WEBVTT - America’s Troubled Shakespeare

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<v Speaker 1>Why Ozzy Media Productions. History contains many sliding doors, fateful

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<v Speaker 1>moments that happened that caused something else to happen, which

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<v Speaker 1>in turn leads to something else. Moments that ripple across

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<v Speaker 1>our lives, our communities are world. I'm Sean Braswell and

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<v Speaker 1>This is the Thread, a podcast from Azzi Media. This

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<v Speaker 1>premier season, we take the death of rock icon John

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<v Speaker 1>Lennon in Night and pull on a thread that leads

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<v Speaker 1>us back to another Lenin, the Russian revolutionary leader Vladimir Lenin.

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<v Speaker 1>Here's a quick recap to follow our thread so far,

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<v Speaker 1>but please listen to the previous episodes if you haven't already.

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<v Speaker 1>John Lennon shot twice and looked back rush the Roseveld Hospital,

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<v Speaker 1>dead on arrival. John Lennon was murdered in front of

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<v Speaker 1>his New York City apartment building in December of nineteen

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<v Speaker 1>e d Mark David Chapman came to New York with

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<v Speaker 1>a sore intention of killing John Lennon. Chapman didn't flee

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<v Speaker 1>the scene after the shooting. Instead, he took out a book.

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<v Speaker 1>As he told CNN's Larry King years later, I took

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<v Speaker 1>the catch in the rye out of my pocket. I paced,

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<v Speaker 1>I tried to read it. I I just couldn't wait

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<v Speaker 1>Larry till those police got there. I was just devastated.

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<v Speaker 1>Chapman was obsessed with The Catcher in the Rye and

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<v Speaker 1>its main character, Holden Caulfield, but the novel may have

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<v Speaker 1>never existed if it's author J. D. Salinger had not

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<v Speaker 1>fallen for a beautiful New York socialite, Una O'Neill. Una

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<v Speaker 1>helped inspire Salinger's book, but she also broke the young

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<v Speaker 1>writer's heart when she married Charlie Chaplin, a man old

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<v Speaker 1>enough to be her father. If ever anyone was looking

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<v Speaker 1>for a father, it was Una. In this episode, we

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<v Speaker 1>continue our thread with UNA's father, Eugene O'Neil. He changed

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<v Speaker 1>in his life when he abandoned her as a small child.

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<v Speaker 1>He also changed the landscape of American theater forever, Oh,

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<v Speaker 1>those dark and curious Berne. We begin this episode in

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<v Speaker 1>the year ninety nine. The playwright Eugene O'Neill has won

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<v Speaker 1>three Pulitzer Prizes and the Nobel Prize for Literature. He's

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<v Speaker 1>fifty years old, and he's just getting warmed up. Over

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<v Speaker 1>the next four years, he writes his last and best plays,

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<v Speaker 1>the Iceman Cometh, Long Day's Journey and Tonight, Touch of

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<v Speaker 1>the Poet Hughie, and a Moon for the Misbegotten, all

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<v Speaker 1>just during this one brief for a year period. Robert Dowling,

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<v Speaker 1>author of Eugene O'Neill, A Life and Four Acts, it

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<v Speaker 1>was really a magnificent accomplishment. And you think about it,

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<v Speaker 1>this is this is a guy who had already won

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<v Speaker 1>three Pulitzer Prizes and the Nobel Prize, and now's his time.

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<v Speaker 1>He thinks to really make a difference. But this outpouring

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<v Speaker 1>of creativity is in part fueled by a frantic race

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<v Speaker 1>against time. O'Neill suffered from a degenerative disease that made

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<v Speaker 1>him shake uncontrollably. His brain worked perfectly, but by the

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<v Speaker 1>end of his life he could barely feed himself or

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<v Speaker 1>hold a pen. He simply couldn't write anymore, and he

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<v Speaker 1>tried to dictate his plays on ad dictaphone, and that

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<v Speaker 1>didn't work. This is why we still have recordings of

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<v Speaker 1>his voice at all. It's because he read out different

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<v Speaker 1>scenes from his late plays, like the Uneven Ticked of

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<v Speaker 1>a Rundown crazy Clock, and so for the last ten

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<v Speaker 1>years of his life, his brain was at absolute top,

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<v Speaker 1>like the height of its power, but his body refused

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<v Speaker 1>to allow him to get the dramas circulating in his

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<v Speaker 1>head down on paper onto the stage. And it's just

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<v Speaker 1>it's just tragic. I became drunk with the beauty and

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<v Speaker 1>singing rhythm of it. This is Eugene O'Neil from one

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<v Speaker 1>of those recordings. For a moment, I lost myself, actually

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<v Speaker 1>lost my life. I was sept free and dissolved in

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<v Speaker 1>the sea became white, sails and flags, right became beauty

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<v Speaker 1>and rhythm, game, Moonlight and the ship my dim studs.

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<v Speaker 1>Guy O'Neil is reciding from a long day's journey in Tonight.

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<v Speaker 1>The play is about family, addiction, love and hate and

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<v Speaker 1>how we handle them. His whole life went into making

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<v Speaker 1>this dramatic masterpiece, which he requested not be published until

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<v Speaker 1>twenty five years after his death. O'neili used drama to

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<v Speaker 1>work through the relationships in his life with his parents, siblings,

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<v Speaker 1>wives and children. Before O'Neill was a literary legend, he

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<v Speaker 1>hung out at a hole in the wall bar in

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<v Speaker 1>Greenwich Village. The young O'Neill was a brooding drunk with

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<v Speaker 1>smoldering good looks. And dark, soulful eyes. He had already

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<v Speaker 1>dropped out of college and abandoned his first wife and

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<v Speaker 1>newborn son to sail the seas and search for gold

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<v Speaker 1>in Central America, only to return with no gold and

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<v Speaker 1>a wicked case of malaria. The struggling writer lived in

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<v Speaker 1>Manhattan on a small allowance from his father, who was

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<v Speaker 1>a well known actor. O'Neill called his apartment the garbage Flat.

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<v Speaker 1>It had piles of sacks for beds and a carpet

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<v Speaker 1>of cigarette butts. He came him to Greenwich Village the

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<v Speaker 1>old fashioned way by sort of drinking his way in,

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<v Speaker 1>and the hell Hole was perfect for him. O'Neill's favorite

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<v Speaker 1>haunt was the Golden Swan Saloon, but everyone just called

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<v Speaker 1>it the hell Hole. On any given night, you could

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<v Speaker 1>walk into the hell Hole and find O'Neill drinking himself

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<v Speaker 1>into a stupor, often alongside some colorful characters. The Heads

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<v Speaker 1>and Dusters were a quite vicious street gang and Irish

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<v Speaker 1>street gang. They were called the Dusters because they did

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<v Speaker 1>so much cocaine. They were a really violent group, but

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<v Speaker 1>for some reason they absolutely adored O'Neill and um he

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<v Speaker 1>would recite to them and they loved it, and he

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<v Speaker 1>became great friends with them. Beer was five cents of glass,

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<v Speaker 1>and the food came through a jagged hole in the wall.

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<v Speaker 1>But apparently, you know, the food was pretty good. O'Neill

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<v Speaker 1>drank among the rabble, pickpockets, prostitutes and bohemians of the village.

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<v Speaker 1>It was an enormously important time, even though he wasn't

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<v Speaker 1>actually sitting down and writing is primarily sitting down and drinking.

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<v Speaker 1>He wrote virtually nothing, but he did pick up the

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<v Speaker 1>dialects and storylines and upsettings for a lot of his plays.

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<v Speaker 1>Eugene O'Neil struggled as a playwright in New York City

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<v Speaker 1>at the very beginning of his career. Nobody wanted his

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<v Speaker 1>gloomy tragedies, and so in the summer of nineteen sixteen,

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<v Speaker 1>he traveled to the artist enclave of Provincetown, Massachusetts. It's

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<v Speaker 1>a quaint Portuguese fishing town. The quaint is the wrong word,

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<v Speaker 1>because there were just so many artists and writers and

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<v Speaker 1>bohemians and everybody's drinking and swimming and putting on plays,

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<v Speaker 1>and it was the largest art colony in the world.

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<v Speaker 1>The scene that summer revolved around an innovative theater group

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<v Speaker 1>called the Provincetown Players. The players wanted to up in

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<v Speaker 1>the world of American theater. Mary Dearborn, historian and biographer

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<v Speaker 1>up tell then playwrights were thought to be sort of

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<v Speaker 1>like tradesmen who just provided sort of copy for the

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<v Speaker 1>artists the actors to interpret an act, but to write

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<v Speaker 1>a play that was a work of art that was new.

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<v Speaker 1>In other words, the Provincetown Players wanted to establish playwrights

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<v Speaker 1>as the true stars of Broadway, and his luck would

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<v Speaker 1>have it, an unrecognized genius, albeit one with a serious

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<v Speaker 1>drinking problem, had just washed up on their shores, and

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<v Speaker 1>O'Neil was shaking so hard from the d t s

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<v Speaker 1>that he couldn't lift his coffee cup up to his mouth.

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<v Speaker 1>Biographer Robert Dowling says O'Neil was in a sorry state.

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<v Speaker 1>But the players were looking for good plays to put

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<v Speaker 1>on that summer, and O'Neill had a whole box of

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<v Speaker 1>them he was working on, and on top of the

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<v Speaker 1>box was painted the words magic yeast, which turned out

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<v Speaker 1>to be pretty prophetic. The Provincetown Players invited O'Neill into

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<v Speaker 1>their circle. One of their leaders, a beautiful bohemian woman

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<v Speaker 1>named Louise Bryant took a particular interest in him. She

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<v Speaker 1>even let him stay for free and a rundown shack

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<v Speaker 1>near her house. But O'Neill kept Bryant and everyone else

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<v Speaker 1>at a distance. He put a sign above the shack

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<v Speaker 1>door that read go to Hell. He was a very

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<v Speaker 1>shy person, and so I think he felt very vulnerable

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<v Speaker 1>around all these thespian like look at me types. He

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<v Speaker 1>was not a look at me type, But what he

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<v Speaker 1>understood was that he needed these people to help him

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<v Speaker 1>put on his plays. Louise Bryant was the only one

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<v Speaker 1>who could get O'Neill to stay sober long enough to write.

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<v Speaker 1>Later that summer, O'Neill shared a new one act play,

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<v Speaker 1>Bound East for Cardiff, was based on his time as

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<v Speaker 1>a sailor. The players were absolutely stunned. They were just

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<v Speaker 1>all floored by the mean in which O'Neill was able

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<v Speaker 1>to capture the dialogue of the real sailors, to put

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<v Speaker 1>them into such a sympathetic light. The province down players

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<v Speaker 1>staged Boundaries for Cardiff and an old fish house at

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<v Speaker 1>the end of a wharf. Mary Dearborn. Again, it was

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<v Speaker 1>very romantic. I think it's the planks of the floor.

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<v Speaker 1>You could see through to the waters of the bay.

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<v Speaker 1>It was very dramatic looking. I mean, I don't mean

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<v Speaker 1>to leave you drisk, but the sailor life it ain't

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<v Speaker 1>much to cry about. Leaving one ship after another, had

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<v Speaker 1>works more pay, had a bump, grub, and then you

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<v Speaker 1>get in support. There's another drunk kending up in a fight.

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<v Speaker 1>Oh your money gone, and then you just sail away again,

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<v Speaker 1>never meeting no nice people, never getting out of sailor town,

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<v Speaker 1>hardly in any part, traveling all around the world and

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<v Speaker 1>see none of it, with no one to care whether

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<v Speaker 1>you're alive or debt. The entire wharf shook with applause.

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<v Speaker 1>The player's performance of Bound East for Cardiff at Summer

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<v Speaker 1>is a legendary moment in American theater. The play was

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<v Speaker 1>a full blown tragedy. It made no attempt at a

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<v Speaker 1>Broadway style happy ending. O'Neill's innovative writing portrayed working class

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<v Speaker 1>characters with a stark sensitivity. The same month that O'Neil

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<v Speaker 1>made his worldwide debut as a playwright in Provincetown, he

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<v Speaker 1>also embarked on a love affair that would change his life.

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<v Speaker 1>From the start of the summer, there was no doubt

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<v Speaker 1>of the electricity between Eugene O'Neill and Louise Bryant. He

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<v Speaker 1>told a friend, when that girl touches me with the

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<v Speaker 1>tip of her little finger, it's like a flame. It

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<v Speaker 1>was Bryant, though, who made the first move. He passed

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<v Speaker 1>on Neil one of her poems tecked into a book.

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<v Speaker 1>It was extremely flirtatious. Mary dearborn again, dark eyes, you

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<v Speaker 1>stir my soul ineffably, you scatter all my keys, dark eyes,

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<v Speaker 1>what shall I do? It's like saying, uh, you know,

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<v Speaker 1>do you want to pick this up? And uh? Evidently

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<v Speaker 1>he did. He fell for her immediately. Robert Dowling again,

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<v Speaker 1>she was a real enchantress. I guess, for lack of

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<v Speaker 1>a better word, I mean, she really had that kind

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<v Speaker 1>of radical, open minded, individualistic, artistic bohemian attitude, and I

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<v Speaker 1>just don't think he had met anybody like her. Bryant

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<v Speaker 1>brought out the best in O'Neil. Their love and his

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<v Speaker 1>art flourished among the sand dunes of Cape Cod. The

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<v Speaker 1>only problem was Bryant had a serious boyfriend, and he

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<v Speaker 1>was seriously famous. Jack Reid was a rock star journalist

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<v Speaker 1>he reported on war and revolution around the world. Briant

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<v Speaker 1>assured her new lover that she and Reid believed in

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<v Speaker 1>free love. Still, O'Neill looked up to Read and was

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<v Speaker 1>terrified that he would find out about the affair, And

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<v Speaker 1>sure enough, Read did find out, but he didn't care.

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<v Speaker 1>He gave the lovers his blessing. Up next, O'Neill star rises,

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<v Speaker 1>but at a heavy price. The magical summer in Provincetown

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<v Speaker 1>eventually came to an end. Bryant grew restless and craved adventure.

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<v Speaker 1>She left O'Neill behind and sailed off to report on

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<v Speaker 1>war and revolution around the world. But she kept O'Neill

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<v Speaker 1>on ice and came calling every time she was back

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<v Speaker 1>in New York. For the next year, the love sick

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<v Speaker 1>playwright nursed his wounds in Greenwich Village biographer Robert Dowing,

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<v Speaker 1>O'Neill sank into another extremely depressive stage of extreme alcoholism.

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<v Speaker 1>O'Neill was in a haze of depression, heartsickness, and drink.

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<v Speaker 1>One night, a beautiful woman walked into the hell hole.

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<v Speaker 1>Every eye in the place turned to greet her. Everybody,

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<v Speaker 1>especially the Provincetown players, and especially O'Neill just gaped at her.

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<v Speaker 1>She was, you know, kind of a more classically beautiful

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<v Speaker 1>version of Louise Bryant. And everybody saw that the woman's

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<v Speaker 1>name was Agnes Bolton. O'Neill was floored. After a few drinks,

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<v Speaker 1>O'Neill walked her back to her hotel. When they parted,

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<v Speaker 1>he looked her in the eye and declared, I want

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<v Speaker 1>to spend every night of my life from now on

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<v Speaker 1>with you. I mean this, every night of my life.

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<v Speaker 1>O'Neill and Bolton got married in April. They moved to

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<v Speaker 1>Cape Cod where they could both right and go for

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<v Speaker 1>long walks together. Their relations to begin pretty well um

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<v Speaker 1>their first two years together. We're pretty idyllic, and they

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<v Speaker 1>both were writers. They both like to drink. They both

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<v Speaker 1>adored Provincetown. O'Neill's father bought them a gorgeous house out there.

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<v Speaker 1>Then things started to go downhill. Just as O'Neill's writing

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<v Speaker 1>career took off, Bolton faltered under the weight of her

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<v Speaker 1>husband's genius, his drinking, his frequent bouts of rage. His

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<v Speaker 1>work came to dominate their marriage. Writing is my vacation

0:15:35.560 --> 0:15:39.680
<v Speaker 1>from living, he once said, And he was in those days,

0:15:40.040 --> 0:15:44.680
<v Speaker 1>a really mean drunk, so he hit her and then

0:15:44.680 --> 0:15:47.160
<v Speaker 1>he would have this epic hangover the next day and

0:15:47.320 --> 0:15:50.480
<v Speaker 1>apologize so much that she was sort of embarrassed just

0:15:50.520 --> 0:15:54.480
<v Speaker 1>to be around him. Bolton got pregnant. O'Neill was reluctant

0:15:54.520 --> 0:15:57.480
<v Speaker 1>to become a father again. He told her, I don't

0:15:57.560 --> 0:16:00.760
<v Speaker 1>understand children. They make me uneasy and I don't know

0:16:00.800 --> 0:16:04.120
<v Speaker 1>how to act with them. And his older brother, Shane O'Neill,

0:16:04.320 --> 0:16:08.360
<v Speaker 1>was born in October nineteen nineteen, but Eugene consistently chose

0:16:08.400 --> 0:16:12.600
<v Speaker 1>work over family. His first published play, Beyond the Horizon,

0:16:13.160 --> 0:16:16.440
<v Speaker 1>was awarded the Pulitzer Prize for Drama, so he moved

0:16:16.440 --> 0:16:18.720
<v Speaker 1>back to New York and left Bolton alone on Cape

0:16:18.760 --> 0:16:23.160
<v Speaker 1>Cod with their infant son, and so she felt enormously isolated. Well,

0:16:23.200 --> 0:16:26.280
<v Speaker 1>meanwhile O'Neill sort of whipping it up with all these

0:16:26.320 --> 0:16:29.920
<v Speaker 1>Broadway big shots, and after that point, I don't think

0:16:30.320 --> 0:16:35.080
<v Speaker 1>they ever really reconnected. Um. That was sort of the

0:16:35.120 --> 0:16:38.480
<v Speaker 1>beginning of the end for them. And as O'Neil's star

0:16:38.640 --> 0:16:42.480
<v Speaker 1>rose higher, so did his consumption of alcohol. He would

0:16:42.560 --> 0:16:48.040
<v Speaker 1>go totally cold turkey, write a complete play, and then

0:16:48.280 --> 0:16:52.000
<v Speaker 1>hit the bottle for two months. You know, and just

0:16:52.080 --> 0:16:56.360
<v Speaker 1>be completely destitute and sometimes lost. Nobody knew where he was,

0:16:56.880 --> 0:16:59.640
<v Speaker 1>and then he'd come back again. He would taper off

0:16:59.680 --> 0:17:02.720
<v Speaker 1>the boots. Once he was sobered up, he would write

0:17:02.720 --> 0:17:06.520
<v Speaker 1>another play, you know, and repeat. Una O'Neill was born

0:17:06.560 --> 0:17:10.359
<v Speaker 1>into this turbulence. She was a very loving little girl,

0:17:10.800 --> 0:17:15.240
<v Speaker 1>and he was a very very distant man. Una O'Neil

0:17:15.280 --> 0:17:18.359
<v Speaker 1>biographer Jane Scoville says Una never really had a chance

0:17:18.400 --> 0:17:22.440
<v Speaker 1>to win the playwrights affections. He He always said himself

0:17:22.480 --> 0:17:26.760
<v Speaker 1>that his plays where his children. The kids didn't They

0:17:26.760 --> 0:17:29.359
<v Speaker 1>were there, but he didn't pay much attention to them,

0:17:29.400 --> 0:17:33.200
<v Speaker 1>if at all. When Una was just two years old,

0:17:33.440 --> 0:17:37.200
<v Speaker 1>Eugene O'Neil abandoned their family for good. O'Neill's marriage to

0:17:37.240 --> 0:17:40.720
<v Speaker 1>Bolton began in the shadow of Louise Bryant, and their family,

0:17:41.119 --> 0:17:51.680
<v Speaker 1>including little Una and her brother, never escaped it. Let's

0:17:51.720 --> 0:17:54.280
<v Speaker 1>go back to when O'Neil and Bolton first met at

0:17:54.320 --> 0:17:57.400
<v Speaker 1>the hell Hole. That night, O'Neill declared that he wanted

0:17:57.440 --> 0:17:59.440
<v Speaker 1>to spend every night for the rest of his life

0:17:59.440 --> 0:18:03.600
<v Speaker 1>with her, but then he disappeared. Bolton didn't hear from

0:18:03.680 --> 0:18:07.239
<v Speaker 1>him for weeks. One night she attended a party and

0:18:07.320 --> 0:18:11.639
<v Speaker 1>guests who stumbles in the door Eugene O'Neill, and he's

0:18:12.160 --> 0:18:16.399
<v Speaker 1>completely bombed, and he he sees Agnes Bolton, and he

0:18:16.480 --> 0:18:19.800
<v Speaker 1>goes running into the kitchen with a bottle and sort

0:18:19.800 --> 0:18:24.720
<v Speaker 1>of drains the bottle and then goes out into the crowd,

0:18:26.359 --> 0:18:29.439
<v Speaker 1>stands up in a chair and starts dialing the clock

0:18:30.160 --> 0:18:34.200
<v Speaker 1>about the fireplace backwards. O'Neill pleads with the clock to

0:18:34.400 --> 0:18:38.720
<v Speaker 1>turn back the universe and give me yesterday, and everybody

0:18:38.720 --> 0:18:41.399
<v Speaker 1>thought that was a wonderful performance. A lot of people

0:18:41.400 --> 0:18:45.600
<v Speaker 1>were thinking maybe he meant bring me back to Louise Bryant.

0:18:46.560 --> 0:18:49.600
<v Speaker 1>But O'Neill couldn't turn back the universe no matter how

0:18:49.600 --> 0:18:53.120
<v Speaker 1>hard he tried. The love sick playwright continued to write

0:18:53.119 --> 0:18:56.520
<v Speaker 1>to Bryant even after he married Agnes Bolton, and then

0:18:56.520 --> 0:18:58.560
<v Speaker 1>in the final letter he writes so he says, it

0:18:58.680 --> 0:19:01.480
<v Speaker 1>is more than probable that you have burned yourself so

0:19:01.600 --> 0:19:04.680
<v Speaker 1>deep into my soul that the wound will never heal.

0:19:04.880 --> 0:19:08.080
<v Speaker 1>And I stand condemned to love you forever and hate

0:19:08.119 --> 0:19:13.600
<v Speaker 1>you for what you have done to my life. It's

0:19:13.640 --> 0:19:16.280
<v Speaker 1>impossible to know what would have happened if Louise Bryant

0:19:16.359 --> 0:19:19.240
<v Speaker 1>had stayed in New York with Eugene O'Neill, how history

0:19:19.320 --> 0:19:22.240
<v Speaker 1>might have changed. There would have been no marriage to Bolton,

0:19:22.600 --> 0:19:25.919
<v Speaker 1>no una to inspire J. D. Salinger, and then no

0:19:26.040 --> 0:19:28.600
<v Speaker 1>Catcher in the Rye, and no phonies to motivate Mark

0:19:28.680 --> 0:19:33.119
<v Speaker 1>David Chapman to murder John Lennon. But Louise Bryant did

0:19:33.200 --> 0:19:36.520
<v Speaker 1>leave O'Neill. She jumped at a chance for a grand adventure,

0:19:36.880 --> 0:19:39.520
<v Speaker 1>a chance to make a name for herself as a journalist.

0:19:41.040 --> 0:19:45.119
<v Speaker 1>Next episode, we continue our thread with Louise Bryant, a

0:19:45.160 --> 0:19:48.320
<v Speaker 1>woman from a small town and nowhere Nevada who burst

0:19:48.359 --> 0:19:52.240
<v Speaker 1>onto the world stage. She witnessed revolution in the making,

0:19:52.760 --> 0:19:55.960
<v Speaker 1>only to see it and her own life come tumbling

0:19:56.000 --> 0:20:22.560
<v Speaker 1>down and ruin and despair he jes say. The Thread

0:20:22.640 --> 0:20:26.480
<v Speaker 1>is produced by Meredith Hotner, Libby Coleman, and me Sean braswell.

0:20:26.760 --> 0:20:30.399
<v Speaker 1>Our editors are Carlos Watson and samir Rao. Meredith Hotmot

0:20:30.440 --> 0:20:34.040
<v Speaker 1>engineered our show with mixing and sound design from James Rowlands.

0:20:34.720 --> 0:20:38.240
<v Speaker 1>Special thanks to Cindy carpi In, David Boyer, Tracy Moran,

0:20:38.520 --> 0:20:43.159
<v Speaker 1>Sean Culligan, sun Jeeve Tanton, cameo George and k A. L. W.

0:20:44.440 --> 0:20:47.520
<v Speaker 1>This episode featured the song Dark Eyes by Gypsy Moon,

0:20:47.920 --> 0:20:51.960
<v Speaker 1>a performance by Jack McClain, and archival recordings from Yale's

0:20:51.960 --> 0:20:55.960
<v Speaker 1>Binikey Library. Check us out at ausi dot com, that's

0:20:55.960 --> 0:20:59.720
<v Speaker 1>ozy y dot com, or on Twitter and Facebook. So

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<v Speaker 1>learn more about the thread, visit azzi dot com, slash

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<v Speaker 1>the thread all one word, and make sure to subscribe

0:21:06.640 --> 0:21:10.120
<v Speaker 1>to the thread on Apple Podcasts. If you love surprising,

0:21:10.160 --> 0:21:13.879
<v Speaker 1>engaging stories from history like this one, look no further

0:21:13.920 --> 0:21:19.400
<v Speaker 1>than the flashback section of Osky. Thanks for listening. At

0:21:19.560 --> 0:21:34.800
<v Speaker 1>cheat Che's Today Knee a school he pre crime