speaker-0: The Comedy Historian Podcast with Robert and Gemma Ross. speaker-1: you speaker-0: Welcome to Gigglepod, a new series where we explore your favourite comedy films, TV shows and comedians. Hello and welcome to episode three of Giggle Pods. This is the podcast where Robert Ross and I, Gemma Ross, discuss all things comedy. And today we're going to be discussing... speaker-1: ⁓ gosh, one of my all time favourite films and I know one of yours Gemma, it's the comedy horror classic Water Carve Up. ⁓ gosh, I love this film so much. speaker-0: Woo! But why did you want to pick this one particularly? Cause this was your choice. speaker-1: It's always my choice at the moment, sorry. Yeah, when we do, when you have time to do these, it's sort of a case of ⁓ what are we fancy talking about? And when we're recording this, it's a Friday. So Friday night is comedy horror night really. And Friday night is also fish and chips night. And for my money, short of going to Brighton or Blackpool, this film will guarantee you a craving for fish and chips, won't it? It will. And don't forget the gherkin. Exactly. speaker-0: Exactly. I mean, it's, it's a, let's just sort of set it a bit into context. I kind of feel like this is a carry on film that wasn't a carry on film. speaker-1: That's good. It's not a carry on film because it's not made by Peter Rogers or Gerald Thomas, but it is very much got the feel of an early carry on. ⁓ And to put it into context of when it was shot, the stars are Sid James and Kenneth Conner, who'd only made two carry ons together at that point. But because it's one those things when you're looking at stuff, you know, from ages ago, you sort of come to all their work in a big bundle. And this is an early example. So they'd shot carry-on constable together at the end of 1959. They'd shot carry-on regardless at the end of 1960. And then there was a big gap between carry-ons from the end of 1960 to January 1962 when they made carry-on cruising. But Kenneth Conner and Sid James and all the guys were not idle in those 12, 14 months. So in the spring of 1961, Sid James and Kenneth Conner made water carve-ups. And it's written by a guy called Tony Hilton, but most importantly, Ray Cooney wrote the script. So it's that fast to it. And it's basically, in my eyes anyway, the relationship between Hancock and Sid is in this film. Kenneth Conner plays a sort of pseudo Tony Hancock character, the nervy, cowardice, sort of bumbling character, and Sid is Sid, basically. So it's sort of the feature film version of Hancock's Eye of Fire we never got. without Tony Hancock. speaker-0: I was going to say actually, so was Tony Hancock ever likely to play that role that Kenneth Conner plays? speaker-1: No, because it comes right at the end of Tony and Sid on television. So the very last episode, which is a little bit of a precursor to this film, it's ⁓ Hancock's half hour called The Two Murderers, where Sid and Hancock think they're each about to kill the other. And it's quite a lovely black comedy from Ray Goltman and Alan Simpson. But Tony Hancock had made it quite clear to everybody but Sid James that he wanted to move on from that relationship. Ray Goltan and Alan Simpson had already started writing a series for Sid called Citizen James. So Sid was a free agent and already a big film star anyway. But in my head, this is Ray Cooney trying to write for Tony Hancock, but he was never offered it. ⁓ They were capitalizing on the carry on success, those early days of carry on. And it's such a glorious, I mean, just, ⁓ I want to watch it right now and I've only watched it recently, but it's such a sparkling, beautifully shot in black and white. It's just... It's just the perfect Friday night horror comedy or the perfect Sunday afternoon film to sit down with a mug of cocoa and a bag of fish and chips basically. speaker-0: Wend, do you remember when you first saw this film? speaker-1: ⁓ gosh, it would have been early, early days. And like I say, because I was coming to this, I probably saw it on television probably late 70s maybe. So it was an old film then, you know, was like nearly 20 years old when I first watched it. ⁓ And I was a fan of the Carry On. So I'd seen stuff like Carry On Cleo where Sid actually references what a carve up, you know, when all the Roman centurions are killed. ⁓ I'd seen all those films already like Carry On Abroad with Sid and Kenny Connor and then this lovely little treasure that I'd never heard of before popped up and it ticks all my boxes because I love horror films and there's lots of references and lots of actors from horror films in there. speaker-0: It's interesting that you say about, there's quite a lot of parallels you can draw with other films. So you've mentioned Hammer Horror, but for me, the classic scene, and I saw this film before I'd ever seen a Laurel and Hardy. ⁓ right, yeah. Of when they're both in the bed together, Sid and Kenneth Cohn. speaker-1: Absolutely, yeah, yeah, yeah, which is a homage to Lauren Hardy well before Eddie Braben did it for Morkman Wise and even well before Torbert Rothweil did it for Jim Dale and Harry H Corbett in Carry On Screaming. So yeah, they're wearing their comedy heritage on their sleeves there, the makers. It's a lovely scene. And they worked so well together, and Kenny Connor. I mean, it's just... speaker-0: It's a shame they didn't do more to get- speaker-1: As a double act, yeah, I agree, they're great. I mean, they've made another film for Gerald Thomas and Peter Rogers as well, not a carry on, called Watch Your Stern, which is a naval comedy, which Kenny Conner is the star of that and Sid's just in it very briefly with a very big naval beard, almost unrecognizable. But they became really good mates and yeah, I'd love to have seen them do a sitcom together or something. They did a Christmas special called All This and Christmas Too, which was a... 1970s Christmas special, which is fun as well. And they were great mates. I remember reading an interview with with Sid James. He didn't give many interviews actually, Sid, but he said if he had a choice of a prison inmate to share a night in a cell with, it will be Kenneth Conner. ⁓ speaker-0: And I love it as well because Kenneth Conner's character is almost a bit of a throwback to the character he plays in Carry On Sergeant, where he's just a bag of nerves. He's jumping right from the beginning. speaker-1: We should set the context. If you haven't seen it, watch it. We won't give too many spoilers away, but we may do in our excitement here. But he's playing this character who's basically a proofreader for horror books and thriller novels. It's a tiny piece of ⁓ stupidity, but I always get little bit angst-ridden when he's reading or proofreading books that are clearly published with a on them. So it's a bit too late to proofread them then, but that's a minor point for a writer and publisher here we've got. speaker-0: and he plays Ernest Roughton. speaker-1: Broughton families. Gosh, yeah. So the whole thing is based on, very loosely based on an old play called The Ghoul by a writer called Frank King. And The Ghoul, written in about 1928, had been made into a film in 1933, which was heralded as the big homecoming for Boris Karloff coming back from Hollywood to England. He made it huge in Hollywood and Frankenstein and all that. And he came back to England, a massive horror star, to make this film called The Ghoul. with Ernest Thessinger, who he'd worked with a couple of years later on The Bride of Frankenstein, and Ralph Richardson in a very early film role. So it's loosely based on the gul, I mean very loosely. But the plot's there, there's his family in this big old mansion. speaker-0: Let's just rewind a little bit because I remember when I first saw the film, the person that kind of took me back a little bit was, you start with, so it's obviously it's Sid James and Kenneth Conner, so it's Sid Butler and Ernest Broughton. speaker-1: Sit plane, Sid, of speaker-0: And, ⁓ you know, they, they're going out to go and get their fish and chips and don't forget the speaker-1: Gherkins. I'm I'm swallowing water now. Don't forget the Gherkins, absolutely. speaker-0: And the first person who comes into them is the wonderful Donald Pleasence. If you're going to have a horror film, you need Donald Pleasence in it. speaker-1: Isn't that brilliant? mean, this is like 15, 17 years before he plays Dr. Sam Lomas in the Halloween films, right? So when he becomes an absolute icon of horror for John Carpenter. But even in 1961, when they shot this, he played William Hare, Birkin Hare, the body snatchers in a film called The Flesh and the Fiends with Peter Cushing. And he just played Dr. Cripping as well. So even in 1961, Donald Pleasance is a horror name to conjure with, you know. And he's so brilliant, he just turns up at the door. And what is it they say when he goes, a horrible looking zombie. So he's Kenny Connors ⁓ solicitor, basically, or not solicitor, sort of legal representation that's come along and told him that he's inherited a huge fortune or potentially a huge fortune. And he's got to go to this massive family reunion and meet his family and see, you know, what a carve up. They carve up the inheritance and they all get a bit of the money, you know? speaker-0: obviously we've mentioned Donald Pleasance there, but like you say, the family, this family that Ernest doesn't know, what a cast. speaker-1: It's just delicious, isn't it? It's perfectly cast, this f- speaker-0: I mean, the first person I think they meet at the house is the character Fisk, who's played by Michael Goff. speaker-1: Yeah I see another guy. In America, Michael Goff had been in the Hammer Horror version of Dracula with Christopher Lee, playing Arthur Holmworth, who's a bit of a sissy really in Dracula, but it's a brilliant film. In America, that had been released as Horror of Dracula and been a massive, massive success. By the point they made this in 61, Michael Goff's star status had been rising and rising. He began playing mad professors in very low budget horror films. He just shot a sort of King Kong ripoff called Konga at this point. So to get Michael Goff in and in this film he does, he's what I would call a ham, but a succulent ham. Michael Goff never over underacts a performance. He always gives it 110%. But in this he's really quite subtle. There's that lovely bit, remember with Jen when he's reading Lady Chackley's Lover. that had just been allowed to be published like in the November of 1960. So that was a nice satirical touch. He's reading this naughty book and he's got his alibi, he's got his cigarette on, hasn't he? And the ash is about six foot high on his cigarette. And he plays it really beautifully, apart from the sort of the repertory acting company, sort of, know, powdered white hair and stuff. It's a performance of a very sort of introspective class. And I love Michael Goff in this. again, as you say, Jem, you've got that sort of horror credential with him being in it. So they've cast it authentically. So you've got Sid and Kenneth Conner are the funny men and they're surrounded by all these brilliant straight actors. colourful con. Yes, on. Well, thought you'd mention. speaker-0: My favourite is McKenna, who is just, you know, as Aunt Emily. speaker-1: ⁓ gosh, she's bonkers, isn't she? bonkers. She's the least bonkers of all of them, probably. speaker-0: What the is she doing? She's the only one that mentions though, she's the only one that remembers Ernest being a baby. The rest of them have no idea who he is. speaker-1: But then she starts saying about, ⁓ your career is, well, it's literary. He's a proofreader for trashy novels, literary. And she goes, ⁓ I could introduce you to George Bernard Shaw or something. Or Charles Dickens or something. She's obviously set in like, her mind is still in Victorian times. But what is it about Esma Cannon that you love so much? Because I know you adore her. speaker-0: just think she's just, she's so classically quirky and just quirky women. know, they're very loyal as friends, but she's just, she's so tiny and she doesn't play it for love. You almost imagine her playing it for herself, although when you actually see her in a film like Carry On Cabbie, where actually she's playing quite an intelligent, strong woman there. speaker-1: Exactly. speaker-0: I don't think she was anything like that character, but she just played it so well, but she knew how to play it, but not for long. speaker-1: Yeah, exactly. Well, she joined the Carry On team, of course, at this point. So she's in Carry On Constable. It's that fussy little lady that Kenneth Williams helps across the road and doesn't want to be helped across the road. And of course, she's got the pivotal character in Carry On regardless as the of the head secretary, whatever you want to call her, of helping hands, isn't she? So she was very much part of that team with Sid and Kenneth Conner. And again, they all work together. And of course, you've got Shirley Eaton as well talking about Carry On, haven't you? speaker-0: Yes, yes, you're gonna go. speaker-1: ⁓ not my glamour girl sadly, but I do adore her and so do you, but yes. speaker-0: I mean the interesting thing, mean it's Kenneth Conner that falls in love with her. You're surprised Sid is not flattered by it. speaker-1: Yeah, Sid is quite non-plus by actually, isn't he? mean, it's like there's no room in this film for any sort of sexual politics or sexual frustration comedy. ⁓ Kenneth Conner has got no chance because, spoiler alert here, Shirley Eaton's boyfriend is played by a very young, very famous Adam Faith right at the very end. And so is his last line, with a face like that, he couldn't even make a living. And he was like the highest paid pop star in the country at that time. So it's a little gag appearance for him. And actually, Adam Faith, did another film soon after with Sid playing a different character called Water Whopper, which has nothing to do about what to carve up. It's set in Scotland and it's all about the Loch Ness Monster. But I think they were trying to get a water series to rival the carry ons, you know. It never happened. You only get the two sadly, but there you go. speaker-0: better yet. So Shirley Eaton plays Miss Dixon, is the ⁓ nurse, very glamorous nurse in high heels and... speaker-1: You won't get out of the National Health Service anyway. speaker-0: But um... Not really dressed in a nurse's outfit. No. And who's just adorably sweet, isn't she? speaker-1: She's lovely. She's lovely. That's the great thing about Shirley Eaton because even in the carry-ons, she's a stunningly beautiful woman, but she's sweet and she's usually married or she's with a steady boyfriend. There's nothing salacious about Shirley at all. And again, this is quite a pivotal point for Shirley's career. Again, 1961, she'd finished with the carry-ons, never to go back, having done her third little cameo in Carry-on Constable at the end of 1959. And she just shot a Hammer Films, talking about horror films, but a Hammer Films she'd made a comedy with her romantic lead from Carry On Sergeant Bob Monkhouse and Leslie Phillips and a little cameo from Sid James called A Weekend with Lulu. So she'd been at Hammer as well, but not in a Hammer Horror, she'd done a Hammer Comedy. But this rich vein of British films, that they were just churning them out, beautifully made. Every couple of months you could go to the cinema and see one of these people in another film, you know. speaker-0: I think the thing I learnt from that film was how to play the tune of Chopsticks. Can we talk a little bit about Malcolm, bruh? speaker-1: ⁓ now you see Malcolm again. Yes, Michael Grin, who's another hammer ⁓ staple. He'd been in ⁓ Camp on Blood Island, which is a ⁓ gosh, howling war concentration camp film. And he just played Carl in The Revenge of Frankenstein with Peter Christian. So he's this beautifully sort of crippled and disfigured character in the Frankenstein film. speaker-0: quite mad, he's very kind of, well he's mad, I suppose. He's very kind of on the level, mad, quite mad. speaker-1: It's calm madness, And I suppose he didn't make that many films. He was a brilliant stage actor, Michael Gwynne, but as I say, he did this couple for Hammer and this one is probably his best feature film. I suppose a more modern audience would have seen him in Faulty Towers. He's in the very first episode of Faulty Towers as the duplicitous Lord Melbury ⁓ who sort of cons John Cleese's Basil Faulty out of a load of money. So he's in that and that's one of his last roles. He died soon after shooting that in 1976. speaker-0: He had a very, ⁓ which was perfect for this part, that very intense stare that made him look quite... speaker-1: I love the way you do that, Janice. If we do a female remake, you can play him and I'll play Esmer Cannon's character. I know who I'd like to play. Sid? No, I couldn't beat Sid. Why? Yeah, exactly. always did drink too My second favourite actor in this film is Dennis Price, who I just adore, Dennis Price. speaker-0: Because again, someone you want to see in a horror film. speaker-1: Absolutely. Yeah, well, he made a couple. I suppose, I mean, to be honest, Dennis Price's most superb, everlasting, ever-quotable film is Kind Hearts and Coronettes, which has a little similarity with this. 1949, when he's playing the mass murderer. And in this one, he's going to be possibly one of the victims, spoiler alert. So, there's a bit of a twist on that. then Dennis Price, bless his heart, who almost liked a glass of whiskey as much as Guy did in real life. ⁓ would ⁓ apparently, ⁓ Shirley Eaton told me this when they were making another film called The Naked Truth with Peter Sellers. ⁓ Dennis Price playing the blackmailer Mr. Dennis would have a little tot of something alcoholic behind the scene and have a swig before he did a take. So he's perfect for this. And he went on to do some very odd films in the mid 1960s like The Earth. What's it called? The Earth Dies Screaming. That's right. And Curse of the Voodoo. And then right at the end of his life, he did a few films for Hammer, like Horror of Frankenstein and Twins of Evil. And his very last film in 1973, when he died at the age of 58, can you believe? That's very old. It's ridiculous. His last film is a masterpiece of comedy horror called The Theatre of Blood, where he's killed by Vincent Price, very Shakespeareanly. speaker-0: Yeah. speaker-1: So, all these little, so as I said before, the top of this show, it's like all these little connections that you've seen these films all out of order and then suddenly you get this film and they're all in it together. It's great. speaker-0: universe colliding. But it's interesting because the character of Guy, out of all of them, within the Broughton family, he seems to be like the most normal of all. speaker-1: Yeah, he is, yeah. He's just a drinker. a drinker and never mind Guy, who's got Guy's gun and all that, yes. Yeah, but he plays it because he has this wonderful, one of my all-time favourite quotes from Dennis Price is that he was once compared ⁓ to Laurence Olivier and he said, no, no, dear boy, I am not Laurence Olivier. I am never a star and never will be. I lack that essential spark. And I like that humility of Dennis Price. But to me, he is a star. He's a brilliant actor. And he just lifts any film. Not that this film needs lifting, but he lifts any film. Some of those other horror films needed a good lift, to be fair. He's in a film called Haunted House of Horror as the detective, and that needs a lift or two. And Dennis Price is always impeccably good. And in this, he's this sort of mustachioed ex-military. You can see he's probably going to be a corrupt officer or something, you know, on the take from the NAFTA or something, you speaker-0: And to sort of contrast him, I think this is a really sort of lovely way that the characters are created. You've got Valerie Taylor as Janet. speaker-1: Yeah, now she's brilliant. Now she didn't do many films at all. did a film. she not? No, she's more West End and Broadway actress. She was a really big theatre star. ⁓ I suppose she's probably, she did Faces in the Dark, which is a lovely sort of minor horror film from 1960. But after this, she did a film with Roman Polanski called Repulsion, which is a utterly bonkers 1960 film. speaker-0: a really disturbing film. I think that's probably in my opinion repulsion just one of the most uncomfortable watches against any horror film or anything. speaker-1: Hahaha It's disconcerting isn't it? It's psychological. speaker-0: I hadn't seen it for a very long time but it was a film I walked away from and said... speaker-1: We can't do a podcast on that. There's not many laughs in that, be honest. But no, so she's, but you're right, Gemma, as well. She brings a sort of, I don't know, sort of stability to it, doesn't she? you see, that's why we bring in, you know, philosophy students to do this podcast. But you're right. She's got that sort of calmness about her. ⁓ And because she's less familiar than the others, you sort of think you don't trust her, sort of. You know what I mean? speaker-0: She's the yin to the yang, isn't she? ⁓ She's quite a heightened character as well. She's very on edge. Do you know what? The beauty of this film, you could actually not watch it, but you could listen to it because they've all got such beautiful voices and you get those characters through their voices. speaker-1: Absolutely, yeah. And we not mentioned the head of the family. Well, come on. Yeah, come on, you know, because I mean, we've got to backtrack a bit. And Esma Cannon, again, although beloved as a comedy ⁓ actress, she'd made a couple of films. She had been one of the victims of Birkin Hare with Donald Pleasance in ⁓ Flesh and the Fiends. And she'd also just met Jack the Ripper on screen as well when she got this. But that's by the by. She's there for comedy and beautifully so. But yeah, go on, Jim. speaker-0: So can we talk about then Gabriel because it's Gabriel's death. speaker-1: Yes, now, Gaben, now this is the character again that is just a hod, isn't it? I mean, Filippo Flynn, who plays him. I've never seen him in anything else. I think he just appeared out of nowhere and vanished. speaker-0: I always thought, I think as a child, because he looked a bit like ⁓ Alistair Sim. And I always thought it was Alistair Sim that played that But he's got two roles in it. speaker-1: I did as well Well, yes he has. Yes he has. There's a bit of a sleuth going on here, isn't it? The Olivier and Michael Caine thing. There's a bit of disguise going on there, yes. It's the same character though, isn't it? But he's playing a sort well, I think it's the same character. It all gets bit muddled there, doesn't it? But I think it's the same character. That's a little trick they use. They use that in the Malcolm and Wise film, Night Train to Murder as well, where they've got a sort of disguised guy. But you're right about Alistair Sim. Now I've got a theory about that. Now, alas, I never interviewed the director of this, Jackson. I never got to meet them, but I think they probably ran out of money. think they probably thought we'll get Alistair Sim as a nice guest star on the poster and give him a day's work. And they probably ran out of money. they found, this guy, cause he's got that Alistair Sim laugh, hasn't he? got that sort of guttural laugh. it's really odd. speaker-0: So because you've got the painting of him on the wall, the eyes that move, I always thought it was Alastair Sim. It's really funny. speaker-1: Yeah, the eyes. It would have been great if it was him. But I'm not decrying Philippo Flynn's performance. I think it's really otherworldly and odd. And that's the character that Boris Karloff plays in the 1933 version of this. ⁓ It's very loose, honestly, but there's a very good network DVD of it, if you can find it on eBay, of The Ghoul. It's worth watching, The Karloff. And nothing to do with the Peter Cushing The Ghoul from the 1970s, which is again another horse of a different color. But anyway, I love going down. rabbit holes with you. It's like one film leads to another one, you know. speaker-0: Unfortunately they've never put this film, well I've been trying to track it down on speaker-1: There was a very limited release and I never picked it up. I think it's pretty expensive now, but I've got it on VHS. Sell through, yeah. speaker-0: Do you remember cover though? They were like Sid and Kenneth Conner are running across like little cartoon characters. speaker-1: Totally. That's the poster. Isn't it a great poster? I love that poster. It makes you want to see the film that poster, which is the point of a poster, I suppose. But yeah, I love that. Yeah. So I've got it somewhere. It's in back of one of these shelves, Gem, somewhere, but I've got the VHS of it. It's never been released with anything like an audio commentary. Hint, hint. If you own the rights out there and you want me and Gem to do it and we'll up, we'll call up Shirley Eaton and get her input as well. I would probably commit homicide to do this commentary, of which the title in America was, There's No Place Like Homicide, which I think is rather clever. ⁓ speaker-0: It's water carve ups more. speaker-1: British. The homicide is very American to be fair. But anyway, didn't do any business at all in America, surprise. speaker-0: if anyone would come to it. So if you are from America and you've not seen this film, I think you can watch it on YouTube. We saw a very dodgy colour conversion. speaker-1: I must have been drunk or something. Why were you watching that colourised version? That was horrible. speaker-0: Because I think if anybody who's listening is like us, we've all got a little bit lazy with you sit yourself in your chair ready to watch film and you just think, ⁓ that'll be streaming somewhere. And then you think, ⁓ no, it isn't. ⁓ well, I'll go on YouTube because I can't be bothered to go and find the VHS. speaker-1: As a precursor to this, I'm sure I spent about three hours trying to find the VHS and couldn't and gave up and thought, ⁓ and Jem said, it's on YouTube in this horrible colorized version. And I was so desperate to see it. This was years ago. It's pretty locked down, wasn't it? I think we watched it last ⁓ in the colorized version anyway. But it just doesn't work in color. does. It's just, mean, plus the color is rubbish, but even if it was shot in glorious Technicolor, it's a black and white film, isn't it? It's just got those shadows and you know. speaker-0: and it It needs it. like I say, when you sort of call back to some of those kind of what I call your heavyweight classics, forgive me, I put this film in there with lightening spectacles or ⁓ the elephant man. They have to be black and white. speaker-1: Those are two heavy black and white films we've speaker-0: I'm throwing water car vampir as my top three. speaker-1: Is that the hill you'll die on? It's one of them. You mentioned America and I was going to mention George Woodbridge who we've not talked about yet who plays the Doctor who's quite a typical performance because George Woodbridge is lovely sort of West country, jovial, ruddy cheeked character actor and in this he's a right swine. He's miserable, he's disgruntled all the time, he's dismissive of Kenneth Conner. This is maybe another link for American audiences or purely horror fan audiences, because George Woodbridge, a penny to a pound of wherever, if you watch a Hammer Horror film, you'll spot George Woodbridge in the pub as a landlord or a local yokel or something being terrorised by Christopher Lee's Count Dracula or Oliver Reed's Wolfman or something. George Woodbridge is in there along with Michael Ripper. He's one of those character actors that pops up all the time. So to see George Woodbridge playing quite an unpleasant leading character for once is lovely and he's bloody good as well. Can I say bloody good? Yes, I'm going to say again. He's bloody good. speaker-0: Right, well, we're going to wrap up before we spoil this film anymore. So please, please, please try and find what to carve up if you haven't seen it. If you have seen it, pop it on Friday night, go to your local fish and chips. Don't forget the gherkins. speaker-1: ⁓ no, I'm just getting started. And I'm going to just about find our local called the Codfather. I kid you not, it's the Codfather. I might get some free fish now, but yes, it's one of my all time favorite films this. And I'm assuming this would be going out the year we record it, if not the actual day we record it. So it's 50 years since Sid James died this year. he was born in May, 1913, May the 8th. And hopefully we remember Sid. for the wonderful work he leaves behind because the legacy of laughter that man leaves behind is incredible and this is one of his all-time great performances. Sid as Sid in Wat Akawa. speaker-0: Thank you for listening.