JAD ABUMRAD: Hey, I'm Jad Abumrad.

ROBERT KRULWICH: I'm Robert Krulwich. 

JAD: This is Radiolab and we're gonna go back now to the final segment in our show about endings, recorded live at the Paramount Theatre in Seattle.

JAD: Allright, we're gonna close the show—we're gonna shift the mood a little bit and we're gonna close out this show, and our tour, with a very different kind of ending.

ROBERT: Yeah, because unlike dinosaurs, dinosaurs have no idea what's ever gonna happen to them, but in this story we have an ending in which the enders can see what's coming, it's coming right at them, not fast but in this case very slowly. So can you guys hear me easily?

CHRIS JONES: Easily.

ROBERT: Easily, okay good. 

JAD: We're going to introduce you to two guys, Chris Jones and Dan Moran, they're both actors in Manhattan. Both been doing it…

DAN MORAN: About 30, 40 years. 

ROBERT: About 30, 40 years. 

JAD: Plays, movies, you name it.

DAN MORAN: Done five Woody Allen films. 

CHRIS JONES: Lotte Goslar's Pantomime Circus.

DAN MORAN: Julius Caesar on Broadway with Denzel. Moonstruck.

ROBERT: The Cher movie?

DAN MORAN: Yeah. 

CHRIS JONES: A lot of Shakespeare, a lot of comedies.

ROBERT: They've worked pretty much everywhere there is to work. As it happens I know this story because Chris, one of the actors, is an old friend, we met in a high school musical actually, many years ago. 

JAD: Oklahoma?
ROBERT: You think everything is Oklahoma. 

JAD: I don't know, I don't know musicals. 

ROBERT: It's anything goes. 

JAD: In any case.

JAD: Our story for both Chris and Dan begins…

DAN MORAN: Ten years ago. 

JAD: Dan was on stage, big stage, Washington DC. 

DAN MORAN: I was doing Streetcar. 

JAD: As in Streetcar Named Desire. He was playing the lead role, Stanley Kowalski, you know the guy Marlon Brando made famous for yelling…

[ARCHIVE CLIP, A Streetcar Named Desire: Hey Stella!]

JAD: That guy. 

DAN MORAN: And the woman playing Stella said, "It's really sexy how your left arm doesn't swing when you walk, it's kind of, like, animalistic. And I said, well that's cool, so I used it. 

JAD: He thought, well if it works, it works. I'll just play the character that way, as a guy whose arm doesn't swing. 

DAN MORAN: But after the show ended I was walking down the streets of Manhattan, I thought, "Why isn't my left arm swinging? What's going on?”

ROBERT: Now Chris, right around the same time, he was in Delaware shooting a film. 

CHRIS JONES: A movie by M Night Shyamalan. 

JAD: Kind of a great movie, if you ask me. 

CHRIS JONES: Called The Village.

[ARCHIVE CLIP, The Village: There are marks on the door.]

CHRIS JONES: I played Adrien Brody's father. 

ROBERT: And while getting ready in wardrobe one day he noticed…

CHRIS JONES: I had a slight tremor occasionally. Difficult time buttoning buttons with my right hand. I thought I had a pinched nerve in my neck. I went to see an orthopedic guy and he said you should see a neurologist. 

DAN MORAN: I went to a doctor…

CHRIS JONES: And he said very gleefully, I think, "You've got Parkinson's!” 

ROBERT: [laughs] Why, had he had a run of deficit of Parkinsonians? 

CHRIS JONES: He was pleased that he was able to help me out. He nailed it.

JAD: Now, Parkinson's, if you ask an expert, which we did…

CHERYL WATERS: Cheryl Waters, Columbia University Medical Center.

JAD: Parkinson's is a very mysterious disease. 

CHERYL WATERS: I'm not sure what to think about it now because it keeps evolving and changing. 

JAD: Some people, according to Dr. Waters, when they get the disease, nothing happens.

CHERYL WATERS: Nothing. They come with tremor, and they die with a little bit of tremor and nothing else ever happens.

JAD: But with other cases, for some reason…

CHERYL WATERS: It could wreak havoc. 

JAD: Because sometimes—and doctors really don't know why this is the case, sometimes the disease will just start to march through the brain, it will begin deep down…

CHERYL WATERS: Low down in the brain stem…

JAD: And then it will gradually inch its way upward, first it will attack this little cluster of cells…

CHERYL WATERS: In the middle of the brain that control movement…

JAD: And that's when you start to see the shakes.

CHERYL WATERS: And then little by little there's a progression. 

JAD: A progression up. 

CHERYL WATERS: A migration. 

JAD: To the surface.

CHERYL WATERS: To other areas of the brain, that control thinking, memory, concentration…

JAD: And in those cases the disease…

CHERYL WATERS: It is inexorably progressive. 

JAD: So you got these different kinds of Parkinson's, one that sleeps and one that goes on the rampage. Problem is, when you're diagnosed you can never be sure which kind you got, because…

CHERYL WATERS: For the people in whom it spreads it can take decades.

ROBERT: When he said you have Parkinson's did you feel you were in trouble at the time? 

DAN MORAN: No, it was a joke, it was a joke, this is nothing, I'm fine.

ROBERT: In the beginning, Dan and Chris didn't really worry a whole lot about this because they didn't have to, in fact, Chris…

CHRIS JONES: When I first was diagnosed and was performing…

ROBERT: He was doing a lot of Shakespeare, and, you know, if his hand ever started to shake a bit…

CHRIS JONES: It was always nice to have a nice big cloak or cape for me to wear to hide my hand behind so the audience wouldn't see the tremor. 

ROBERT: Truth is, it didn't happen all that often, it wasn't that big of a deal, Chris kept acting, Dan kept acting, then both of them the Parkinson's seemed to be the kind that stays asleep.

JAD: For two years, three years, five years, seven years, but then, after eight years, it just woke up.

DAN MORAN: I just found that it got harder and harder to move.

JAD: Dan says he's not quite sure when it happened but suddenly his limbs were aching all the time, and that easy control you have over your body as you're walking down the street where all the limbs are moving together and you don't have to think about it, for him that started to disappear. He'd have to think about each leg, each foot independently.

DAN MORAN: Left foot, one, right foot, two, left heel one, right heel, two. 

JAD: Chris, he would actually have these moments where he would try to move his arm, where his brain would basically say to his arm…

CHRIS JONES: Move!

JAD: …but his arm would just sit there…

CHRIS JONES: Stuck.

JAD: …like it wanted to move but it just somehow couldn't. 

CHRIS JONES: I would freeze on stage, it was—it was a nightmare. 

JAD: And as things progressed Dan would have these moments in rehearsals where suddenly he would just go blank. 

DAN MORAN: I—I'd done this TV show on FX. I—I had one scene where I couldn't remember five lines. I just couldn't remember five lines, we shot all night on this. In my dressing room I'd do the lines I'd come back out and I'd blow it. 

ROBERT: Now this isn't an easy situation for anybody but if you're an actor, if you're somebody who has to inhabit a character, a different rhythm than yours, the different flow, use your body to do that which is how you pay the rent, for actors Parkinson's is just awful because it kills their craft…

DAN MORAN: Well, your face becomes a mask, so you haven't got your face.

ROBERT: Without face you haven't got flow. 

DAN MORAN: The way I liken it, if you take a pebble and throw it into a pool of water, it goes [mouths splash sound] and there's a ripple that goes—concentric circles go out from the impact. If you take me, my body, my self as an actor and you throw a pebble into my pool it goes thud. There's no fluidity, there's no—it just stops.   

CHRIS JONES: And once I—I—I opened up to the acting world that I had Parkinson's my agents dropped me, the calls pretty much stopped coming, and that was that.

JAD: But then one night, something happened. 

ROBERT: How did this idea come up?

DAN MORAN: Well, it was my first idea, I guess.

CHRIS JONES: Your brilliant idea.

DAN MORAN: Thank you, buddy.

JAD: Now, we should say that these two guys, Chris and Dan, they've actually known each other for years. 

ROBERT: The two of you met doing what?

CHRIS JONES AND DAN MORAN: A month in the country. 

JAD: Which is a classic play.

DAN MORAN:  On Broadway.

JAD: And Dan explains it was late one night, he was having insomnia, which is a usual effect of the medication he has to take, and he was just looking around for something to read and he grabs this play off the shelf.  

DAN MORAN:  I just picked it up.

JAD: It was a play by Samuel Beckett. 

DAN MORAN: "Endgame, A Play in One Act.” 

JAD: And he starts reading.

DAN MORAN:  "Characters: Hamm, Clov.”

JAD: I mean, this was a play that he knew, he had read it before. But that night it seemed to talk to him in a way that was totally new.

DAN MORAN:  "Bare interior. Gray light.” 

JAD: And right from the start.

DAN MORAN:  It started off with a guy shuffling on stage. 

DAN MORAN:  "Clov goes and stands under the window, left. Stiff, staggering walk shuffling around. He looks up at window left. He turns to look window right.”
DAN MORAN:  And I said, "Oh yeah. I know shuffling.”

JAD: He thought, "Huh. I feel this guy.”

DAN MORAN: Can't sit, can't get comfortable.

JAD: Seemed familiar to him. And then on the next page.

DAN MORAN:  "Hamm stirs.” 

JAD: Another guy enters the scene.

DAN MORAN:  "Very red faced, black glasses.”

JAD: Also in bad shape. 

DAN MORAN:  This guy is stuck in this wheelchair, can't walk anymore.

DAN MORAN:  "He takes off his glasses, wipes his eyes, his face, the glasses, puts them on again.”

JAD: So here you got these two guys, one can't sit, one can't stand, they're stuck in this little room with these two windows that look out and outside those windows…

CHRIS JONES: Either due to a—an asteroid, a nuclear holocaust, what used to be green is now gray.

DAN MORAN: Like a wasteland. 

ROBERT: Is there anyone alive out there do you think, or…

DAN MORAN: No.

CHRIS JONES: No. 

JAD: Outside their window they can see the ocean but it seems to have stopped moving. 

DAN MORAN: "There are no waves.”

ROBERT: Now endgame. That's a term that comes from Chess and it refers to that moment in the game where there are just a few pieces and just a few moves left.

CHRIS JONES: The last few moves before the inevitable outcome. 

ROBERT: It's not the end, it's the point right before the end. It's the point where you become aware of the end for the first time. A dinosaur can't do that but these two characters…

CHRIS JONES: They run out of everything, they run out of painkillers. 

DAN MORAN: Yeah, painkillers are gone.

CHRIS JONES: Out of biscuits. 

ROBERT: But they have that awful awareness, and now they have to deal with it, like here we are. 

CHRIS JONES: What do we do, how do we fill up the time on this rock hurtling through space.

DAN MORAN: The more I read it, the more it felt like Parkinson's to me. Being locked in a room with my body. I'm not getting out. 

ROBERT: There's no cure.

DAN MORAN: I'm not getting out of this room.

ROBERT: And then on page three, one of the Characters named Hamm, stops what he's doing and he says. 

DAN MORAN: "Enough. It's time it ended. And yet. I hesitate. I hesitate to—to end. 

ROBERT: And Dan says something about the line, "And yet I hesitate—I hesitate to end, just flipped a switch for him.”  

DAN MORAN: Screw these people that won't hire me because I've got this fucking little disease that makes me shake or—or talk funny.

ROBERT: I don't need those people.

DAN: No.

ROBERT: Next morning he calls Chris. 

ROBERT: Chris, describe the call, next morning you're sitting there one day, the phone rings, is that…

CHRIS JONES: Yeah, he says, "How'd you like to get together and take a look at Endgame? 

ROBERT: Chris remembers thinking, "I don't know.”

CHRIS JONES: I'm not sure if I'm up to it.

ROBERT: It's a 70 minute long play, it's got 1,200 words…

CHRIS JONES: The material is monumental. 

ROBERT: But, no. There's no pressure, let's just meet at each other's apartment. So, one day Dan would read one part, Chris the other part, the next day they'd switch. They did this for almost a year, the two of them, in each other's living rooms, reading the play back and forth. Until finally, they contacted the Beckett estate and got permission to put on one live performance in New York. 

DAN MORAN: We decided Chris is having more trouble with his movement than I am, and I am having more trouble with my speech than Chris is, so I thought, well, why don't I take on the part with all the speech and, you got trouble with moving so you do the part with all the movement, that makes sense. 

ROBERT: So you both leaned into your weaknesses?

DAN MORAN: Yes.

ROBERT: So the—the obvious question is why would two people in danger, and in more danger over time, why would you decide to spend time staring at that danger straight in the eye? Like, that's just a weird thing to do.

DAN MORAN: That's the only way to do it. That's the only way to do it. And I can't, like, go through the rest of my life being afraid of this fucking disease. 

ROBERT: When—when he said that I didn't quite understand what he was saying, because if you are legitimately afraid of something why would it make you less afraid to stare at its details, that would make me more afraid.

JAD: I don't think it's about fear, I just think it's about knowing. 

ROBERT: Knowing what? Knowing?

JAD: Just knowing where you are. Knowing where you really are. You know. It's like a kind of journalism in a way. Like, I can imagine if you've got this thing that's been stealing from you for 10 years, right, it's stealing your body, it's stealing your craft, at a certain point you want to know, like, where am I, am I past it, has the end already happened for me? Am I broken? Or do I have something left? I mean, it's sort of like in one of the Beckett plays, not this one, but an earlier one, there—a character waltzes on to the stage and he says the following two sentences. "I can't go on. I will go on.” It's like those two sentences—contradiction right? "I can't go on. I will go on.” It's almost as if Dan is trying to figure out which sentence is he, is he the I can't, is he done? Or is he the I will, like he's got something left? And the only way to know that is to look at the thing that is posing the question. 

ROBERT: Yeah, but what if you put on the play and you get the wrong answer? You find out, I can't. See this is what Chris was worried about.

CHRIS JONES: The big issue for me was what happens to my sense of myself if we get to the performance stage of this project and it turns out that I—I couldn't cut it. 

JAD: And yet, they go on. After a year of reading this play back and forth in their living rooms Chris and Dan decide okay, it's time to find a performance space, time to hire a director. 

JOE GRIFASI: Oh, they used to come dragging their asses into rehearsal looking like, these guys aren't going to be able to go from here to there. 

JAD: That's Joe Grifasi, Chris and Dan's director. 

JOE GRIFASI: Shaky and Wiggly as I used to call them. 

JAD: He's known them for years. 

JAD: You did not call them that. 

JOE GRIFASI: Oh yeah. Well you know. Cause that's what they were doing. 

JAD: And Joe says Dan and Chris were two of the best actors he's ever worked with, and, oddly enough, in this case their disease could be an asset. 

JOE GRIFASI: I believe that. Cause, they're halfway home. 

JAD: I mean, they could feel what Beckett's characters of this play were feeling better than anyone. 

JOE GRIFASI: I never felt for a moment this wasn't going to make the play better, 

ROBERT: If they could get through rehearsals. 

JOE GRIFASI: [laughs]

JAD: Easier said than done. Take the problem with the medication. Now, both of them, when they're peaking on their meds, they are sharp, they are clear, focused, but when the meds start to taper away they get cloudy. So, the hope was if they were gonna rehearse together they'd somehow have to—they'd have to time it just right so that they pop their pills at the right time and rise together, get clear, and then taper off together at the same time. 

JOE GRIFASI: The medication gives you about an hour and half window.

JAD: Might be just enough time to run a few scenes, the problem was…

DAN MORAN: It wouldn't always work, some days I'd walk in…

JAD: Dan says sometimes, even when he timed it just right, sometimes the medication wouldn't take. 

DAN MORAN: I would be completely locked up.

JAD: Chris would be right in the middle of a scene doing really well, and then get so tired he'd have to sit down. 

CHRIS JONES: Didn't have much stamina. 

DAN MORAN: So, it's like, let's just turn around and go home or break out the mattresses. 

JAD: Sometimes, Joe says, they actually did.

JOE GRIFASI: We'd lay around on the floor, we'd just do something like…

ROBERT: You'd lay around on the floor?

JOE GRIFASI: Yeah. I said, let's lay down. Why don't we lay down, do the lines laying down, that's actually a great exercise. 

JAD: Point is, that a lot of times rehearsals were a bust. And as they got closer and closer to performance day…

JOE GRIFASI: Dan would say—take me aside and say, "You know, I gotta tell you Joe, this is okay but I'm scared out of my mind, you know, scared out of my mind.” 

DAN MORAN: It sort of became terrifying. 

JOE GRIFASI: And I—I—I said, well that's good. You know, since when shouldn't we be scared, right Dan?

ROBERT: And he'd remind Dan of a basic law of the theater, terrible rehearsals make great performances,  most of the time. But they knew that this was a very, very different situation. 

JAD: Very different. 

[ARCHIVE CLIP, Performance night: We're at 15.]

[ARCHIVE CLIP, Dan Moran: Okay, thank you baby.]

JAD: Then came July 13th, last year. The night of the performance.

[ARCHIVE CLIP, Performance night: The people are coming.]

[ARCHIVE CLIP, Dan Moran: Rosie? [yeah] You got our understudies?]

JAD: A couple minutes before the show Dan calls for the so-called understudies and then runs to the backdoor to smoke a cigarette. 

DAN MORAN: I'm looking out this door I've looked out—through it many times before. Everything seems familiar, but I don't belong there, I feel like I—I feel like—like, what am I doing here?

JAD: He says, he kept thinking, "How did I think I could do this?”

DAN MORAN: I mean, I'm gonna fuck it up, I'm gonna forget lines, I'm not the character, I'm not fully the character, I haven't rehearsed enough, havent' had enough rehearsal time…

JAD: And he says he actually walked out the door, got about halfway out, cause he's—at that moment he was thinking, you know—I mean that question, can I or can't I, I've got my answer and I'm actually about to go out in front of hundreds of people and show them, nakedly, that I am broken, that I can't do this, that the end has already happened. Then he thought…

DAN MORAN: I started this ball rolling, and I couldn't stop it. 

JAD: So…

DAN MORAN: You know.

JAD: Just do what you have to do. 

DAN MORAN: Just start at the beginning, go until the end and stop.

JAD: Okay, so the play begins with Dan in the middle of the stage, he's asleep in a wheelchair covered by a sheet. Chris paces around behind him, sort of shuffles about, looks out those windows, mumbles…

DAN MORAN: It started off okay. Chris was worried about getting a laugh. 

JAD: First sound he makes, he gets a laugh. 

CHRIS JONES: Right from the start the audience got Beckett's humor. That was a great, great relief. 

JAD: But then, the thing Dan feared most happened. In one of the big speeches of the play, he went blank.

DAN MORAN: Oh, my god what's my next line. I lost a line. 

JAD: He says he stared down at his feet for 20 seconds, then his wife Ruth fed him a line, and he went on. That was one moment. But, there was another moment. A series of moments, actually that were entirely different. It began…

[ARCHIVE CLIP, Dan Moran: Finished, it's finished.]

JAD: Just after Chris's opening monologue. Stan begins to speak. 

[ARCHIVE CLIP, Dan Moran: Can there be misery loftier than mine?]

CHRIS JONES: I tried my damndest to just stay with the story, moment by moment. 

[ARCHIVE CLIP, Dan Moran: Enough, its time is ended, and the shelter too. And yet, I hesitate. I hesitate to—to end. Yes there it is, it's time…]

JAD: And Dan says as he was up there making that speech, that speech about how it's time to end and yet he hesitates a funny thing happened.

DAN MORAN: You know, my performance muscles started to take over. 

JAD: His body loosened up, his legs, his arms, his mouth, suddenly they were under his control in a way they hadn't been for months. He can move them without thinking. 

DAN MORAN: It was quite remarkable. 

[ARCHIVE CLIP, Dan Moran: Clov. [Yes?] Have you not had enough?]

[ARCHIVE CLIP, Chris Jones: Yes.]

DAN MORAN: We were able to do things on stage.

[ARCHIVE CLIP, Chris Jones: Of what?]

JAD: Through this huge stretch of the play it was like the disease was gone. 

[ARCHIVE CLIP, Dan Moran: That's always the way at the end of the day, isn't it Clov?]

[ARCHIVE CLIP, Chris Jones: Always.]

[ARCHIVE CLIP, Dan Moran: It's the end of the day, like any other day, isn't it Clov?]

[ARCHIVE CLIP, Chris Jones: Looks like it.]

[ARCHIVE CLIP, Dan Moran: What's happening? What is happening?]

[ARCHIVE CLIP, Chris Jones: Something is taking its course.]

JAD: And then…

[ARCHIVE CLIP, Chris Jones: Here we are. There I am. That's enough.]

JAD: It was over.

[ARCHIVE CLIP, crowd cheering]

DAN MORAN: It was amazing. And then I remember walking backstage and Chris and I just burst into tears. We just started crying. It was not so much about the release of doing it but I think it had more to do with family. Our kids and our wives and some really good friends could see that there is still some kind of possibility, and I do believe that it was mixed with feelings of, like, oh god I'm gonna miss this.

CHRIS JONES: For me, a lot of time when I commit to a project, one of the things that I'm sort of curious about is who will I meet in the person of me in this project. Who will I find in the room when I—when I work on the material, and I was pretty proud of who I found on this one. 

JAD: There's something in this story that—that speaks to all the things that we feel about endings. I mean—obviously it hurts—it hurts to end, as Dan says, and this is a line that gets me every night, "Oh God, I'm gonna miss this.”

ROBERT: But there's also something in what Chris says, that if you stare unblinkingly at the truth you sometimes find something in yourself you hadn't seen before, which is in its way a new beginning.  

JAD: And so it's time. 

ROBERT: Yeah it's time to end. 

JAD: You know, we've never quite figured out how to end this show about endings, except maybe to follow Dan's simple advice.

ROBERT: Start at the beginning, go until the end, then stop.

JAD: Yeah. And so, ladies and gentlemen, we've started at the beginning, we've gone to the end, and now we will stop.

ROBERT: Mmm. I'd like to go on a little bit longer. Just a little bit. 

JAD: All right then, Reggie take us out. 

[Reggie beatboxing]

JAD: This moment right here, this moment, no one had a better view of this moment than me, because I'm sitting there behind the desk, you get out from the desk, walk to the side of the stage, get the hyper realistic T-Rex dinosaur, masterfully puppeteered by Mr. Miron Gusso, and you guys have like a breakdance dance-off in the middle of the stage, 2,500 people just do not know what they're looking at because they're looking at Robert Krulwich bust a move in that, like, Young MC, like, you know, 1995 way Bust a Move it's like, it was amazing. So amazing, in fact you have to go to the website right now, Radiolab.org and watch it. I also shot multiple videos from behind on stage because I was like I can't believe I'm seeing this, I can't believe I'm seeing this, it was so…

ROBERT: I was like, what are you doing taking pictures in the middle of a show, you're not supposed to take out a camera!

JAD: It was the most joyful thing I've ever seen, and I want to thank for that Robert, for allowing me to watch you do that, night after night. And for Reggie for creating the music, and for Sarah Lipstate, Darren Gray, Glenn Cotche, Keith Scratch, it was just awesome. It was awesome. That, plus the musical apocalypse, I will never forget those moments. I also want to thank our sound geniuses, Gil Duboeuf, Dave Sanderson and Dylan Keefe, and to our tireless, fearless, and fear-inspiring tour manager Melissa O'Donnel, and to the woman without whom any of this would have been possible, our director, Ellen Horne. 

ROBERT: Yes.

JAD: I'm Jad Abumrad.

ROBERT: I'm Robert Krulwich.

JAD: Thanks for listening.

JAD: Hit row 1, seat 10, are you ready?

GUEST: Yes. Apocalyptical was performed live at the Paramount Theatre, in Seattle Washington by Robert Krulwich, Jad Abumrad, Kurt Braunohler, Reggie Watts, Miron Gusso, Glenn Cotche, Darren Gray, Sarah Lipstate, Keith Scratch. Our production team was Malissa O'Donnell, Tom Jeffords, Gil Duboeuf, Dave Sanderson, Keith Scratch, and Ellen Horne. Scenic and video design by Josh Higginson and Adam Switzer for Workhorse. Endgame by Samuel Beckett presented through special arrangement with Georges Borchardt, Inc. on the behalf of the estate of Samuel Beckett, all rights reserved. Thanks—oh special thanks to Outback Concerts, Nick Nuciforo, Ruth Kreshka, Mary Beth Coudal, Jim Bernfield and Kendra Snyder.

ROBERT: Wow!

JAD: All right!

ROBERT: That was a minefield of proper nouns and you got through it. Congratulations!

JAD: Yeah. Also, while we're in—while we're in the thanking mood I want to thank the NPR music team for so graciously agreeing to videotape this performance for us, so thanks to those guys with the cameras that you see floating around.

SCOTT BROWN: Radiolab is supported in part by the National Science Foundation, and by the Alfred P. Sloan Foundation enhancing public understanding of science and technology in the modern world. More information about Sloan at www.sloan.org. Radiolab is produced by WNYC and distributed by NPR. Radiolab is—Radiolab is hosted by Jad Abumrad. Our staff includes Ellen Horne, Soren Wheeler, Pat Walters, Tim Howard, Brenna Farell, Molly Webster, Mallissa O'Donnell, Jamie York, Dylan Keefe, Lynn Levy, and Andy Mills. With help from Matt Kielty, Kelsey Padgett, Arianne Wack, Damien Marchetti, and of course Scott Brown doing pro-bro—pro-bono credit recitation tonight.

ROBERT: That's you.

JAD: That's you.

ROBERT: You know your own name.  

JAD: Give it up for Scott Brown.

[audience cheers]

 

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