[Upbeat music plays]

Two brains navigate a maze, chomping on a variety of things including a stack of books, tire, and baseball. The brains meet in the centre of the maze and form one large brain. A banner wraps around the brain. A person announces the title that appears on the banner.

They say, HUNGRY BRAIN!

[Funky music plays]

An artist draws on a whiteboard.

A narrator says, READY FOR A TRUTH BOMB?
AS LONG AS THERE
HAVE BEEN PEOPLE,
THERE HAVE BEEN LIES.

The drawing shows a person connected to a polygraph.

The narrator says, C'MON,
WOULD I LIE TO YOU?

A title reads, The Top on the polygraph.

The narrator says, HERE'S THE TOP
ON THE POLYGRAPH.

The artist adds a text bubble with exclamation points to the polygraph drawing.

The narrator says, YOU'RE GOING TO FIND OUT
EVERYTHING ABOUT THE POLYGRAPH.

The artist adds red scribbles around the polygraph machine in the drawing.

The narrator says, ALMOST EVERYTHING.

The artist changes the smile of the person in the drawing to a frown.

The narrator says, OKAY!
YOU'LL FIND OUT
SOME COOL FACTS?

The artist changes the frown of the person in the drawing back to a smile.

The narrator says, PHEW!
NUMBER FOUR,
THE INVENTION OF THE POLYGRAPH.

The artist writes, #4.

[Dinging]

The narrator says, SINCE THE LATE 19TH CENTURY,
PEOPLE HAVE BEEN USING MACHINES
TO FIGURE OUT IF A PERSON
IS LYING OR NOT.

The artist draws a person connected to a machine by a cuff on their arm.

The narrator says, BACK IN 1921,
JOHN A. LARSON,
A CANADIAN PSYCHOLOGIST
WORKING IN CALIFORNIA,
WAS ABLE TO TRACK
THE BREATHING,
HEARTRATE,
AND BLOOD PRESSURE
OF AN INDIVIDUAL
DURING INTERROGATION.

The artist draws a person behind the machine pointing to the person connected to it.

The narrator says, BUT THE POLYGRAPH
AS WE KNOW IT APPEARED IN 1939.
SINCE ITS LAUNCH,
THIS INVENTION,
BY THE AMERICAN
LEONARD KEELER,
HAS UNDERGONE MANY TWEAKS
AND UPDATES TO IMPROVE IT.

The artist draws a brown haired person in a suit pointing to a more current version of a polygraph machine.

The narrator says, NUMBER THREE,
HOW IT WORKS.

The artist writes, #3.

[Dinging]

The narrator says, IF THE TRUTH BE KNOWN,
THE POLYGRAPH IS QUITE SIMPLE.

The artist draws a black haired person sitting in a chair with their arms level with their shoulders.

The narrator says, SENSORS ARE PLACED
ON THE BODY OF THE INTERVIEWEE.
USUALLY AN ARMBAND,
PLUS SENSORS ON THE ABDOMEN
AND CHEST.

The artist adds sensors to the person’s arm, chest, and abdomen.

The narrator says, THESE MEASURE HEARTBEAT,
BLOOD PRESSURE,
AND BREATHING.
MEASUREMENTS ARE COLLECTED
USING A COMPUTER
THAT WILL CONVERT THE DATA
INTO GRAPHS.

The artist draws a computer showing data.

The narrator says, THE INTERPRETATION OF THESE
GRAPHS DETERMINES WHETHER
THE PERSON IS TELLING
THE TRUTH OR NOT.

The artist draws a brown haired person looking at the data.

The narrator says, THE TEST IS ALWAYS CARRIED OUT
IN A CLOSED, QUIET SPACE,
AND CAN LAST UP TO TWO
AND A HALF HOURS.

The artist draws a blond haired person staring at a person wearing the sensors.

The narrator says, YIKES!
THAT'S TOUGH,
EVEN WHEN YOU'RE
TELLING THE TRUTH!

The artist shows the person being tested sweating.

The narrator says, NUMBER TWO,
LIE TO FOIL THE DETECTOR.

The narrator writes, #2.

[Dinging]

The narrator says, THE POLYGRAPH
COLLECTS DATA,
BUT IT CAN'T SEE WHAT'S GOING
ON INSIDE A PERSON'S HEAD.

Drawings show a person being interrogated with a polygraph.

The narrator says, THE TRUTH IS, THE POLYGRAPH
IS NOT 100% ACCURATE.
A PERSON MAY HAVE PALPITATIONS
AS A RESULT OF
THE INTERROGATION.
ANOTHER MIGHT DELIBERATELY BITE
THEIR TONGUE TO SIMULATE
A PHYSICAL REACTION
THAT DISTORTS THE ANALYSIS.
OTHERS CAN BE VERY GOOD
AT KEEPING THEIR COOL.
RAISING AN EYEBROW
AND NERVOUS TICS
AREN'T ENOUGH TO CONVICT
A PERSON.

The artist draws different people wearing the polygraph sensors.

The narrator says, NUMBER ONE,
INSUFFICIENT EVIDENCE.

The artist writes, #1.

[Dinging]

The narrator says, FOR EXAMPLE,
THE SUPREME COURT OF CANADA
STATED THAT A POLYGRAPH TEST
WASN'T VALID
AS CRIMINAL EVIDENCE.

The artist draws a judge shaking their finger.

The narrator says, IT DOESN'T MEAN THE POLYGRAPH'S
A USELESS TOOL,
BUT ITS EVIDENCE WILL NEVER
BE AS RELIABLE
AS FINGERPRINTS OR D.N.A.
THEREFORE, A POLYGRAPHER
CAN BE CONSULTED AS AN EXPERT,
BUT ULTIMATELY,
IT IS THE JOB OF A JUDGE
AND MEMBERS OF THE JURY
TO DECIDE WHAT'S TRUE.

The artist draws a brown haired person pointing to polygraph results on an easel in front of a judge.

The narrator says, HONESTY IS ALWAYS
THE BEST POLICY,
BUT IF YOU CHOOSE
TO TELL A FIB,
YOU MAY JUST CRACK
UNDER PRESSURE.

The artist draws a red haired adult frowning at a child.

[Upbeat music plays]

End Credits.

Narration, Ian O’Connor.

Trio Orange. Member of The Association Québécoise de la Production Médiatieuqe.

AQPM Cinéma Télévision Web.

Copyright 2019.