Charles Spencer's New Book: Truth or Manipulation?

Today we're going to talk about Charles Spencer. Now he is Diana's, Princess Diana's brother. He had a book just come out and he's been questions about some, had some questions about some things he said in it. Were they true or not? We're going to look at a few clips on that today. Greg, tell us about the clips we're going to look at. Don't know where they came from. Don't know where they are. You got them. But as you were making preparations to get back here to the family ancestral home, you had another call. A call from Prince Charles, of course now the King. What did he say and how did he sound? Well I was rushing around the house preparing the children and all of that sort of thing for the day ahead. And I remember picking up the telephone, I was upstairs in my house in Cape Town and he was telling me how he had told the boys, William and Harry, at Balmoral and broken the news to them. And I felt, as I say in the book actually, I felt there was a sort of giddy tone. I'd had a lot of calls that day from people who cared, who were stunned like we all were. And I just felt there was a lightness in his tone about Diana's death that really jarred with me. All right, Mark, what do you got? Yeah, what have I got? Look, he caveats this first of all, well I was rushing around the house preparing the children. I don't think we asked for any of that, we didn't ask for any circumstance around it. So I'm wondering, so why do I need to know that? Why is that important to this answer? Let's put a hold on that for a moment. And he says, I felt there was a giddy tone. So what we need to understand, although later in this interview he will call things fact, feeling there's a giddy tone is not a fact. A fact has to be corroborated by two or more people. It has to be substantively true in some way. So this is reportage and viewpoint that he has, which he's caveating with some kind of emotional state that he's in at the time. And then he puts, well, he had had calls earlier from people who care. So there's a suggestion that Prince Charles at the time didn't care. So just the linguistics there of just really interesting as to how he's hedging on this one slightly. Well, more than slightly. Greg, what do you got on this one? Mark, if you're going to joust with the King of England, you might want a breastplate. That's what I think we're seeing. I think he's smart enough to say, hey, I'd better be careful here. Really good eye accessing. One of the reasons I think you talk about him answering the question by framing it, it's possible, I'll give him the benefit of a doubt because I don't know his baseline, that he is a person who, when something is very emotional, frames it and puts it into where he was. For example, if you ask people, do you remember 9-11? You're not asking them, where were you? But they're going to remind themselves, I was in this room, I saw this, this horrible piece of news came to me. And a lot of times, I think it is self-protection for humans that we frame it in an environment that we can talk our way into it and then out of it with ease, as opposed to just the abrupt nature of all the emotion. Because losing someone close to you, and I don't know how close they were, can be very difficult and damaging. I can tell you that when I remember stories about people I loved who went away, often I remember where I was when I heard. So I'll give him the benefit of a doubt there. But there is certainly a storytelling type he has here that he's doing. This is interesting to watch because when he's going upstairs in my house, his illustrators are good, he's telling all about it, and then he moves to something entirely different, Mark, as he gets into that hedging. And he does a great job of stammer, stutter, and then words that are not declaring anything. Lightness of tone and giddiness. I felt that jarred me. There's nothing to do with what he said or did, and it makes it very easy. My note, actually, Mark, we have almost the same things, but I say like an old Southern woman saying, I don't want to talk bad about anybody, but this is the way Southern women talk about other Southern women. And you get to that point. Somebody will be angry with me about that one, I'm sure. But he's alluding to bad behavior, not declaring bad behavior. That's a big one. It's a big one. Scott, what do you got so you're not last? Yeah, I think we're all on the same page here. He starts it off with this minutiae of detail, the little things. Nobody cares about that. Nobody wants to know. But he's a writer, so he knows how to construct a picture in your head. I think that's what he's doing. And of course he says, I felt there was a giddy tone in his voice. Again, that's just his translation of what it sounded like. That's hard to fuss with in court. That'd be pretty tough. But that's all that part is about. And then when he says felt, his eyes are closed the whole time on felt. And less a little bit before that, a little bit after that. And he's backing up a little bit. So he knows that's the wrong thing to say. I think I'm under the impression that it's not true. I don't think that's true. And I don't think he's recalling anything while he's doing that. I think he's just closing his eyes because subconsciously he feels weird about that. And then he's back to, I just felt there was a lightness to his tone. Again, that's all about his personal translation of the King's tone of voice or the Prince of Times tone of voice on the phone. So this sounds iffy to me and coming out of Mark's thing, too many details that have nothing to do with anything showing up at the beginning of this story, this picture he's trying to create in our heads. Chase, what do you got? Yeah. So the first thing, Mark talked about this at the beginning of the behavior panel, one of our first videos is just, and if you're looking at an incentive, like the first thing I look at any video we're looking at, what's the incentive here? Where's the payoff? And the payoff happens when there's a sensational story. That's when payment takes place. I think the rumored, not confirmed by Penguin, the rumored advance that he got for this book was like 850, 850K. And then it's going to be whatever after that. And then sensation, I'm not accusing him of being sensational on purpose, but there's incentive here that's clear. And people think that our memory is like a little DVR, video recorder that you can kind of play back. In fact, like science has proven, about half of what we remember is absolute fiction. And if you want to take it one step forward, how often we access a file, every time you access a file, it edits the memory. So this means that things you think about and talk about most often are the most inaccurate memories that we have. They're edited thousands of times because we think about them all the time and think about them a lot. So this is unusual. I had to look this guy up. I love Princess Diana. Oh my God, what a human being. This is interesting though. So keep in mind that when you see videos like this, someone's talking from memory, your brain is always helping you to tell the easiest story, the easiest story to tell and to remember the easiest story. That's all I got. Yeah, I agree with you because she was kind of like a candle. But as you were making preparations to get back here to the family ancestral home, Althrope, you had another call, a call from Prince Charles, of course now the king. What did he say and how did he sound? Well, I was rushing around the house preparing the children and all of that sort of thing for the day ahead. And I remember picking up the telephone. I was upstairs in my house in Cape Town and he was telling me how he had told the boys, William and Harry, at Balmoral and broken the news to them. And I felt, as I say in the book actually, I felt there was a sort of giddy tone. I'd had a lot of calls that day from people who cared, who were stunned like we all were. And I just felt there was a lightness in his tone about Diana's death that really jarred with me. You write that he was giddily elated, like a lottery winner. And you're suggesting he was somehow pleased that his former wife was dead. I, well, I'm reporting every word in this book. I report exactly as I saw it and felt it at the time. And I was surprised at the giddiness of his tone. That's what I'm recording there. All right, Chase, what do you got? The mainstream media is not broken at all. It is functioning exactly as it was designed. It exists to manipulate you, to divide you, to feed you fear and outrage and distraction while pretending all of that is information. And most people are still swallowing it like it's gospel. I've spent years studying propaganda and psychological operations and human behavior. And I will tell you this plainly, the media is not here to tell you the truth. It's here to shape your truth without you even realizing it. Every network, every outlet, left or right or center, they are all playing the exact same game. Keep you emotionally hijacked, cognitively blind and addicted to narratives engineered by people who have zero interest in informing you at all. So they manufacture a bunch of division. They amplify lies and they bury stories that threaten their control. This is not journalism. This is mass psychological warfare. This is why we use Ground News. It is not just a news app. It is a tactical weapon for seeing through all this fog. Ground News pulls in all these stories from every source, whether it's liberal or conservative or state-run, corporate-owned, billionaire-owned, and they show you these biases and the ownership of who owns the outlet that wrote that article, the spin. And then finally, my favorite is what is being left out of that article. I always talk about, let's look for what's missing. They do that at Ground News. So you're going to watch these narratives fracture in real time. You're going to be able to spot manipulation like it is lit up in neon. And once you see how disgustingly coordinated all this stuff is, you're not going to be able to unsee it. The behavior panel never really partners with very many brands, but Ground News is way different. It puts the power back into people's hands instead of the news. So go to ground.news.tbp, scan the QR code, or hit the link in the description. We've got you 40% off of the same plan that we use. So don't keep trusting the people reading scripts for billionaires. Stop being programmed and start seeing the depth of what is actually going on. Interesting angle. At the time, I feel like, I don't think it would have been a surprise. I think it would be anger. You'd be pissed off. That's your sister. But again, he's answering a question that wasn't asked, and he's defending an allegation that never came out. But the recording, oh my God. All right. This is a reference to memory being a recording device. What I recorded at the time. I think he says it twice in here. So story is not the same as memory. I don't see deception indicators, but we have a dangerous combination here. We have extremely low stakes and high incentive. So the questions are not very targeted. Low stakes, high incentive. It's a bad combo for people like us. I'll just put that out there. So there's no recording there, but it seems as though he remembers this as though it is a recording. There's a woman named Susan Loftus who's proven that you can install a false memory in somebody in under like 30 seconds, which is incredible. Our memories are not a DVR. Greg, what do you got? Yeah. I think what we're seeing here for me is this facial expression and behaviors as she reads this stuff off is how do I get this off my shoe without anybody noticing? Because he just made a mistake here if he answers this question the wrong way. Because she does set him up. She reads his words and he's sitting quietly and confirming nods. And then she changes gears and she asks, you're suggesting that and linking it to declarative words. That can become quite dangerous in court. And Mark, I'm going to hand it off to you because your slander and libel laws are much different than the US. So you can get in a real bind very quickly. So we watch her and she's kind of animated in her own way. If you look, she's showing disgust and a little bit of anger as she says those words. Now, whether that's towards Charles or toward this guy, don't know, but there you go. You have to figure that out for yourself. When he starts to talk to her, he's got his forehead up in request for approval as he's trying to persuade her what he's saying. Watch his fingers curl back. Joe Navarro says extended fingers and thumbs are incompetence and I agree with him. Watch his fingers curl as he starts doing this and lose that competence. When he says, that's how I felt, he comes out again and he takes it back to how I felt. He doesn't make it about the words. And these are not words, however, that he wrote that he was giddy and he was this. That's a dangerous combination. And this, so he sits back, he rifles through his head. You can see him trying to figure out the facts of that day, what he wrote and how the outcome might be based on what she's saying. And that's him trying to get something off of his shoe, it looks like to me. Then he goes back to framing this exactly the way I felt, nailing down. It's what I recorded there. Those are phrases to make it. This is how I felt at the time, followed by a confirmation. I think he realizes this could get him in a real bind is my opinion. Mark, what do you say? Yeah, yeah. The laws aren't very different in the UK than they are in the US for sure. Now, having said that, monarchs don't tend to sue. So there is a tradition of that. The monarch won't sue. You can kind of say whatever you like about the monarch and there's a lot of free speech, but that's not written into the law. It's just, you know, that's the tradition of the monarchy. They don't sue. However, Piers Morgan is suing, I think. Oh, suing that guy, yeah. This I heard today on another show I was doing. He is okay. So, hey, maybe Penguin are going to have to pulp this book anyway. So maybe there's some problems there. Here's what I get from what he's saying. I'm reporting as I saw it and felt it at the time. I'm reporting as I saw it and felt it at the time. Oh, so this, you've just told me this is definitely not fact, definitely not a fact. Yeah. Yeah. Oh, reverse everybody. Come on, let's get out of here. Look, the question I would want to ask him at this point is, okay, so what do you think now? That would be the question. What do you think now? Then you'd have him in a corner. So either he's going to repeat right now that he feels and thinks it right now, or he has facts about it right now, or he's got to go no and no comment, which is like, okay, well, that's not very entertaining then, is it? So this is definitely not fact. By his own admission, this is not fact that he's saying here. Chase, what do you got on this one? What do you got? Oh, okay. You're right. He's squatting on that whole thing about feeling it, about his feelings on it, because what are you going to do? And he's reporting it. We're covering the same stuff pretty much. So my question is, where does illustrators go, man? His voice tone, volume, and everything. He slows down. His cadence slows down. His voice tone gets softer. His volume gets quieter. Where'd that stuff go? All those things we see usually as a cluster of cues. It might be deceptive. I'm under the impression. But I don't think he'd have a leg to stand on. But Mark, you're right. That's the question to ask. What do you think now? Now, I think what he's doing here, again, is he's creating that story. Listen to how, listen to the way it's constructed. He's thought this stuff out. And the thing that threw him there is what's kept his illustrators out there, because he wasn't as comfortable talking his way through that, you know? So where the other one he was, that's why he got up there on the phone and called him and did this and that. He was very comfortable using his illustrators up in here and do all that. Not now, because he's trying to say what he's gonna, he's got his answer, but he's having to shape it differently. This wasn't a prepared answer, but he's still trying to create that picture in your head. Everybody said he was listening. So, all right, we good? Yeah. You write that he was giddily elated, like a lottery winner. And you're suggesting he was somehow pleased that his former wife was dead. I, well, I'm reporting every word in this book, I report exactly as I saw it and felt it at the time. And I was surprised at the giddiness of his tone. That's what I'm recording there. And then quite soon after that, a sort of dedicated phone line in my office went again. And it was the then Prince of Wales saying, I gather you've got a problem with the funeral service. And I was thinking, no, I haven't, because I was thinking of the structure of the actual service in Westminster Abbey. And then he said, I gather you don't think William and Harry should walk behind Diana's coffin. And I said, well, of course not, sir. She wouldn't want it. And then he said, well, I walk behind Lord Mountbatten's coffin. And I said, yes, but you were 30 and he wasn't your mother. And then to be, I mean, he went ballistic would be the right term. And started really going for my family as a whole about their sense of duty, not being adequate enough and ranted for a while. I have no idea how long, but it was a significant period. And I just listened. And then he stopped and I thought, oh, now, now he's going to pull himself together and say something more appropriate. And then he said, we'll forget her soon enough. All right, Greg, what do you got? Yeah, there's no hedging language here. We're back to he's telling a story. Now what's interesting for me is of all the things he said, I probably believe this one more than most of the other stuff that he's done because his illustrators are back. He's doing machination with his hands. He's showing that the dedicated phone line. I'll leave that to you guys, because that's a weird one and a funny thing to say, but it might be another boxing into a situation so he can explain it. We don't care about that. He does emotional eye accessing. He's looking down into his right. If you think about the last funeral you went to, you'll do that or happy thing. You'll do that as well. I usually go to the dark because it's easier to get the emotion quickly, but he's looking down into his right as he's talking. And that usually is emotional eye accessing for memory. These illustrators are great. He's talking about William and Harry behind the casket. I see shock. I don't see RFA. I see his face rise up quickly because that's something odd. And then when he goes to talk, this is the reason I believe in more than most of the others. When he goes to talk about Charles saying, I walk behind the casket of Lord Mountbatten, his voice tone changes to mimicking, his volume changes, his brow goes down, and even has some anger in his mouth. He's emulating what he is saying the person did. When he says he went ballistic, again, I think we see some residual shock. His brow goes up really quickly. I don't think he expected it to be that much. But then when he gets to that last little piece, you see him do that anger check inside his mouth. You see that in people often, often when they're just biting their tongue, almost literally biting their tongue to push your tongue out and say, and that's because he said, we'll forget her. And it's his sister. I think that's what we're seeing. Scott, what do you got? Yeah, I agree with it. Again, a sort of dedicated phone line. What does that mean? A sort of dedicated phone line. He starts with these meaningless details because when you do that, you're getting ready. You're, okay, I've got to tell this story. So you go, instead of going, okay, here we go. That's his, okay, here we go. That's why he said that. He's prepping to do that because he's got his, he knows this is one of the most important parts of the book. Not, I think it's one of the top three. I haven't read the book, but from all I've heard online. I'm sure you will. I'm sure you will. No, but. You know he's going to. The graphic novel. That's already on his Kindle, I bet you. No, it's probably not. No, I'm not going to read that to anything. Mackenzie Schofield was telling me these things. Like he's talking about how the King also, I don't want, I hate saying it, but he said he was, that he supposedly was in love with his valet, you know, and I think that's going to come up somewhere and that's what's going to sting this guy too. That's what's going to make people hate this guy because things like that, there would have been somewhere else in his life that would have come up, I think, before now, before he's, he's an old guy with, you know, who has cancer and he's, you know, he's not doing well and he's doing okay, I guess. But I think we would have heard of that long before now. And then when he says, I said, of course not, sir. She wouldn't want it. He's adding that in there. So it makes it look like we have respect for him. And he's, he's, he's lowering himself below the King's, of course not, sir, or the Prince at the time to make us think he was respectful to him, you know, and he goes ahead and says all this other stuff. So that gives us the impression he's talking to him the right way, the way he should be talking to him. Again, he's a writer. He's a pretty smart guy. And he's setting this up to create a picture in our, in our minds of what happened. That's why he's miming that phone and he's, you know, doing those kinds of things. And he's, he's pointing and he imitates the voice of the King. You know, I just, I don't see this as being something real. It's, it's too dramatic. It's, it's almost like a tiny little play that he set up. Something's not right. Something's not right here. And the anger and stuff, I believe it's there too, Greg, because that head goes down. You see a little bit of that top lip come up a little bit there. Yeah. He's, he's, he doesn't like the guy that's for sure. And probably because if the stuff was true about how, you know, he told her he didn't want to marry her. He didn't love her, but he's going to marry her anyway, you know, the King, then that would be, that's enough to make you mad. If you guys talking about your sister, you know, can't be having people do that to your sister, say stuff about your sister like that. So if that is even true, I don't know. I'm just telling you about the Royal stuff, you know, on the Royal channels. So I have to watch that these days. And Mark, where are they in this? That's what I was going to ask you. Where, where does this happen? Is that the same place that Andrew's in? Yeah, no, no, no. That's Allthorpe. That's Allthorpe house in Northamptonshire, my, uh, my home County. And so Allthorpe house. Allthorpe. It's their family. Many, many years ago, bought huge amounts of farmland in Northamptonshire and made themselves one of the biggest landowners, uh, in the area. The family goes back a long, long ways. One of the biggest houses in, in, uh, in the UK. So that's his cat's living room. Yeah. Holy smokes. Yeah. But he didn't use to live there. He used to live in the falconry. I once met him, uh, in the falconry at a, at a straight forward shooting weekend, a straight forward, straight forward shooting weekend. I was not in the shooting party. I was there for other reasons. But I just want to say it was a straight forward shooting week. You were there at sweat. So yeah, he's got, he's got a very big, very big house. Chase, where you got. Yeah, I agree. I think this book that he's on tour for is about preserving the memory of Diana. I don't hear a lot of that. And I watched the interview and I didn't hear a whole lot of that. Um, I just kept asking myself and granted I did scrub through the interview. I hit the, you know, the right arrow button on YouTube, a whole bunch. Every time I hear this stuff come up, I didn't hear her spoken about a lot, like in a way that might preserve her memory. Um, yeah, I just wouldn't know. I couldn't understand why she's not there. Why didn't she a part of the conversation at the books about this? So questions are very important to detect deception or to just spot any kind of any kind of stuff like that. Questions are important in all cases like this. So when we're talking about, like, I don't see behavior, I see behavior. A lot of that sometimes comes down to these questions. Questions are supposed to raise the stakes, direct attention, increase anxiety associated with deception, force some kind of confrontation with unexpected topics and subjects and do these kind of things that are going to pop these gestures off. Um, and we were just not, not seeing any of that. Definitely not seeing any clusters. There's a couple of stress. Stress is not deception. There is no behavior for deception. You see a cluster of a lot of stress, it might be a deception. There's a likelihood that we talk about. So anyway, if you're doing this, if you're trying to question somebody, remember to raise the stakes. Stakes are a big deal. And in this situation, we have relatively low stakes and an extremely high, uh, incentive. That's all I got. Mark, what do you got? Yeah, it's a good point. Chase is this, you know, he doesn't at any point go, listen, let's not talk about Charles and that's, let's talk about Diana. She was so amazing. There's no, it's very true what you're saying there. There's no, it doesn't get onto the, what should be the point of the book, which I believe is called Swan Song or something like that. And I assume it's about his relationship with, with her and, and her. So very interesting. I agree with what you're saying there. Listen, I think he's on, on steadier ground here, which is why we don't get him doing all these caveats because the, uh, William and Harry's experience of walking behind the coffin and the trauma of that is well documented. So he doesn't have to caveat that that's well documented. They say they did, it was traumatic for them. Uh, he says he worried that it would be traumatic. So, so there we go. Now, Alistair Campbell says that the reason, the main reason they were told to walk behind the coffin is that, is that they wanted to, they wanted them as like a human shield almost for Charles so that the public would, the public would see Charles and the kids together. And therefore the, the, the public wouldn't attack Charles so much. I mean, they were actually talking about physical attack and emotional attack, PR attack if they saw him with the boys. So this is well-documented stuff of the strangeness of putting into that. Explain why. Well, if, if, if it had just been Charles walking behind the, the, the coffin, then the public would have been able to go look at him. He doesn't care about her. He's pleased about this. See what he did. Yeah. And they would have been able to emotionally singly target him and potentially physically singly target him was one of the worries. And so the idea was put the boys there as well. And now, now you've got more of a family scene. The boys were well-loved. You can't attack them. And so now it's a little more, it's softened. It softened it for Charles is, is what Alistair Campbell says. Now, Alistair Campbell, you know, can be, can be brought up as a, as a liar in, in, and a truth teller in all his own ways. So you can take that with whatever you like. Alistair Campbell was the spin doctor for, for Tony Blair, very important political player, and was Tony Blair's head of communications at the time of princess Diana's death. So, so arguably wrote the line, the people's princess, which, you know, which Tony said, and, and, you know, put him up in people's estimation and coined her as the people's princess. It is arguable, arguable that, that Ali Campbell wrote that. So there you go. So, so here's what it comes down to, to me, what's most interesting here is he puts forward that there was this argument from Charles that his family, that, that the, that, that, that they weren't good at their duty, essentially, they weren't good at their duty. And so the main argument here is duty versus feeling. And that was the Windsors versus Diana, is the Windsors were all about duty, duty, duty. And, and Diana was about the feeling. And that was the conflict between those two entities. And ultimately, Charles here, in turn, Charles Spencer, is raising that conflict again, in this situation, because it's a good, it's a good battle. It's a classic battle of duty versus feeling. And, you know, there's a potential here, he can kind of kill a king with it. There's nothing that could put you down, down more in history than you kill the king, you cause the demise of a monarch. I mean, how would the Spencers, you know, stamp, stamp approval on there. I mean, the Spencers are a much older family than the Windsors, way older than the Windsors. So he could have a bit of a family stamp of approval, I took down a king and made a lot of money. I mean, if it's a, as you say, it's just under a million dollar or pound advance. I've heard more, Chase. I've heard more, but we don't know what's, what the case is. I've also heard that it could make, you know, if it went well, could make $80 million. That's what I've heard, could make $80 million. It's a lot of money, which anybody who owns a country house, and well, no, I mean, those countries, I mean, they are a cost. You end up, if you can't pay for them, you give them to the British public in the end, we own them and you lose everything. You can't roof those places. Anyway, that's all I've got on that one. And then quite soon after that, a sort of dedicated phone line in my office went again. And it was the then Prince of Wales saying, I gather you've got a problem with the funeral service. And I was thinking, no, I haven't, because I was thinking of the structure of the actual service in Westminster Abbey. And then he said, but I gather you don't think William and Harry should walk behind Diana's coffin. And I said, well, of course not, sir. She wouldn't want it. And then he said, well, I walk behind Lord Mountbatten's coffin. And I said, yes, but you were 30 and he wasn't your mother. And then to be, I mean, he went ballistic would be the right term and started really going for my family as a whole about their sense of duty not being adequate enough and ranted for a while. I have no idea how long, but it was a significant period. And I just listened and then he stopped and I thought, oh, now, now he's going to pull himself together and say something more appropriate. And then he said, we'll forget her soon enough. Well, it's pretty interesting. At this point, Mark, how's it looking to you? Yeah, here's how it's looking to me. How many shows have we done? We're halfway through. I've gone, hang on. They've got a book. They've got a book. Oh, oh, hang on then that makes. So look, this is a guy with a book and I'll leave it at that. Okay. I'll just leave it at that. This is a guy who's written a book and he's publicizing the book make of that what you will chase. Don't watch the video of Michael Jackson and princess Diana talking to each other. That's all I got, Greg. Yeah. I don't think I'm going to watch that one, but I will say this, look, when you write a book and you're writing a book about access that nobody else has control over, and that might become a movie. You don't talk about the good parts about your sister being beautiful and brilliant and all that. You talk about the sticky, greasy stuff that will get people to buy the book and get people to make a movie. And that's what all I think he's doing. That's why he's willing to take a chance on my opinion, take a chance on saying felt this way and isolate because we watched him very artfully use language to block it back and say, that's how I felt. It's not what I said. It's how I felt. So that's what I think we're seeing here or anything else. But Chase, thanks for adding some feel good. Now I didn't mean to step on it. It's just not my gig. The clip is about her escaping this unbelievably disgusting stuff that she was going through. And Michael at that time was going through something similar and they bonded over this about having been twisted by a system and corrupted. It's actually pretty interesting. He was kind of like a candle. He had a monkey. That was bad. That was a cool job. Scott, now Sony's coming for you and Chase. That's true. I'd have a monkey if I could have a monkey. I told you about that monkey in the back. Remember in the backyard, there was a dang monkey. Did I talk about it on the show or I just told you guys about it? I think you told me a monkey showed up in your yard one time. Okay. Just really quickly. So everybody don't leave everybody hanging. I was in my kitchen. I looked out in the yard, hand to God. And I call it a hospital monkey because the only time I ever see these is because they're in hospitals and stuff there. Yeah. Capuchin monkey. They're black and white and you know, when you see him, right? There was one sitting out in the backyard, there was a rabbit sitting there and this thing is trying to, it's sort of putting his hand over there and he's looking at it. And I thought I was losing my mind. I was like, Oh my God, this looks like a monkey. So I thought it was a skunk. And I kept looking closer and closer. And I said, Oh my God. So then I tried to go out there and I didn't, didn't have one of those cases have been big, but I wouldn't say I worried about it. Didn't have my phone. I got my phone out and I go right outside and with the video thing on, he wasn't there. So there's that. What were you drinking that morning? Yeah, I don't drink. Yeah, I wouldn't do it. And I got nothing, you know, anyway, so that's what happened. And I don't know what happened to monkey. Somebody around here must have one of those, you must have monkey and must've gone back home, you know, I'm thinking. Quick question. Why hospital, why do hospitals have monkeys? It's not a hospital monkey, but that's what I was a kid. I always thought it was a hospital monkey. Oncology wards and stuff to cheer up little kids. And yeah. Oh, okay. You mean like organ grinder monkey. Were you the Eggman or the walrus? The walrus. Yeah. Yeah. Yeah. Okay. So that's what the monkey told me I was. Anyway, so on this thing, I think this is all, this is, this is, this is a group of stories in that book, I would assume, because if he's saying it like that, he's protecting himself. Like Greg was saying, he's backpedaling on a lot of this stuff. And I'm sure when he was writing, he's like, I'm going to say this now, they won't be able to prove it. I'm going to get away with it and all that. I think there's a lot of that going on in there. And now he's like, now I got to, I've got to take care of some of that. We got to get, we got to fix this. Cause I think like Piers Morgan, it's up his hind end, man. I think that's going to be a problem for him. Cause Piers, as you guys know, he didn't give a, about anything when it comes to stuff like that, look what he did to make it more cool. You know what they say, everybody wants to be a gangster until it's time. That's right. All right. Well, I think this is another Gooden, fellas, and we'll see you next time.