 Today, we're going to talk about Alec Baldwin and the interrogation interview that happened right after the shooting that happened on the Russ set. Greg, you want to tell us about the video we're going to watch? Yeah, so this just came out this week. It was immediately after the shooting when I recall it, whatever you want to call it, you call it. This is an interrogation regardless of what you call it because there are two police officers asking questions. They read him his rights. You can call that whatever you want. And what we're going to see is he doesn't yet know that Helena has died. He is simply talking up and answering questions about the incident. Do you think that any part of this incident that occurred was intentional? Well, I can only say this, which is, in other words, to me, to place a bullet and position a bullet that is a live round to make sure that that bullet is in the chamber. If I were to squeeze the trigger in a rehearsal, that bullet came out, somebody has to have extraordinary access to that weaponry to do that. I can't imagine somebody walked around on a round. There was a 45-calibre round. See, you see, other people on the set were speculating that it was a 45-calibre round she'd be dead. It would have blown a big hole in her. And so we're wondering, was the projectile that went in her some foreign material stuck and it was an accident with a flash round and something came out of the barrel. They didn't check. They always check. But to your experience with these... I've never heard anything like this in my life, ever. I've never heard of a projectile coming out of a prop gun that went through a person's body in regards to being a smaller woman. That the bullet went in here, I'm told, went in here, came out here or shoulder or whatever, and went into his body and I've never heard of that in my life. I don't know of any projectile in a gun in a flash prop gun that could accomplish that. Now, if somebody put a live round in there accidentally, see a very important question for Hannah is, have you ever commingled live rounds with theatrical rounds in your kit? Because they're forbidden to do that. According to the union rules and the safety rules for all the unions, you're not allowed to do that because of the fear of what would happen if you commingled. So whether someone accidentally, and I can't even imagine this, deliberately placed a live round in that gun. I've never heard of that in my life. I don't know anything about what happened, but all I know is when I... See, another thing about this is, in a live round, you'd have a recoil, usually. When I shot that gun and it went off, I didn't shoot it when it went off. I didn't intend for it to do for what happened to happen. When that happened is, I'm always told because I'm not a gun person. I don't have a gun. They always tell me, they ask me to simulate the recoil. When I shoot the Colt, which is a big gun, 45 caliber bullets, they always teach me when we should be going, action. I go, get back here! Boom! And they take my hand and go, boom! And I have to kick because there's no kick in a flash round. And when this happened, I don't recall there being any kick either. That's important. Okay. All right, Greg, what do you got? Yeah, so this is about three minutes of him saying the same thing he says in a later video that we've all put together. What I will say is, pay real close attention to his body language. He's open when he starts. He doesn't yet know that she has died. It's clear. His body language is open. He's punctuating everything he says. His illustrators are very strongly narrating his story. To use your term, Chase, he's using body narration. He holds up his fingers about the size of a 45 long Colt round. His body language punctuates what he's thinking. When he is unsure or he is training and teaching, he has long vowels. If you listen to me, but he doesn't do that when he's telling you the story about what actually happened. So his head, his hands, his language, everything is unified and congruent as he delivers a message about what happened. He says to me. And then the only place you start to see anything, even when he says a live round, he narrates with his hands very closely. The only place he goes into that long vowel is when he starts to teach. And when he teaches, he uses a batoning move because he's telling you something you don't know. The union forbids it. And his vowels are longer there. At the shot, he corrects himself. He says, when I shot the gun, and then he corrects himself. And if he were trying to get away with something, in my opinion, he would start with, I didn't shoot. The gun went off. But he makes a mistake and he corrects it because he's trying to clear it up. And then he says, I don't recall recoil. That's his speech pattern. New York speech pattern. I don't recall that kind of thing. My wife may say, I don't recall New Yorker. I think here, I see more of what we did in a longer video that you should go and spend some real time on. But I don't see anything, anything out of the ordinary red flag. Scott, what about you? All right, I agree with you. His is he's really open. His body language is like he's just wide open the classic what everyone thinks is open body language or says is this is it. Everybody knows what that is. He looks fairly his voice tone is low. His cadence is just kind of open log. He doesn't seem distressed as I would think he would be or as I would be in that situation. But obviously, he doesn't know that she's died yet, or that it was a real bullet or anything. So there's never all the information yet. And that changes. We if we if we juxtapose this behavior and his tone and his cadence and his diction to that interview that was Stephanopoulos. The one Stephanopoulos, it's changed there from this. The story hasn't but his approach to it has to his description of it. And Stephanopoulos, of course, it's a big deal. He's on camera and all that he's on camera here, but he's not thinking about it because it's up in the corner there everywhere. So in that Stephanopoulos one, it's his diction is perfect. His tone is a little bit higher actually than it is here. But again, he doesn't know how bad the problem is yet or that the that there's such a grand problem, such a big deal going to happen here. But back this video, yeah, he's he's stressed, but you can tell he's had an adrenaline dump from all this stuff that's happened. He's almost relaxed. He's sort of worn out at this point. We've seen him using I agree with the Greg those is these demonstrative gestures, as we call them, they're they're on point, his illustrators are on point and they're where they should be. You know, every time he's described something he's very demonstrative again, like Johnny Depp, when he got that bottle thrown at him that we've looked at, he plays everything out, he shows you everything as he goes through this. Let's see what else is good here. There's so there's so much to talk about. But he up but what I thought was good to is he lets him know it's got to be he knows there's a very special situation that has to happen to get a real bullet in a gun and have somebody shoot it in that situation has to go through so many steps. I don't think it would be. I don't see any deceptive anything on him at this point. I see nothing. I don't see him guarding. I don't see him, you know, bobbing and weaving. I don't see any chaff and redirect. I don't hear anything odd. Everything seems to me the way it should be. Everything is as it should be. So zero indications of deception. Nothing weird or make me ah, he's really thinking something different. Nothing like that. Mark, where do you go? Yeah, I'm going to agree. I'll just tell you how and why I agree. Ah, look, the question is, is can you think of any reason why somebody might have, you know, kind of done it on purpose? I think there's a they're kind of saying he says, I can only say but before that he goes, we so he he collides two words together, which I think is who and why who and why. So I think already his mind is is curious about a perpetrator. Okay, curious about a perpetrator. Now, that's not to say he's going, who will have done this on purpose, but he's trying to work out what are the set of circumstances and people may be involved in a supply chain that may well cause this to happen. I don't think he has a perpetrator in mind. He does mention the person in command of the of the armaments later on, I think throughout that and say, look, there's a specific question you need to ask around that. He's being helpful, being really helpful about this and not and not chaffing and redirecting the help somewhere. He's genuinely look, he's focused. He's focused on on the interviewer. He's not focused on both of them. So he's not doing, you know, what what Chase often calls kind of looking at the threat, working out where is the threat? It's not looking to exits. He's not looking through the glass window to go, what are they thinking sitting behind that glass window? You know, he's very, very clearly involved forward focused in taking people through the story, his body narration, what I would just say is is his mind, his mind of the stuff is really good. It's the same each time. It's the same as he mined stuff later on. So I can't see that he's making up stories here to fit. Just as everybody said, the batons, the illustrators are congruent. They come at the right time and they're the right kind of movements there. His head is nodding in acceptance throughout. I mean, go and look at it. See if you can find any head shakes at all. He's he's forward in acceptance of the situation. I think if he felt under threat at this point, we would see more shaking of head from him as he wants to get out of this situation. I would just say there is potentially one adapter. Yeah, there's just one adapter where his hand goes up to his nose here. Now look, touching your nose doesn't mean anybody's lying. Okay. Just so you know this. Yeah. And this only happens once. So I am really giving just a very strong opinion here. I'm playing the casino here. But because I see this once and at the point of she'd be dead, blown a big hole in her, I'm going to say, and this is a bit of reverse engineering, that there is a worry and tension that she may well be very badly injured. He doesn't quite know at this point how bad the injury would be. And maybe somewhere in his mind, he does suspect there is the possibility that it is a bad, bad injury and death is an option. Okay. And I'm only saying that because it only happens once. It's incongruent with everybody else. There is no reason to touch the nose at this point. And I'm going to say it again, just because somebody touches their nose, doesn't mean they're deceptive, doesn't mean they're lying. I'm only saying that because of the huge context that this is in. But this is, from my point of view, clean as a whistle. I say same as everybody else is saying, it's very different from when the circumstances then changes to there's now a death, there's now a real a massive catastrophe. Now the press is on him. Now the eyes of the world are on him and his behavior starts to change around that. Chase, can you change our mind about any of that or are you with us on that? With all of you guys and let me add a couple things. You guys talk about half my list here. So which is fantastic, which we should be doing. We should be agreeing on a lot of things that helps people to understand that this stuff is pretty reliable. Let's talk about a couple things you guys didn't. He's comfortable doing something that interrogators call processing potentials. In a lot of criminal interrogations, you'll see why do you think this happened? Who do you think did it? Did you talk about it to your friends? Did you tell your family about this? So he is extremely comfortable and it's evident that he's processed every possible thing that could have happened when a guilty person would just say, I don't know. I don't know what happened. You know, it was a mistake. It was an accident. He's trying to process potentials. And he's basically following just that little guidance on the back of your insurance card. Don't admit guilt and don't say you're extremely sorry about something because he's not doing that and it's probably from a cell phone call to his attorney, which is not mean guilty. It just probably means intelligent. And his attorney's told him not to do that and which is why that most people have a problem with him starting his phrase with I can just say that's probably from the attorney. So the reason he's sitting in this interrogation room without an attorney is because of something we call the Assumptive Assistance Fallacy. And this is how Colombo solved crimes. This is how he tricked the people into thinking that they were helping out with the crime. This is likely how he was brought into the room. And he's also coming in to help. He is genuinely there to help. He's saying here's what you should be asking Hannah. Right at the end he said the gun didn't kick. That's important. And he wants them to know that this is going to help in the investigation. So there's some assistance going on. And right when he said it he also says if it was a 45 full round she would be dead. Which I think suggests he is not completely sure about the gun and he is probably hopeful about his friend actually being alive. There's one moment in here he puts his hand on his chest. And it's when he says I'm not a gun person. I think there's a little display of some virtue maybe going on. Or him just displaying some innocence. I don't own guns. He's been shooting him in movies for 30 years. So he probably knows more than even a lot of gun people. But most importantly here, most importantly in my opinion he uses great body narration. You see him narrating the story. He uses a lot of it. But he uses the exact same body narration when he is comfortably saying that someone deliberately put a round into the gun. He comfortably illustrates a deliberate putting into the gun, putting a bullet into the gun. That I think in any person's mind who felt that they were at least partially guilty that would be restricted. If that behavior existed at all they probably mute themselves for that physically. But if he tried to do that behavior it would look different and it would look severely restricted compared to all of his other ones. So he shows no hesitation during that deliberately putting in the bullet in the chamber movement. That's all I got on this. Do you think that any part of this incident that occurred was intentional? Of course. I can only say this which is and it was to me to place a bullet and position a bullet that is a live round to make sure that that bullet is in the chamber if I were to squeeze the trigger in a rehearsal that that bullet came out. Someone has to make extraordinary access to that weapon to do that. I can't imagine somebody walked around but around there was a 45 caliber round. See you see other people on the set were speculating that it was a 45 caliber round she'd be dead. It would have blown a big hole in her. And so we're wondering was the projectile that went in her some foreign material stuck and it was an accident with a flash round and something came out of the barrel. They didn't check. They always check. But to your experience with these I've never heard anything like this in my life ever. Okay. I've never heard of a projectile coming out of a prop gun that went through a person's body in regards to being a smaller woman that the bullet went in here I'm told went in here came out here her shoulder or whatever and went into his body and very I've never heard of that in my life. I don't know of any projectile in a gun in a flash prop gun that could accomplish that. Now if somebody put a live round in there accidentally see a very important question for Hannah is have you ever commingled live rounds with theatrical rounds in your kit? Because they're forbidden to do that. According to I think the union rules and the safety rules for all the unions you're not allowed to do that because of the fear of what happened that you commingled. So whether someone accidentally and I can't even imagine this deliberately placed a live round in that gun I've never heard of it in my life and I don't know anything about what happened but all I know is when I see the other thing about this is in a live round you'd have a recoil usually. When I shot that gun and it went off I didn't shoot it when it went off I didn't intend for it to for what happened to happen when that happened is it always I've always told but because I'm not a gun person I don't have a gun they always tell me they asked me to simulate the recoil. When I shoot the cop which is a big gun 45 caliber bullet they always teach me what we should be go at it and I go get back here boom and they take my hand and go boom and have to kick because there's no kick in a flash round. Okay. And when I at this time but I don't recall there being any kick either that's important. Okay. All right now let's throw around the room and wrap it up in 30 seconds or less and tell what we think is going on here what's happened. Mark you want to go first? Yeah look if you have any suspicion about Baldwin and that he might have some kind of I guess conscious or even unconscious involvement in putting a putting a around a live round in a gun and firing it on purpose. You know think again think again I would say based on what we've seen here there's nothing going on for him around this take your eyes off him the investigation if you're if you're investigating this in in your mind you'd want to be investigating completely elsewhere. Chase I'll just say one thing here it's easy for a lot of us to see experts on YouTube who don't have a whole lot of experience but they've read some books they've taken a few courses I just want you to just process the fact that before you say oh he's an actor he can trick everyone on planet earth everyone that's on your YouTube screen right now has surpassed the 10,000 20,000 and 30,000 hour marks in interviewing people a very long time ago and many of us have specifically interrogated people that were very well trained to resist interrogation to fake stuff and do a lot of intelligence training so the actor thing is is is a great if you just want to dismiss it but a lot of us can see through that stuff especially with actors and actors are humans too and we are special we specialize in looking at humans so that's what we're seeing there Greg what do you got Yeah I would back you up I mean I taught interrogation resistance and I taught people tools to use and those tools come out it's just human nature he's not doing any of that we don't see any resistance yeah can he act and can he do something sure but it's not the same thing I would take you a couple of steps we're going to hear everybody say but he had his finger on the trigger we saw it remember we just covered Johnny Depp who got his finger cut off and couldn't remember details after it is normal after a catastrophe for your brain to focus on the problem not what happened leading into it so a lot of times people will not have the details that's one of the things we look for we also notice that his story doesn't fundamentally change between here and Stephanopoulos Scott you pointed it out does his stress level rise sure he now knows someone's dead he's now been stalked we saw him on the roadside so yes of course his body language changed because his stress levels are different not higher different they're probably very high right here but I think Mark you hit it dead on if you're looking at him and thinking he went and put around you're chasing the wrong dog Scott your turn Yeah I agree with you guys and how many times have you been in a training class and you're training or teaching somebody says how do you interrogate what do you do if you have to interrogate an interrogator don't they know all the things you're trying to do and all that you can keep it up for a little while you can act for a little while but after a while in between those little sections that's when you get all your info pretty much after a while it just goes away you know you can act like it even though we know a lot of stuff if we got interrogated it's different it comes it hits you different it comes they know you know that and all it is not immunity yeah because I went through sear and I'm an interrogator and you know their stuff worked on me so yeah yeah yeah and you trained them how to do that too and would still work so as you go through that people say you're right when it says are these an actor he can do he can act like that no they can't they can do it in front of a camera and nobody's given them any pressure when there's pressure on it's different it's a different situation now back to this video I think it's going to be a lot of fallout from this as far as responsibility goes obviously and I think it's going to go partially to him because he was a producer on this you know and he was the guy who pulled the trigger so we'll see what happens there but when you get a situation that I've been looking into this and seeing what what people were saying that were there and all that apparently the crew was sleeping the cars their food was nasty and they they weren't respecting him nobody felt good about what was going on there's like this general feeling of malaise and the whole thing nobody nobody was motivated they're almost disgruntled so when you have that going on no respect for it that's when you and you start hiring the least expensive people to help you do this stuff not in her case the the the woman that got shot but a lot of I think for the crew the crew and the way you treat them that way I think you're gonna have uninterested I think that's what happened so I think most of it's going to go back to that's just my opinion my personal opinion I think that armor is going to get it I think it's all going to go back to her because that's the person the most responsible everyone is responsible it went down that chain but it's a chain of responsibility that had so many every link was broken in it obviously or that wouldn't have happened that wouldn't have happened I don't think but that's just my opinion so I'm telling you you know Scott let me just say something about that memory piece because you know people might still go look you know why can't he remember what happened with that that gun and to your point Greg I want everybody to think about adrenaline okay and when a disaster a gun goes off and it's going to make a different sound although he doesn't it says that it didn't feel any different it's going to make a different sound people are going to start screaming there's going to be blood his adrenaline is going to spike adrenaline does a whole bunch of stuff and just google it and you will find out what it does to the body and to the brain but one of the things it does to the brain is it wipes short-term memory that's why if you do any kind of public speaking okay and you've learnt your you've learnt your presentation and you know it and you know it and you know it and the moment you walk on and you see more than five people who you don't know which to the brain is lots of strangers adrenaline will spike and everything that you try to remember about that presentation disappears completely because under stress and pressure your brain your fight and flight system goes what would I need to know about the last few minutes I need now to get out of this situation alive and I imagine Greg that's exactly what happened to him adrenaline spikes short-term memory gets blown out and he now doesn't really know what happened in those moments beforehand yeah use this or not guys but I'll tell you the reason we train people the way we did at SIR is we take them out of thinking brain and put them in reactive brain and we train that brain because when you get in that situation you can't access all of the intelligence you have but you can respond to things that you've been trained to do so chase your Walmart bag and all those things came from there right yeah yeah and so to that point Greg when I'm training people for public speaking for doing a speech I stress test them I spike their adrenaline you know in the practice situation I have all kinds of of nasty ways to do it and unpleasant ways to do it but I spike their adrenaline so they get that sense of wow that's what it's like under real stress and pressure to deliver this without that they're they're going out untrained perfect all right fellas I think this was a good one and I'll see you next time all right chase good luck with your thing today man yeah oh no oh you're no I'm not behind it damn it you got me man I could see the shadow I can see the shadow oh man you got me good