There is much in this story that could be of interest to the general public as well as actors: technique of detectives skilled in interrogation, treatment of a 24-year-old as a fully mature adult in spite of the fact that the human brain isn't fully developed until at least 25 years of age -- impulse control and complex decision-making among other important late-stage maturation behaviors, or more narrowly, for actors, a character study. However, please pay close attention to the narrator's remarks about data that's collected to determine the truthfulness of the witness. It begins at 9:00.
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The subject is dialogue and its relationship to thought. Even though, in this case, high stress is a factor, the narrator points out that processing thoughts into dialogue, conveying them to speech -- the wording of a sentence -- is a difficult process and distinct from finding words easily and executing a sentence perfectly. In addition, aside from her body language (aka Stanislavski's physical actions!), it was noted that Jennifer concentrated on how she's being perceived.
Everything in the above paragraph describes indicated / narrative acting that is practiced by many actors who very intelligently read the script to us, and show us the character. They listen to themselves, set their lines, and are more concentrated on how they want us to see them than on what the needs are of the character they're trying to portray. Most importantly, among the detectives' clues as to innocence or guilt, is the delivery of thoughts to speech from a witness - or its absence. It's also the clue to the difference between indicated / narrative acting and dramatic acting in the attempt to artistically interpret human behavior from the printed page of dramatic literature.
