 We're going to talk about Amber Heard and Johnny Depp and we're going to focus on Amber Heard. And as we go through these videos, keep in mind and remember me saying this, there are people watching this that have gone through similar situations and situations that are 10,000 times worse than this. We know that. We understand that. So also keep in mind as we go through this, we're just telling you about the body language we're seeing in these people. That's it. We're not for her. We're not against her. We're not for him. And we're not against him. We're neutral. We're just telling you about the body language we see in the videos we're watching. That's it. Having said that, here we go. Thinking that he was going to start laughing too, to tell me it was a joke, but he didn't. He said, you think it's so funny. You think it's funny. You think you're a funny and he sought me again. Like it was clear it wasn't a joke anymore. And I stopped laughing, but I didn't know what else to do. I didn't know what to do. You would think you would have a response, but I as a woman had never been hit like that. I'm an adult and I'm sitting next to the man I love and he slapped me for no reason. It seemed like, and I missed the point. It was that stupid second slap. I know he's not kidding, but I don't know what else to say or do. So I just stared at him. I didn't say anything. I didn't react. I didn't move or freak out or defend myself or say, what are you doing? You're great. I just stared at him because I didn't know what else to do. And he slaps me one more time hard. I lose my balance at this point. We're sitting next to each other on the edge of the couch. I was on the edge of the couch and I'm all of a sudden realizing that the worst thing has just happened to me that could possibly happen to you. I realized that I, I wish so much he had said he was joking. All right, well, I'll go first on this one. Here's where she really stiffens up and illustrators just disappear almost completely. If we remember from what Albert Ray talked about in his studies or went over as someone who's being honest and more likely to use more illustrators, these are illustrators, people emphasizing specific words or phrases. Now, although her voice gets louder, her cadence speeds up and her tone is just a little bit, a little bit higher. And she's talking about something graphic and it's action packed, but we see almost zero illustrators and gestures, almost nothing, which is odd for her because in a little while she blows up into almost one of those clowns with those balloon people you see in the parking lot. They're just flowing everywhere. She gets that big and this, we're seeing all the right facial expressions. We're seeing anger, contempt, disgust, frustration, hopelessness, disagreement, and then one quick shot of happiness while she's talking about not freaking out. So this is loaded with everything we need to see from a body language perspective that shows the emotions are congruent with her story, with what she's talking about. Everything looks as it should, but they're, but they're so on point. They seem odd. They're too on point. That's what gives you that little, that odd little feeling where you go, why is this, why do I feel like or know like something's not right here? What's going to be that feeling on this? In each section of her story from paragraph to paragraph, paragraph, you see facial expressions and their hues like Chase was saying earlier, man, they're big. However, facial expressions don't go from one to the other to the other to the other. And, and change like that, they morph into the other ones. We're not seeing any morphine here. We're just seeing them change like little, like flipping switches on this because she knows now what to do for those emotions, what, what facial expressions are supposed to be or that we expect to see that we usually see in those kinds of things. One right up to the other just blocks, just sections, no morphing at all. So if you're getting that weird feeling about that ladies, women, that's what I'm talking about. It's going to start feeling even worse. It's going to get even worse here in a few minutes. So keep watching for these throughout this video. When you see her, her expressions, not morphed, they just click from one to the other. Pay close attention to that. Greg, what do you got? Yeah. Remember, we talked about a baseline about a year and a half ago. We covered her for 2016 deposition and all these lines indicate just a straight line indicates in her that she's asking for approval. And then she has two lines, just two small lines when she's showing grief. You can go watch our other video and see it very clearly. This is the best resolution they had. This went in. So this is what we get. Again, she's illustrating, yes, Scott, but she never illustrates the slap. There's never an impact. There's never that violence thing, which makes me think, why? Of all the things I would illustrate, it would be a draw or slap or something. She uses that transition language. Remember the ums and ahs as she's getting into the situation where she doesn't know what to say. She uses ums and ahs. Otherwise, she has slower cadence than she did in the beginning. And she does that same thing you pointed out last time, Scott. It's interesting. She has a request for approval and drawn down sides of the mouth. That's odd. We usually see grief and other emotion that's associated. It looks wrong. Then she, the only place I do see any real concern and grief and anger is when she said I didn't move to defend myself. The illustrators are missing for the slaps. The illustrators are missing for everything else. But she's explaining the couch wonderfully with illustrators. She's taking her hands and showing you the real estate of where she's at. And she edits to tell you why she was able to be slapped off the couch. You can see I got slapped, knocked off the couch. Well, how does that happen if you're sitting in the middle of a couch? She goes out of her way to say, well, we were sitting on the, well, no, I was sitting on the edge. At this point we're sitting next to each other on the edge of the couch or I was on the edge of the couch. That seems like an edit you needed to make that if I slapped today, if I slapped Chase and he fell off the couch after he shot me, he would say, Greg slapped me and I fell off the couch. You wouldn't say because I was sitting on the edge. That wouldn't be the way the story went. It's just not the way we go. Mark, what do you got? What is interesting for me is there is a very difference, a very big difference in her voice and fading facts as Scott says. So fading facts is when stuff just kind of just peed us out at the end like that. And that is often a sense of somebody not being confident, let's say, in their answer. Many reasons why somebody might not be confident, but we find it shows up quite a bit with deception. Anyway, she does that on what she wasn't saying. So she says, you know, what I didn't say, say was, what are you doing? You're crazy. Say, what are you doing? You're crazy. I just stared at him. I didn't even finish that word. Now at the same time, she's telling us what she didn't say. So maybe the fading facts work in that. Maybe the tone shift works in that. But on its own, well, we need to put it with a whole bunch of different factors there. Another factor to bring in. You would think you would have a response, but I as a woman had never been hit like that. I as a woman. So she's very clear about that, have never been hit like that. Well, does that mean as a man, that's okay? Like men hit other men like that. But as a woman, that's not expected. So there's some real clear clarity around an expectation of what should happen around men and women. I would say the same. Some good kind of chin boss action there. Some good lips, lip compression, some good sadness in some of the right places. But my worry is still around this tense shift because even now, I'm starting to go, well, when is she going to do it? When is she not going to do it? What is the pattern of tense shift here? And it's going to start for me to get even more chaotic and even more difficult to really work out when I think it's going to show up and when it's not going to show up. So wait for that. Chase, what do you think? They agree. And this tense shifting is actually going to get predictable in a few minutes. It's going to come up during very specific times in a minute because she's getting more used to it. And I think this present tense, when there's a shift to present tense, it's shifting to the screenplay. I do this. I do this. I experience this. There's a screenplay going on there. And this downward-turned-mouth with the raised eyebrows is the traditional clown face and sharing, wanting to share that grief or share that experience and getting somebody else to share some kind of emotion. And she's layering in truth and deception here. There's more vanishing perpetrator, slap me in the face. It's really strange. The first slap is past tense. The second slap is present tense. Then there's a shift to past tense again when she's discussing how she felt about it. Then she goes back to present tense for the third slap and back to past tense for her reaction to that slap. Then we go back to present tense for realizing the worst thing has just happened to me. Then there's a shift to past perfect. I wished so much he had said he was joking. This is a major problem. I have been doing this a long time. I've analyzed a bunch of videos. I've never seen this much tense shifting in my lifetime. On record, I'm saying it here. I've never seen anything like this past, present, past, present over and over like this. And then facial expression shifting rapidly between emotions. I've never seen anything like this in my life. So I would bet that there is a very, very high likelihood of deception here in the story. That's all I've got. I'm going to bet that this trying to grow a mustache thing is probably the worst decision I've made in the last 15 years. It's going to be the major amount. No, you need to shift to present tense for that. It's the worst decision you're making. I think what you should do is go put on one of those filters so it'll look like it's just part of the filter. That's what I'll do when we come back. I'll have that on for a few minutes. Yeah, no one will know. They'll know. Yeah, they'll know. Thinking that he was going to start laughing, too, to tell me it was a joke. But he didn't. He said, you think it's so funny. You think it's funny. You think you're a funny. And he slapped me again. It was clear it wasn't a joke anymore. And I stopped laughing, but I didn't know what else to do. You know, I didn't know what to do. You would think you would have a response, but I, as a woman, had never been hit like that. I'm an adult, and I'm sitting next to the man I love. And he slapped me for no reason, it seemed like. And I missed the point. It was that stupid. Second slap. I know he's not kidding, but I don't know what else to say or do. So I just stared at him. I didn't say anything. I didn't react. I didn't move or freak out or defend myself or say, what are you doing? You're great. I just stared at him because I didn't know what else to do. And he slapped me one more time. Hard. I lose my balance at this point. We're sitting next to each other on the edge of the couch. I was on the edge of the couch. And I'm all of a sudden realizing that the worst thing has just happened to me that could possibly happen to you. I realize that I wish so much he had said he was joking. Could you tell the jury what the box is that has the property with the skull bones property of JD? That's Johnny's drug box. I've seen it used for pills, but at the time it was bags of coke, like dime bags of coke. And what are these white lines on the table to the left of that box? That is cocaine. And do you know what is in these two glasses that have kind of a gold colored liquor? Yes. They're different, actually. It's confusing. They're different, different liquids. The one in the back in the larger glass is, I believe at the time I was doing these tabs of Barroca. That's what they're called. They're little tablets. And anyway, I remember at the time that that's what I was putting my water because I just come back from France where they sell them. And then the brown liquid in the shot glass is Johnny's liquor. I don't know what it's called, but we kept it in the freezer. At that time, March 2013, I still didn't have the hard line. I won't even keep that in my freezer sort of attitude or posture with him. I wasn't that bold at the time. I didn't like it, but I didn't have that strength. I kind of at that time, I think was doing things I trained to pour it out when I could. Mark, what do you got? Yeah, it's really going to start falling to bits there. It's tricky to watch this one because it really does descend quite quickly. Starts off with, I believe, that's not very forceful. She believes that it was the tabs of, I think she says Barroca, I've never heard of that drink, but I guess it's little tabs that create some kind of juice or drink or something. They come from Paris, apparently. She doesn't really need to tell us any of that. I mean, she's worried this would be quite confusing to us because to an observer, what you'll see there is two glasses, apparently one is a shot glass. And I understand there's some foreshortening there and one glass will look a little bit bigger than one. But even so, even so, to an observer like myself, I've seen a few glasses. And to an observer like myself, they look a fairly similar size. It looks like both people are drinking pretty much. I mean, I know it can be confusing. She told me it can be confusing. OK, and she took me through how you go to Paris and you get stuff. And, you know, it kind of went on and on that I stopped listening to a lot of it at one point because it didn't seem pertinent, but clearly it is pertinent that we need to understand that she's not having a drink. Yeah, that's what we need to understand that he's got a shot glass and it's got Johnny's liquor in it. If I if I've been with with somebody for a while, I probably know what the liquor is. You know, I probably know though it's kept in the freezer or the fridge or whatever it is. I probably have a good idea what it is because I'd be a drinker as well. Like her, she has a drink now and again. You know, it's you know, actually from what I've heard, you know, she she has a few now and again. That's OK. I got no judgment about that, but it would be easier to say. So Johnny and I were both having a drink. OK, but that's not what comes across here. Johnny's got a shot glass and it's got Johnny's liquor in and she's got something from Paris, something completely different. She though she she says, look, that's his drugs tin and it's got coke in it, dine bags of coke. And what are those those lines? Well, they're cocaine and there's four of them. Well, either Johnny sets it up for his four nostrils or Johnny sets it up to do a couple of lines and then very quickly a couple of others and those are all possible or Amber's taking coke as well. And that would be OK because, you know, when you're partners, you tend to kind of do some of the same stuff. You have a drink together. If you do go, you're probably going to do some go drugs together. At this point, I don't buy this story at all. I don't buy it at all. It's not a good description of what's going on. It doesn't make a lot of sense. There's too much over emphasis on trying to tell me the details. So I don't buy it. Look, for anybody who's into just lobbing in a really great conspiracy theory here as well, just because you may as well, you may as well have some fun. If you want a great conspiracy theory, you could say it's all been set up in a Masonic Hall. Have a look, have a look at that photograph and tell me why they set up the evidence in a Masonic Hall and send send the money, please. Freemasons, please send me the money. Greg, what do you got on this one? Yes, so, Mark, I think the reason we know something is going on is because she dramatically shifts baseline. She starts to separate herself from Johnny, Johnny the monster. Now, this is like you said, early on in their relationship, but she's separating herself from him. At the end of her description of what this is, she does some eye blocking and some requests for approval and a lip compression. She has a condemning face at cocaine. She does maybe she's afraid of the perception of something that will happen because there's something hidden in there because her transition is much too rapid, more than normal to your guys point earlier. Then she starts rambling to make herself appear to be somebody else. That's out of baseline. She starts to give you too much detail about these in France. And this is a thing that people do in France and then they well, I don't care about what they do in France. What's in those things? One is a bottle of some kind of drink, non-alcoholic and the other is alcohol. Then as she shifts gears to start to make herself a better person and to do some social signaling or some kind of as she starts to virtue signal and say, look, I'm not the one she starts this thing of, you know, you know, you know, you know, you know, I don't know how many times it happens. Chase, you may have counted. I think it's five or six. We kept it in the freezer at the time was before, you know, at that time, March 2013, I hadn't, you know, I still didn't have the, you know, hard line. I won't even keep that, you know, in my freezer sort of attitude or posture with him. I wasn't that bold at the time. You know, I didn't like it, but I didn't have that strength. I kind of at that time, I think was she's never done that before. So there's some way she's trying to distance and it makes her uncomfortable and it's filler for her. So immediately I would jump on and say, hold on, what do you mean? And I would start taking that story apart. That stumbling over words and using filler words is there for a reason. Scott, what do you got? Sorry, Chase, what do you got? Here's a quick tip. If someone's telling you a story, process it through this lens. What is being concealed in that story? And in this instance, every flaw, every bad behavior, every possible hint at ever having made a mistake in her lifetime is absent. She's giving us a story of a flawless Disney princess who lived with Satan. And Baraka, just as a quick tip here is like airborne in the US. It's like an immunity support effervescent. I have some of my kitchen, actually, that dissolve in water like an alka seltzer. I'm pretty fancy if you didn't know I have Baraka here. But there's a large Baraka. There's a large spike in uncertain language toward the end of her statement. This is the beginning of our discovery of her stress and deception baseline. So this is the big spike in what we're really looking for as interrogators and behavior profilers. Scott. All right. The attorney says, tell the jury what's in the box and she tells the attorney what's in the box and she goes into detail about it. Not once does she look at the jury during that. However, when she gets to the part where she starts talking about her vitamin energy water, which is you're right. I had to Google it and what Baraka or Baraka was, whatever it was. It's a it's a multivitamin, as you know. And it gives gives your energy and it's a health food. That's the way the way they see that. Also, she's coming on like she doesn't think alcohol is good. She sounds like, oh, that that's alcohol. And she doesn't. And like Mark was saying, she doesn't know what's in it. Really? If you're she's going to say, hey, man, what is that? At least if she's bad, if she's dating the guy or married to him at this point, you're going to know what's in there. And she acts like it's bad. She didn't want to tell him that she wanted to keep it in her freezer. Come on, man. And then she's sitting there next to the damn scar face while the blow lined out on her on the table and she's coming on like, I don't know what, you know, I'm drinking healthy water. You know what he's drinking. That's all I got because I just can't go any further than that. Could you tell the jury what the box is that has the property with the skull bones property of JD? That's Johnny's. Drug box, I've seen it used for pills, but at the time it was bags of coke, like dime bags of coke. OK. And what are these white lines on the table to the left of that box? That is cocaine. OK. And do you know what is in these two glasses that have kind of a gold colored colored liquor? Yes, they're different, actually, that's confusing. They're different, different liquids. The one in the back in the larger glass is I believe at the time I was doing these tats of Baroka, that's what they're called, they're little tablets. And anyway, I remember at the time that that's what I was putting in my water because I had just come back from France where they sell them. And then the brown liquid in the shot glass is Johnny's liquor. I don't know what it's called, but we kept it in the freezer at the time. It was at that time, March 2013, I hadn't, you know, I still didn't have the, you know, hard line. I won't even keep that, you know, in my freezer sort of attitude or posture with him. I wasn't that bold at the time, you know, I didn't like it, but I didn't have that strength. I kind of at that time, I think was doing things like trying to pour it out when I could. And at some point, he drinks in front of me at first. I think it was like a Malbec or a wine or something. And I remember we hadn't like it's that kind of started an argument. And that was upstairs in that room that we just looked at a picture of, you know, by the sunflowers, that's more or less where we were standing just closer to the kitchen. And we get in an argument and I shove past him, just stomp off. And he grabs me. We have an argument about me walking away and am I walking out of this? And in my head, I was like, I would I actually wasn't thinking of leaving yet, but that would later be going through my mind. We had a brief interaction and I don't I don't remember the exact sequence of things. I wish I did. I have a lot of flashes. It gets a little bit more confusing for my ability to recall everything in a linear way a little later on as things got crazier. But for this part, the first night, what I distinctly remember is at one point I I I don't think I had gotten very far. Maybe I came back into the room, but he when he shoved me, I went flying across these parakeet floors. I mean, just skidding across these floors. And I remember thinking it just looks so easy for him to throw me around like that. You know, I I just slid. All right, I go first on this one. So let's pay attention to the word remember. We've heard it peppered in and out here so far through these videos. That's a little bit here, a little bit there. And now we're going to be listening for it. And let's listen for the things described and how she describes things when she uses the word remember, not a whole lot here just a couple of times. But coming up, we're going to see it go crazy with that word. When we hear that word, she's looking right at the jury most of the time. I remember. Pay attention to that, too. So we're going to see her body language change here as she becomes more animated. There are words and phrases that she uses as and Jester, she uses energy wise to get things up and get get things happening. She's starting to get these things. You've got to get it rolling because there's a lot coming up here in a couple of minutes. It's supposedly to get very supposed to get very graphic here. However, things are as they should be at this point. Everything looks pretty much the way it should it should be. Everything is congruent. Her illustrators are on point. Everything energy wise is where it should be and everything is working together. Everything she's got this one going very well. Everything looks good. So let's talk about PTSD just for a second. I'm not an expert on it at all, but I know about it. I've read about it. I think I have a basic understanding of it. And I think she's trying to make it sound like she has PTSD because she's what she's done is she's been told to or she's read about it and said, here's what PTSD is. We're going to mix this in here to make it sound like this guy's giving you that from the way he's acting towards you. Like I said at the beginning, people have this from situations like this. We know that. I'm just telling you what we're seeing or what I'm seeing in this video here. That's why I'm going with this. When she talks about having flashes and scenes about what happened and loss of memory, those go right down the down the line for PTSD. Also, when she says she can't remember things in a linear way, it gets a little bit more confusing from my ability to recall everything in a linear way. I'm not the smartest guy in the world. Look at this haircut and this bad mustache and these glasses. But I'm smart enough to know when somebody has heard something and they're parroting it, one of my favorite things in the world to pay attention to a sentence structure and how someone set structures a thought or an idea as they start going through trying to relay that idea to you. And she's doing this. She knows she has to throw in that word linear somewhere. And you don't say in a linear way. You say in a linear fashion. That's the way it's properly used. I don't think she's I'm not saying she's an idiot or anything like that. But I can tell you when somebody reads a lot and again, I can tell you when somebody's parroting something they've heard, there was Greg and I were in Louisville talking to some some people at at the neurological department there as we're going to do some studies. And I can tell you pretty much after talking to somebody for 15 or 20 minutes, what they're reading or what kind of reading they're into or what they're what they like to pay attention to what they like to read about. And I nailed this one guy on philosophy all the way down to his author, who he had just been reading by just talking to her for a few minutes. It's sort of a parlor trick and I teach anybody how to do it. And in this, what I'm hearing when I'm seeing in her talking, she doesn't read a whole lot. She's going to say she reads a whole lot, but she doesn't because her sentence structure is that of the of a high school students almost when she starts talking and starts describing things, the structure to it. My structure when I talk, I talk really, really fast. It's really hard to understand me sometimes because I'm trying to get all the information out that I can. Having said that, I do pay attention to when people structure their senses when they're creating an idea and how to do that. She's gotten information. She's been reading over it the day before that or that day. And she's remembering these things she's supposed to say about the flashes, about remembering scenes and not remembering things in a linear way when it should be linear fashion. That's what we're hearing here. That's what's happening here. So I'm not saying she doesn't have PTSD, but I'm saying she's acting like she has it and she's trying to pretend like she doesn't know what it is and that these things are part of PTSD. That's what I think is going on there. Chase, what do you got? I tend to agree. If somebody reads this book, this is the book that you diagnose mental disorders with. It's got all the every possible disorder you can think of. And then they fake having a disorder. That's a whole different thing and it's a huge accusation. This is just my opinion. That's called malingering. I did two years of study on this and this was my textbook, the clinical assessment of malingering and deception. And it's made for court trials and depositions, surprisingly. In this, we see a lot of these indicators. Exactly what Scott was just talking about. And I don't think you've been through that class, but you know exactly. There's the standardized behavior for that kind of thing. And we're seeing it here in this video. So the first thing I had in my notes here was start paying attention to every time she says remember here and let's talk about a few red flags that are present here. There's drinks in front of me, present tense. I remember there's an argument in past tense. We get in an argument. He grabs me present tense. We had a brief interaction. There's hiding time and past tense shifting there. What I distinctly remember, we're here in that word again. And it came up right when the physical thing started happening. And what I remember again, slid across the floor, then there's hesitancy, then there's distancing language, then there's an eye flutter, but only at the points of abuse. The eye fluttering where there's a rapid closure of the eye when we want to get rid of a thought, we see that there, but we also see it during periods of deception. So the accuracy of her memory is a little bit flawed, but becomes somehow superhuman, 100 percent accurate when we're calling only times of abuse. And this is clinically written here in the forensic interrogation methods and the forensic psychology methods of detecting this kind of stuff. Maybe I'm no expert, but there's a sharp movement into internal dialogue at the exact moment that she's recalling the physical altercation, a physical event. She's moved her eyes, moved down here. I was not a huge believer until Greg actually convinced me of this, that you ask somebody to recall something or to rehearse a line in their head and they'll move down that direction. She narrates her sliding across the floor in third person with her hand and has done every single other demonstration. I've watched every interview that she's done. I did this for 10 hours yesterday in first person up to this point, with the exception of the comments regarding the abuse. So everything is in first person as she's experiencing it until the abuse starts being brought forward and then she's narrating in third person like she's showing you something from a movie or a screenplay. That was a lot. I apologize. Mark, what do you got? Yeah, so so let me get this right, Chase. If I was kind of acting the part of somebody with PTSD, I could take a look at some of those manuals and books and kind of look at some of the behaviors that happen and kind of perform those behaviors. And I might stand a chance of looking to the layperson, something like a jury or something like that, because they're meant to be. There should be no experts in there. They should be just kind of ordinary people just looking at it. I might be able to come across as having experienced trauma. And and if I was doing that kind of research as an actor, I might have come across just by googling, googling around a study that says that people who've experienced trauma and have PTSD do a lot of tense shift when they talk about the violence being perpetrated. And so I might start doing that. I might I might start doing that. But if but if I did start doing that and I'm an actor, I might kind of slip up now and again and get it wrong because I'm having to make it up as I go along because I haven't been written a script because you hope as an actor that you get really good writers and they they do all research and they write you really good scripts and then it's all kind of accurate. And then people, you know, give you an award. They give you an Oscar because they go, you know, that was really good. You were just like somebody with PTSD and you kind of you take the award and what you don't say is anything. They wrote it really well. It was just it was just me, you know, imagining the situation, saying the words that somebody else wrote, just looked like I was I was that I wasn't. Anyway, because that might be happening here. That could I'm not saying it is, but it could be happening there because she says I shoved past him, just stamp off. She goes into that present tense. So she's OK about putting her own aggression in present tense as well. And so that's probably a good thing. If she puts all aggression in the same tense, that's probably OK. I'm with you on that. I don't recall. I wish I did. And then she says, well, I distinctly remember. Well, sorry, you can't have both. You can't have well, maybe you can. Maybe you can with if you've looked at PTSD, maybe you can can have both things that you can go. And especially if you're kind of getting that idea across to an audience of some sort, they might forgive you just a little bit more. OK, if you if you put yourself across, it's just flashes. It's just, you know, imagine it's just flashes that happen. So I wish I could recall that thing. I can recall this thing really, really well, by the way. Well, after she says what I distinctly remember, we get a little lick to the side of the mouth, which is totally off baseline. We haven't seen that from her before. Feels to me like that's that stress. I don't think she says I don't think I had got very far. Maybe I had got back to the room. Hang on. I shoved past him just stomp off. And now what she distinctly remembers is I don't think I got very far. Maybe I got back in the room. OK, so how so how did that happen? Because when I when I shoved past somebody and stomp, stomp off, like I'm gone, like I'm not coming back again. I'm gone, but she's back in there and we don't know how. And but when he shoved me, OK, hang on. Now we've gone to past tense. This isn't making any sense because that should be in present tense. So that's so now I know I'm totally confused. But I guess, you know, if you've had trauma and PTSD, then, you know, all bets are off, I guess, I guess it's a bit of a bit of a scramble. I went flying across the parquet floor. I think she says parakeet floor, but it's parquet. It's a parquet floor. So there's a there's there's shoves and there's throws. I don't know what it is, whether it's a shovel or a throw. It probably can't be both. So maybe you want to pick one of them. And I remember thinking it just looks so easy for him to. Throw me around like that, you know, it looked so easy. Well, I think you said this chase, but that's the wrong angle now. That's it kind of looked so easy. It would be if somebody shoves me across a parquet floor and I slide across it. Yeah, I would say it was so easy for that person to shove me. I wouldn't be the external camera angle. You know, doing a nice slow pan around that. This one's a dog's dinner. It's a complete mess. It's all fallen to bits around this. And I think if there is an act going on here and I think we've got some good ideas that there could be, there could be. It's not being sustained very well, unfortunately. Greg, what do you think? Yeah, so everything we're saying is our opinion. In my opinion, she's done some homework here. That sounds like a checklist. Hey, let's see. Got that? Yep, got it. Yeah, got that. Got that too. I've been around a lot of people with PTSD and it can happen to a person from something very minor, it can. And other people, it may take something horrendous to give them PTSD. If you're a rage filled person and you do something rageful, you can't keep things together in order either. So I'll just leave it at that. That's my opinion there. But let's hit a couple of things. Remember, I told you she does a lot of that weird face, condemning face just to punctuate. She does it here the same for the room with the sunflowers as she does for this argument. So that's just telling you that's just the way she punctuates. Doesn't mean that something really happened. Words, however, really matter. And she says shove past him, strong shove, stomp off with an emphatic lower jaw, and she does it. There's a lot of emotional eye accessing there. And then she gets to that thing where she says we had a brief interaction and she actually shows disgust and a tongue jut. Some things up right here. I'm going to also give you two things to watch from here on. I think she's done her homework. She does one shoulder shift as she illustrates with the other hand when she says maybe I was in the room, maybe I wasn't because I think she's in some heated moment here. And so putting that story together is a little tough. She does more illustration at sliding across the floor than she does at being hit or shoved. And she does more illustration at shoving and sliding across the floor than she does at fists and slapping. Start paying attention to that. It makes me think that the further she has to reach to give you harsh details, the less likely she is to be illustrative for it. Could that be a result of PTSD? Don't know. Never seen anybody that was that way. But it comes out in different ways than all people. This just makes me suspicious. I'll leave it at that. And at some point he drinks in front of me at first. I think it was like a maldeck or a wine or something. And I remember we hadn't like it's that it kind of started an argument. And that was upstairs in that room that we just looked at a picture of, you know, by the sunflowers. That's more or less where we were standing just closer to the kitchen. And we get in an argument and I shoved past him, just stomp off. And he grabs me. We have an argument about me walking away and am I walking out of this? In my head, I was like, I would I actually wasn't thinking of leaving yet. But that would later be going through my mind. We had a brief interaction and I don't. I don't remember the exact sequence of things. I wish I did. I have a lot of flashes. It gets a little bit more confusing for my ability to recall everything in a linear way a little later on as things got crazier. But for this part, the first night, what I distinctly remember is at one point I I I don't think I had gotten very far. Maybe I came back into the room, but he when he shoved me, I went flying across these parakeet floors. I mean, just skidding across these floors. And I remember thinking it just looks so easy for him to throw me around like that. You know, I I just slid. I remember eventually in this interaction, he shoves me up against the fridge. He has me by the throat. And he just was holding me there by my throat. And I wondered if the if it was the drugs, I wondered if it was him. It hadn't in my recollection, it hadn't been that long. He has me up against the throat. He's bashing me against the the wall next to the fridge. We're kind of moving in that area. And at some point I'm in his face. And he had he I don't know if he had let go of my neck or loosened my grip. But I remember slapping him across the face, screaming at him. Screaming at me. I got my hand free when when he tried to grab me when I walked off. I stormed off, I slammed the door upstairs. I don't know if it was in that incense or if it was in a later one that I eventually barricaded the the door. You know, I couldn't it wouldn't stop him from coming in. He could come in the other doors. You know, there's plenty of the back door, there's patio. But at least I'd hear it. And my this is March 2015 by this time. I'm being medicated by his doctor. He's giving me anti anxiety meds, giving me, you know, had already tried to give me antidepressants. They didn't work for obvious reasons, I hope. I wasn't sleeping. I had insomnia. I'd wake up with panic attacks. My, you know, I needed to sleep. But my ability to do so is really, really compromised at this point. And I kept thinking that I just wanted to hear him or know if he came in so I could be aware. I could be ready for what was going to come in with him. And at some point I go back downstairs. I don't really know at what point I gave up and stayed behind my barricaded door, but I managed to go to sleep. I took some sleeping pills. What do you get? Yeah, tenses are all over the shop now. As far as I'm concerned, Shuv's has holding wondered, has bashing just all over the place. But at some moment I'm up in his face. Well, OK, at some moment, there's all this stuff going on. Then at some moment, well, I want to know like how that, how are you up in his face? How did that happen? I remember slapping him. OK, so we do have some remembrance of that stormed off, slammed the door. Well, that's aggressive, not protective, I would say. If I if I were worried about myself, I wouldn't be storming off and slamming doors. I would be running away and locking myself somewhere. Maybe quietly, I would be more silent, more. I know that's just me, it's not her. So, so, you know, I'm worried about that. I don't know if I eventually barricaded. OK, so, so, so eventually you might have so eventually what happened before? If you eventually did, like what happened before all of that eventuality? And by the way, if you don't know, is it possible that none of it happened? Well, that's my worry about this, because in cross, I mean, that's a that's a disaster for cross examination because it's just all over the shop. And so there are some that some of what we're hearing there does make some kind of sense, not particularly in this one. I mean, we may have heard some stuff before that had some kind of sense to it. But but this stuff under cross examination, I don't think is going to go very, very well. And there might be a good reason why it's not going to go well. Scott, what do you think? All right, she's displaying displaying tons of facial cues. Lots of things that she should be doing. Anger, disgust, contempt, worry, frustration, you name it. It's in this clip. I'm under the impression a lot of it is truthful. For example, when she says she barricaded the door, I think maybe she locked the door. But I think she's adding all these things on to it. And that's why it seems and feels like we were talking about earlier. That's why some people watch this are going to say, this just doesn't seem right. I know it looks right or something, but I don't know what it is. I'm not sure what it is, but something's just not right here. I think that's what it is. Her cadence is a little bit faster. Her tone is high and it's kind of restricted. And her gestures and illustrators are lying right where they should for the emotions she's displaying in this case. Lots of micro expressions and flat out full on expressions of the emotions we should be seeing. But I think she's she's she's not being as dramatic as she should be. I think as she is in these other ones. If somebody's doing all this, as well as having to say, I had to barricade. I barricaded the door. I'd say it twice. I locked the door. I had to put stuff in front of the man. I had to barricade the door. I'd talk about putting stuff in front of it. What did she barricade the door with? I mean, that's what I just had to push the dang dresser in front of the door. Make sure you didn't stay and I wouldn't be going to sleep. If I had to barricade the door, I wouldn't be going to sleep. Then she's not sure he can't get in through somewhere else, but she's barricading the door. Why didn't she go out through one of those other exits? I did just it makes no sense to me. Makes no sense at all. Chase, what do you got? Yeah, if you're if you're worried about your personal safety on the Maslow's pyramid, you're not worried about anything else above it. That's that's priority number one. I think, Scott, exactly what you were saying, I had the same thought this morning, writing down these things in my notes. Barricading versus locking a door is an extremely adding on these details that never happened. And this speaks to the diagnosis that she received of if histrionic personality disorder. And if you're on anti-anxiety, anti-depressant medications and you're mixing that with a lot of cocaine or grapefruit, believe it or not, grapefruit is horrible to combine with a lot of those medications. Yeah, you're going to have panic attacks. You're going to wake up at night and you're going to need to take a couple of sleeping pills and maybe a bottle of Malbec, as she calls it. And all her internal thoughts are crystal clear in her memory. Every single thought that she's ever processed, it's almost I'm exaggerating a small bit here, but it's like she could recall the thread count of the living room rug, but doesn't know whether or not there was a fight. And she's saying in my recollection, it hadn't been that long back to present tense. There's throat up against the fridge. I remember slapping him across the face. Now, there's that term again. I remember what she used in her testimony 187 times. And then she's back to past tense recall. I didn't count that myself, but Sadie actually counted that the prime minister of behavior, Sadie, we love you. Shows a lot of disgust for this doctor. She's saying I'm being medicated as if it's against her will. And she kind of glances over at the jury to kind of just say, yeah, I'm getting medicated by this person. And she wants you to see this helpless person. She, of course, she willingly took these medications. The entire final 30 seconds of this video is horrible, in my opinion. There's shifting artificial emotional expressions on the face every few seconds that I have never seen this rapid thing. Scott was just talking about a few minutes ago, this rapid shift of facial expressions, and then there's unusual recall with this deliberate adding of very specific details, just exactly to feed a narrative. And there's force feeding of that same narrative of the helpless and perfect victim, I'm willing to bet. In my opinion, she got some legal advice that, honey, you need to go all the way on this, you need to go 300 percent when you think you could. And if you're worried about perjury, all of this is going to be extremely hard to prove. No one's going to be able to prove it in the opposite direction. And I think maybe she was given some bad advice because this is going to be horrible, I think, if Deb has competent counsel during the cross examination. That's all I got, Greg. Yeah, the cross examination on this is going to be brutal, in my opinion. Number one, because they've had all of this that she's putting out, just like you said, Chase, the more details you put out, the more there is to your story and the easier it is to attack. Number two, they get a week of watching game tape before they come back in. This is going to be brutal, in my opinion. But here, word stress matters. I agree with everything you guys have said. I'm going to add a few little nuances. Word stress matters when a person stresses a word in my old world, we would call that a source lead. When somebody said something ago, they said something for a reason. She says he shoves me. He shoves me. That usually indicates there's been something happened before. When you say me and you emphasize me, there's probably been a little shoving back and forth. My guess is that's how all these things got to where they got. She feels prepared and she's editing as she's speaking. When she says he has me up against the throat. This sounds like Roundsburg's mantra dash steering wheel, phone, whatever, you know, his little thing. She's doing the same thing and then she gets out of sequence and she goes. She says now he was had me up against the wall, then it was the fridge. And then she says, well, it was that area we were moving in that area. That's excessive. Hey, the guy slammed me against the wall, had me by the throat. I don't need to hear that he moved you from the couch to this to that. Again, more details. He let go of my grip. Does she mean he let go of his grip? Again, words are coming apart. We know that happens when a person is getting a little disjointed and they're walking through, then she goes to the reason why all this is happening. He was medicating me for obvious reasons. I hope I don't really understand what that means. You should be able to tell I'm saying, I think it's what that means. Here's the last thing I'll leave you with. There is a almost 100 percent guarantee that if you have PTSD, one of the traits you'll have is hypervigilance. And that means that you're always concerned. You're always feeling on edge. You're always having that all that problem. I've never known a person who had PTSD who would want to take sleeping pills and sleep near the imminent threat that caused them to be there to start with. Just I don't see it. So we're on the same page there. That's it nailed it. Yeah. I remember eventually in this interaction, he shoves me up against the fridge. He has me by the throat. And he just was holding me there by my throat. And I wondered if it was the drugs. I wondered if it was him. It hadn't in my recollection, hadn't been that long. He has me up against the throat. He's bashing me against the wall next to the fridge. We're kind of moving in that area. And at some point I'm in his face. And he had he I don't know if he had let go of my neck or loose in my grip. But I remember slapping him across the face, screaming at him. He's screaming at me. I got my hand free when when he tried to grab me when I walked off. I stormed off, slam the door upstairs. I don't know if it was in that incense or if it was in a later one that I eventually barricaded the door. You know, I couldn't it wouldn't stop him from coming in. He could come in the other doors. You know, there's plenty of the back door. There's patio. But at least I'd hear it. And my this is March 2015. And by this time I'm being medicated by his doctors, giving me anti anxiety meds. Giving me, you know, had already tried to give me antidepressants. They didn't work for obvious reasons, I hope. I wasn't sleeping. I had insomnia. I'd wake up with panic attacks. My, you know, like I needed to sleep. But my ability to do so is really, really compromised at this point. And I kept thinking that I just wanted to hear him or know if he came in so I could be aware. I could be ready for what was going to come in with him. And at some point I go back down stairs, I don't really know at what point I gave up and stayed behind my barricaded door, but I managed to go to sleep. I took some sleeping pills. That's what it was. He started to tell me that everyone had warned him about me and that he wish he had never married me, wish he had never met me. No one like me. You know, it sounds childish, but I remember feeling really hurt. And then at some point I shove him hard to get him off me. And he shoved me back and he said, you want to go, little girl. Did that. I couldn't, as I sit here today, tell you if that happened before he choked me up against the wall, but at some point I am in a in a like a struggle with him where I'm holding his shirt lapel. And he kind of just flings me for a lack of a better way to describe it. Throws me across the room. I land on the games table, it's like a ping pong table. And I don't know if I was holding on to him or if he pursued me separate, but he gets on top of me on the games table and is just whacking me in the face like repetitive. We struggle on the games table. I don't know. I don't know how we get up. I don't know if he pulls me up. I wish I could tell you, but we were in this struggle down in this this games room by the bar. And and we had this conversation about the the drinking or argument about the drinking. And he holds up this bottle. To me. And, you know, I'm I'm saying, did you drink this whole thing? Something stupid focusing on this detail. And he is telling me that I can't control him anymore. And that if I really, you know, if I really wanted to try, take it. And then he's like taunting me to take the bottle from him. If I really if I really want him to stop, why don't I why don't I take it from him? Go on, go on, Mark, what do you got? Yeah, it's starting to get more honest in places now. Obviously, the stories are all over the place and I'm not even going to get into that. There's there's disgust, there's disdain and there's anger and more delicate chin boss action there, which would suggest to me some real feelings there of disgust, and disdain and anger and sorrow around no one liked me. You know, he wishes he'd never married me, never met me and no one liked me. I think there is some true feeling that she has around that. And then she eye blocks, she turns away and says how childish it all is. And I think that's, you know, probably the most honest thing or the most insightful thing that has been said, because it truly is childish. What's happening here, because I think we are seeing, in my opinion, something of this wounded child that's showing up now, this wounded child that feels nobody wants her, nobody loves her, nobody even likes her and the pain of that. Now, that's getting extrapolated potentially out into all kinds of behavior and all kinds of stuff that is is very, very troublesome. But quite honestly, at the core of this is a real true pain for that little girl that's that's truly there at this point. Greg, what do you think? Yeah, so you're dead on. She starts off by softening her body language, your head kind of tilts. And when you take 13 pounds of dead weight and tilt it to your right, it softens your body, your body kind of crumples a little. The inner brow tips pointing up indicate sorrow. And whatever causes the sorrow doesn't matter whether it's good or bad. You're going to have those inner brow tips rise. Her eyes go down to that downright to that emotional eye accessing. If you have never seen it this before, sit and think about an emotional moment in your life and you'll find your head drifting down to your right. That head then is going to pull your body out of line and all that. She trails off when she says and she does your fading facts. It's got when she talks about childish because she knows how childish it sounds. Here's something big and we're going to see this three times, three times. In the videos we're going to watch. And this is an indicator of something big about to happen. She does this. She scrunches her mouth to the right and bites the inside of her mouth. And it happens three times. It happens here just before the first major altercation downstairs, before she breaks this bottle. We're going to see it two other times. This to me makes me think, yes, there's violence and yes, she's engaged in it if she didn't start it. Now, when we hear him talking about her talking about sliding or being controlled and him talking about restraining, if she started the violence, you would expect he's going to do something to restrain it. I'm not protecting him, just saying violence starts somewhere. And we see it in her here. We see that weird thing. We're going to see it two more times as we go through this. Just pay attention to it. We said, do you want to go a little girl? When she does that, she bites her lip, she breaks eye contact, takes a deep breath and then she goes to the that she pauses a little bit. I think that's its own now kind of mindset. And then she goes into that disclaimer again and she says, I can't tell you the order things went flings. There's no illustration whatsoever when she says he threw me. But she does show helplessness, palms up in that. And then she goes to a calm voice. Go on, go on, go on. None of that seems to fit. You would expect more animation. You would expect people to be more aggressive. A couple of things to notice here. The attorney is sitting with data intake, just paying attention to what's going on. But if you notice that you see some concern in the brow of Johnny Depp and you see his mouth narrowing. This is really the crux of this brawl where he lost his finger, however it happened. So this is going to be an interesting one to pay attention to chase what you got. Let's talk a little physics here for just a second. Picking up Amber, throwing her across a room, across a room and onto a table is pretty difficult. And then her testimony is that maybe he landed on top of me because I grabbed onto him. Because he is so strong that when he throws another person, it picks himself up and flings both of them across a room. And they land onto a table. I thought that was pretty surprising listening to this whole thing. And then it's back to the word starting. He's starting to tell me this. But I think there's some truthful recall that she was hurt by the comments about people not liking her. She's shifting to present tense again, right at the point where I shoved him, she's saying I shoved him. And the conflicts in her memory are at the exact points when she wants to insert details about the timeline in the narrative. Then she's back to present. He throws me, I land present tense, gets on top of me, whacking me in the face, we struggle present tense. He holds up this bottle present tense again, makes a mistake. He holds up this bottle. She's narrating as if she's the one holding it. She accidentally, I think, shifts into first person of the aggressor here. She's the one holding the bottle. And actually, she accidentally slips here and says, did you drink this whole thing? He holds up this bottle. To me. And, you know, I'm saying, did you drink this whole thing? Something stupid. He's not asking that of her. She's the one asking that of him. While I think she's the one holding this bottle. I don't think he's holding the bottle at all. I'll go out on a limb here. I think she's holding the bottle. I think she's the one pressing him. Did you drink this whole thing? And she shifts back to present. He's taunting me to take the bottle back to present tense. And there's a deceptive mix of truth with deception. Being the deception, being the added violence here, in my opinion. And I think there's a blend of three things. We could call it a verbal braid. We could do it a braid, a French braid, maybe. It's a truth, half truth and deception, all being blended together so that it's hard to see where one stops and the other one starts. But I think if we're watching closely, listening to those shift intenses and we're listening to where these unusual gaps in memory and unusually detailed recall of memory are occurring, it's a pretty good bet that we're going to spot some of this stuff. But if you're seeing these rapid changes in facial expressions like Scott was saying a minute ago, very, very unusual stuff. That's what it was. He started to tell me that everyone had warned him about me and that he wish he had never married me, wish he had never met me. No one like me, you know, it sounds childish. But I remember feeling really hurt. And then at some point I shove him hard to get him off me. And he shoved me back and he said, do you want to go, little girl? That I couldn't, as I sit here today, tell you if that happened before he choked me up against the wall. But at some point I am in a like a struggle with him where I'm holding his shirt lapel and he kind of just flings me for a lack of a better way to describe it, throws me across the room. I land on the games table, it's like a ping pong table. And I don't know if I was holding on to him or if he pursued me separate, but he gets on top of me on the games table. And he's just whacking me in the face, like repetitive. We struggle on the games table. I don't know, I don't know how we get up. I don't know if he pulls me up, I wish I could tell you. But we were in this struggle down in this this games room by the bar. And and we have this conversation about the drinking or argument about the drinking. And he holds up this bottle to me and, you know, I'm I'm saying, did you drink this whole thing? Something stupid focusing on this detail. And he is telling me that I can't control him anymore. And that if I really, you know, if I really wanted to try, take it. And then he's like taunting me to take the bottle from him. If I really, if I really want him to stop one night, why don't I take it from him? Go on, go on. Keep in mind, as we've talked about these things, we're just telling you what we see and what we think about the body language we're seeing in this. We know there are people who have experienced things similar to this and hundreds of thousand times worse than this that they'll never get over. We know that. So keep that in mind before you go in there and go, you guys don't understand this or that. We understand. We get it. I promise you. So if somebody's treating you that way, get some help. Make sure you get you get out there and get some help for that. Don't anybody do that way, no matter how you feel about it when it's over and you think it's fine or whatever you get that taken care of. That's very important, very important. Nobody should be treated that way. Nobody.