygen because it opens her throat up and she, and she's breathing in at that point. And when she talks about devastation, that pause there, I think she, she can't think of a bigger word at that point. Or maybe she, I don't know, but there's something going on with her there, but it's nothing bad. It's nothing deceptive at all. Again, the short breaks or the short rapid gasps for air are her brain again, making her gasp for air because her stomach is tight and that spasm is making her, is wanting her to get more air when her head goes back. Yeah. So that's what that, that's what I got. We're still seeing real tears and 100% real emotion here. Chase, what do you got? Yeah. This is truthful behavior. And I think she just, if you listen to the language that she's using here, I think she's already starting to suspect the idiot that we've been looking at because I think her language might exclude that person. And I think some people might say there's some contempt here in the man that's behind her, but I think he's just got a dip in there, maybe a little Copenhagen and just kind of making some adjustments there. Mark. Yeah. So, so one thing that you want to look for if you're trying to work out is an emotion real or not is look at the people around and see how they're responding to that. And so yeah, we do get that little micro movement in the corner of the mouth from, from the mail could be something he's chewing on. It comes at that point where she breaks up the word devastated. And after that we get chin boss movement from him. So even if we discount that movement in the side of the mouth being an emotional one because you know, maybe, maybe he's, he's self soothing with, with something in his mouth. That's pretty real that chin boss movement. It happens around devastation. That was broken up. Let's suggest he's got a lot of close proximity to us. So he knows her pretty well. Okay. He's, he's, he's most likely found. I don't know exactly who he is, but he's most likely very, very close family, close families are able to judge other people's emotions pretty well and they get triggered quite easily when they're true emotions. I think he heard the breakup of that word and he knows when this woman breaks up words like that, there's something really serious going on and that's triggered him at that point into revealing that grief emotion alongside us. So unlike the other couple we've been looking at, this couple here are, are really together around the emotion. The other couple that we haven't seen them to, well, we have seen them together because they were in the same shot and in the same shot. They're absolutely not aligned in their emotions around this event. So again, it builds on the extraordinary nature of these two relationships and who seems in a more grief like emotion and who clearly doesn't seem to be at all in a grief like emotion. There, that's all I got for you on that one. My son and all of us know nothing we are shocked, we are devastated for everybody involved. Super Mommy, that was his choice. It wasn't forced, we didn't force him because I don't want to force that but he used to call me Super Mommy or Teresa, you know. It was still uncomfortable for him, you know. Because, you know, he's little, he's a kid and he knows who his mom is, his mom is but he also knows how much I care about him and everything that I've been doing for him and have done for him. We're going to fight him. I know we're going to fight him. Alright, I'll go first on this one. She speaks a whole lot in the past tense about Sam. She says that was his choice. It wasn't enforced. He used to call me Super Mommy after she goes through that. It was still uncomfortable for him and then she tries to clean that up. I think she realizes what she's done and she plays clean up by saying he is this. He likes this because he is just a little kid. He is this, he knows his mom, who his mom is. This should be enough. It's not as bad as the one where she's wiggling around but this is pretty bad as far as from what she's saying from almost embedded confession about what she says he used to call me that. They should... And she's trying to close the whole thing out by saying, I know we're going to find him. She keeps saying that to try to make this interview stop because she can't say, no, I don't want to. I don't want to talk to you. So as they're talking to her, she's trying to shut it down. And she doesn't know enough just to not talk anymore. So she keeps talking. I think she's an idiot. I think we're dealing again with another idiot here. All right, Greg, what do you got? So one of my favorite things. When the woman gives her the opportunity, she does an intake breath, looks down left, smiles and says thank you for the opportunity to chaff and she starts and she runs down and she starts laundry listing stuff that she says well, you call me super mommy. Oh yeah, here's my opportunity to be this great person. But there's a little grief muscle activity, a little concern, maybe not the grief muscle involved, but certainly right as you were pointed out earlier, Scott, and that glabella, that concern muscle in there. And then she goes on down the list and she starts talking too much, more than is characteristic to this point. And then she says, or Teresa, or maybe laundry lady or she's just running a list of things. Of course she called you that or Teresa. And then she starts to have to explain why it would be Teresa instead of super mommy. I think she gets herself into a little spot where she thinks she needs to explain what she said. Whether it's because she realizes she's past tense, not sure she's that smart, but she certainly feels like she needs to explain. And when she starts to explain, a little bit of blink rate increase and her lips compress. And then she gets down to that push-pull stuff about we're going to find him and kind of fades off. The other interesting one for me right here with her is she cuts her eyes over to all the noise coming from her boyfriend over to the right. I think that's increasing her fighter flight and she's realizing what's going on. And you can see her kind of going down that little hole and is starting to raise fighter flight. That's what I got. Mark, what do you got? Yeah, so again, always have a look around the rest of the environment. Have a listen around the rest of the environment and see how that's functioning with the subject that you're looking at. Go back, have a listen to the interviewer and think, is that interviewer being nice? No, that interviewer. If you send that interviewer to go, go and interview that bereaved family. You'd soon come back going, no, we can't send you to these things anymore because you just plain old snide and nasty. She can smell it. She knows something's up here and so she is coming in hard. Go back and play her tone of voice and think to yourself, would I like this interviewer as a friend? No, you wouldn't because this interviewer right now has zero empathy for this person. And I think it's because she smells a bit of a rat going on. She's seeing something. She's getting this sense and either consciously or unconsciously she's going, why don't I dig in to the emotions here and see what happens? And I think that is partly, not only is this not a question that the other female doesn't want to answer, but also I think she's reacting as well to the idea that this person has her on the ropes. She has her number. She's got a sense of what's going on here. So just go back, have a listen to that. I would call it snide and aggressive way that she points that question. I think that's why as well, we get that look away. I agree. And I think as she comes back, we see anger. And I think it's not only anger to the question, it's anger to the interviewer. She now wants to see that interviewer off the territory. This is getting a bit hot and a little bit dangerous. I think we've got Chase. What do you got? Yep. Going through this, she had an opportunity to talk about herself and she was, I think, a little bit excited about that. He calls me Super Mommy. I'm amazing. That was his choice. I'm amazing. We didn't force him. I'm amazing. He used to call me Super Mommy. Instant grief and shame. I'm amazing. She's bouncing out of stress, I think, most likely. And she's unable to complete a single substantive sentence. And a whole lot of her language is repetitive and duplicative. Let me just say the same thing in different ways over and over again. It seems like I'm intelligent. It seems like I understand what I'm talking about. And it makes me seem more honest because I'm being helpful and forthright and trying to give you as much as I can. And we're also seeing a really big uptick in her nodding during her conversations and saying, you know, every probably one or two sentences, I actually didn't count this time. Surprisingly, I should have made some tally marks, but that's all I got to this. This is a mostly deceptive statement. This is a liar. Is that everybody? Yep. Tell me about your relationship. Did he call your mom? Did he, I mean... Super mommy? That was his choice. It wasn't forced. We didn't force him because I don't want to force that. But, you know, he used to call me super mommy or Teresa, you know. It was still uncomfortable for him, you know. Because, you know, he's little, he's a kid and he, you know, he knows who his mom is. His mom is, but he also knows that how much I care about him and everything that I've been doing for him and have done for him. We're gonna fight him. I know we're gonna fight him. There we go. But whoever it is, this is Sam. He... He just done sex. We didn't even get his birthday with him. And I would like anybody out there to donate to Equistrarch because they have been truly amazing through all this. Tim and everyone, all the searchers, they need supplies, y'all. They need Gatorade, they need water, they need off, they need towels. Anything that you guys can provide out there when you know that we're gonna do another search for Sam. Please just drop something off for these people that are taking their time and have to do this kind of thing. All right. Mark, what do you got? Yeah, so here's the main thing for me. Whoever this is, this is Sam. Well, that means that whoever this is, whoever is responsible, whoever might have this information, knows this person intimately. So that kind of rings out for me. She thinks she knows the perpetrator of this. Whether it's conscious or unconscious, she thinks she knows who's involved in this. She goes on to list the jobs to be done, the resources to find. So that's always a useful thing. That's always, you know, along the right lines, here's what we've got to do. Here's the resources we need. And there is a general idea of please help. The list is very similar to the rhythm of her son, who's the father of the child. So I think we're seeing a family rhythm as to the rapidity that you can get through lists of stuff that you already have in your head. That makes me kind of go back and think about some of my earlier comments when he's there rapidly delivering this list of things to be done. Seems like something within the family there. But anyway, the biggest piece out of this for me is, I think she knows, she thinks she knows who's involved and that they know that person intimately. They would know him as Sam. That's all I got on that one. Greg, what do you have? Bunny, we're on the same exact page. Exactly what I heard is she was emphatic, almost angry when she said, this is Sam. This is a baby. This is a child. This is somebody I love. This is Sam. Like she's talking to somebody very specific. I said, earlier I could see this leading in, but I would only ever say, who do you think did this if I were talking to her to try to figure this out? She's emphatic. She's down talking. She's trying to get to some kind of normal when she starts talking. And then she tries to go away from that, almost like she feels some pain from being angry. And she goes back to try to talk about the equisurge guys, the guys who were horseback searching for this child. And then she kind of falls apart right there at the end. This woman's very upset, but there's anger in that voice and very specifically talking about this person like she's talking to someone she knows. The rest of it is still consistent. You can see the emotion in the guy behind her. You can see his eyes are wrenched a bit. And she's feeling her pain. All those mirror neurons are kicking in and all that. Guys, I venture to say she's suspicious. Whether she knew already, but or somebody had told her she was suspicious that somebody close to her is involved in this. That's what I got. Chase, what do you got? Totally agree with you guys. I think she does have a suspicion there. And I think it's great that she's using the name. She's not just using the name of the child. She's using the personal name that the family would call him. And when we comes to innocent and guilty people, innocent people are far more likely to use personal names and intimate names for victims when talking about a victim. There's genuine grief here. She, what I really liked about this is she makes nothing about what she's been through. She makes no, no deal about how hard it is for them or what she is going through and what her and her husband are going through during this ordeal. It's all about Sam. Everything's about Sam. And it's focused on recovery. And she's getting the viewers who's ever watching. I think it was this was on KHOU. It's a Houston news channel. She's getting the viewers to identify with Sam. Not them. That is what we need to start looking for. When we're seeing some of these videos, that's maybe one of the things we can add to that little quick list that we built. And she's focused on people liking Sam. She's not really trying to hide much of herself or present a mask at all. She wants you to like Sam. She doesn't care if you like her. She wants you to like Sam. I think that's the most telling thing that we're seeing here. Scott? I think you guys nailed it. We're seeing 100% true emotion here of pain and grieving. And I think she knows that. I mean, she's got that gut feeling that women get. I don't think she thinks that little kid's coming back. And I think what she says, these people are out trying to find him. I know she knows her out in fields in the woods and things like that. Those are the spots they're covering. So that's why she's saying I helped those people with that. I think she's obviously not aware of what's happened yet. I think she's got a pretty good gut feeling that that kid's not coming back at this point. Because it's been a while, you can put those pieces together. He's been gone too long. The father hasn't seen him in three weeks. The last one to see him was Teresa. And with her behavior, which I'm sure she's seen and talked to her as well, being the grandmother, she'd be like, well, I gotta hold her. She's not going to let that opportunity get by her. She's going to call her or go see her or something. So I think we're seeing 100% true feelings in grief there. We're still hearing those little gasps, not even a little anymore, those big heaving gasps for air. As she's going through and she says, please, it's always like the wailing, please. The head goes back trying to get some more oxygen. She's in pain. She's in real pain there. And I feel so bad. This is one of the worst grieving we've seen, I think, because we, of course, we usually don't cover the true grieving person. But in this case, yeah, this is, this is bad. This was all about bad one. All right. That's what I got. But whoever it is, this is Sam. He just done six. We didn't even get his, been his birthday with him. And I would like anybody out there to donate to Equistrage because they have been truly amazing through all this. Tim and everyone, all the searchers, they need supplies, y'all. They need Gatorade. They need water. They need off. They need towels. Anything that you guys can provide out there when you know that we're going to do another search for Sam, please just drop something off for these people that are taking their time and have to do this kind of thing. Let's move on to the next one. Yeah, this is the worst one I think we covered. We really are confused about everything that was going on at the moment. And it's just an upbringing sample to say. Greg, what do you got? Yeah, if you don't feel the pain from this woman, then your mirror neurons probably aren't firing. Guys, this, every one of you can feel, you personally can feel this pain. You just can't because you can see this person is exhibiting grief. Now her son favors her in musculature and all that. And I always say the best way to tell when a person is lying is to learn how their children lie because they learned to lie from their parents. And all the muscles are the same. So it makes it pretty interesting. It's also true for grief. When a person is feeling grief and that grief muscle engages, you would expect the musculature in his face. Now he's got a father, so maybe that changed it. But you would expect his face to look like hers. You can see it. You can't miss it. It's that you can see the concern then it goes to grief and you can see the hollowness in her face and real tears. And you can just see the pain in this woman's face. This is probably the best example of grieving we can show you. It's not just grieving. It's also pain as she's talking about the case. The best I could probably offer. Scott, what do you got? I think that I don't think we could add to that unless you guys got something. Yeah, I can add a little bit to that, which I think number one, we've got this confusion element of it that she says we're confused. We hear an intake of air both through her nose and through her mouth at the same time. That's the snort that you hear there. You could kind of go, okay, she's maybe kind of draining, but you hear that same snort during aggression because you need so much air in there. You'll see people take in air through both the nostrils and the mouth. And then I think we see some bottom teeth from her. I think at the same time as there's grief going on, I think there's some aggressive anger there. I think the confusion is one of she's got a good idea of where guilt may lie. That's really confusing for her. And there's some aggression building up in her. So a little more for me than, I think the grief is plain and simple and clear, but I think for me, there's a little more going on in there. There, that's all I got. Yeah. And I'll just add the least a person is engaged in perception management. The more likely it is that this is probably a truthful plea for help video. That's all I'll say. Okay. We really are confused about everything that was going on at the moment. And it's just a burning sample to say. All right. Well, boy, this is a sad one. But don't forget to subscribe and hit that little bell. So, you know, when we have a show come out, usually Thursdays, Wednesdays late, if I can get an entity quick enough. All right. We're good. We're good. All right. See you. See you next time. Bye now. See you.