Ian Hendry In The James Bond Spy Film, Casino Royale ’67? Director Joseph McGrath Discusses Ian’s Scene With Ursula Andress Which Ended On Up On The Cutting Room Floor Plus Other Bond Connections

Ian Hendry In The James Bond Spy Film, Casino Royale ’67?

Well it looks like it very nearly happened.

Ian Hendry was cast as ‘a hitman’ in the James Bond film, Casino Royale [1967].

It appears, though, that Ian fell victim to the chaos that surrounded te film and his scene with Ursula Andress ended up on the cutting room floor!

Although there is also now some evidence that he does, in fact, still appear in the film – in what would be his least glamorous role – a corpse!

In this extract from Casino Royale [1967] – Wikipedia, Ian’s role is described as being that of the secret agent, 006:

“So many sequences from the film were removed, that several well-known actors never appeared in the final cut, including Ian Hendry (as 006, the agent whose body is briefly seen being disposed of by Vesper), Mona Washbourne and Arthur Mullard.”

Casino Royale [1967]  – Director Joseph McGrath with Pete Doherty/ James Bond Radio

In the last few days, some more information has come to light that helps to fill in some more of the story. I’d not come across the James Bond Radio website, until Alan Hayes drew my attention to their most recent podcast.

The latest James Bond Radio episode  has an interview with Joseph McGrath, one of the six directors that worked on Casino Royale [1967]. Near the end, he mentions that Ian was hired to be in the film as ‘a hitman’ and shot – quite literally – a humorous scene with Ursula Andress in which he attempts to assassinate her before suffering a slow, drawn-out, rather comic death as she shoots him six times with six different weapons!

Unfortunately the scene was deleted as the producer – Charles K. Feldman –  did not get the joke! (c. 49 minutes into the podcast).

Feldman was a Hollywood attorney, film producer and talent agent who founded the Famous Artists talent agency. According to one obituary, Feldman disdained publicity. “Feldman was an enigma to Hollywood. No one knew what he was up to – from producing a film to packaging one for someone else.” His most notable work includes production of  ‘The Glass Menagerie’ [1950],  A Streetcar Named Desire’ [1951] and ‘The Seven Year Itch’ [1955].

Given how Joseph McGrath describes the scene, it would clearly have worked. Ian had great ability with regards to light comedy, as noted by Dame Judi Dench in her contribution to Ian’s biography:

“I think he was the first student I had ever seen whom I believed had been born an actor. He was wonderful at light comedy, and we all looked up to him and admired him enormously”.

And Ian had had a similar cameo role in the light-hearted film, The Sandwich Man starring Michael Bentine, which was released the year before [1966]. So it’s a great shame that we can’t enjoy seeing Ian in Casino Royale. But what we do have is the words of Joseph McGrath which can help fire our imaginations

Video: Director Joseph McGrath discusses the making of Casino Royale [1967]

Transcript – Joseph McGrath Discusses Working With The Producer – Charlie Feldman – Woody Allen And The Scene He Shot With Ian Hendry + Ursula Andress

The following is a transcription of part of the podcast, which features Joseph McGrath talking about the production and certain scenes,  with some excerpts inserted from the film itself:

Excerpt of Scene from Casino Royale:

“Listen you can’t shoot me, I, I, I have a very low threshold of death. My doctor says I can’t have bullets enter my body at any time. I, I, I, ugh…”

– Woody Allen

I got to know Woody because he arrived before shooting started. We used to meet and talk about the film and the ideas in the film and he had already worked with Charlie Feldman in ‘What’s New Pussycat’.

So he said, “Charlie, he is not a producer in the real sense. He had no idea of comedy and he used to go into the cutting room when I wasn’t there and he’d go through all the routines that I had shot over the last week or two and he would go through them all and take the payoffs off the routines, so that I would be left with the beginning of routines, the middle of routines and going nowhere. And then he would cut to another sequence.

And he said it’s one of those things, he said, I had to fight and argue to get, you know, some of the payoffs back on and he said that’s what you have to keep an eye open on when you shoot Casino Royale. 

So which is what I was doing and which, indeed, Charlie did right at the very beginning.

There’s a car wash sequence with Duncan Macrae as a French detective, with a Scottish accent. And he’s got a Scottish accent because Peter didn’t want him to have a French accent, because he said people might think he’s trying to be Clouseau.

So Duncan had it. And then Peter makes a remark in the film, which I wasn’t there [for], saying why have you got a Scottish accent?

Excerpt of Scene from Casino Royale:

“There is something that is worrying me. You’re a French police officer and yet you have a Scots accent? [Peter Sellers].

“Aye, it worries me too.” [Duncan Macae].

And Duncan doesn’t know how to answer it, you know, and it’s in the film. Duncan should have said, ‘because you asked me to.’ 

Excerpt of Scene from Casino Royale:

“We don’t want our little talk to be overheard. Get in the car. “ [Duncan Macrae]..

“No, there’s nothing to talk about.” [Peter Sellers]

And as if driving through the carwash and dialogue, there’s girls in rubber suits all around the car, cleaning the car, soaping the car – very sexually in those days, sixties, these girls, the Bond girls. And they’re wiping soap on the windscreen, wiping it off.  Now then they decided that, underneath the car, they’d fix a bomb. 

So the bomb is actually ticking.  And they go back up into the cars to Peter and Duncan Macrae who are carrying on the dialogue.

It was a very funny bit in the dialogue, which Peter had lifted straight from the Goon Show,  and which we put in.

He says, “I must warn you Mr Bond that I’m keeping an eye on you here and that anything you do, you know,  really you can only do with my permission, you know.  I’m the Chief of Police.

And Peter says, ‘say that again’. And he switches the radio on and Duncan says it again and then Peter says, ‘yes, it does sound better with music’.

You see, which is a terribly good Spike Milligan joke, you know. At the end was supposed to be the car explodes and when the smoke clears Peter is still immaculate – James Bond – and Duncan Macrae is a smoking wreck. And he says, “you know, you really should try to give up smoking.” And that was the end of it.

And Charlie said, “that’s a bit Tom and Jerry.” And I said, “yeah, it’s meant to be Tom and Jerry, it’s the whole point you know.’ 

I said you quite like the opening titles, you know,  I said this is the same sort of humour and all that. And he said, ‘oh no I don’t know, I don’t like that,” you know.

So when I left, you know, that scene you see, that scene he gets into the car wash for no reason, there’s all these girls washing – then you go to another scene.

Excerpt of Scene from Casino Royale:

“Mr Bond” [Duncan Macrae]

“Yes?”[Peter Sellers]

“I’m Lieutenant Mathis of the Special Police.” [Duncan Macrae]

The art  director, Michael Stringer, built this French urinal on a flat and we had little girls with nuns going along behind it for that scene. Now that scenes supposed to be later in the film, when he’s arrived in Paris.

Well Charlie says I had seen the funniest thing in the film, he says.  That’s the best thing in the film. So he opens the film with that and I said to Charlie years later, when I had seen the film, I said it’s a big mistake because:

a. continuity wise,  it makes no sense and,

b. I said, “looking back on it, Charlie, it’s a very… it’s a ‘Carry On’ joke.” 

Now Dylis Powell, who was a film critic of the time, said that Casino Royale never quite recovered from the laughter at the beginning of the film. It’s very interesting she said that.  She said that it made no sense at all – but it was very funny.

Before Sellers gets to the flat, you see Ursula Andress pulling with a trolley and she wheels it to a shoot and she has a telephone and she says, can you clear away this rubbish by tomorrow morning. She hangs up and there’s this long narrow parcel, which goes down the shoot and disappears. Now the scene before that was Ian Hendry, who was one of the original Avengers, along with Honor Blackman, before Diana Rigg and Pat Macnee. Ian Hendry was the start of The Avengers. [editors note: Just to clarify for the record, Patrick Macnee was one of the original Avengers, Honor Blackman replaced Ian after series 1, when he left to pursue opportunities in film.].

Now I used Ian Hendry in Casino Royale as a hitman. So Ursula Andress is in a private firing area and she has a target – you know that you wind up and down – and so she winds the target back down and she has a whole series of guns laid out in front of her. And she’s reaching for the gun when this hit-man appears behind the target. It’s Ian Hendry.

And he is just about to shoot her and he says this is a Beretta, you know, and he tells it’s caliber, it’s an Italian make and some hit-men use it. And she says, ‘oh really’ and she quickly picks up gun and say this is a Walter PPK.  Bang! And she shoots him, you know, and then she goes along each gun and she she explains this gun and shoots him in a different part – so that it takes about six bullets and in, you know, at the end he says, ‘you know I’ll never forgive you for this,” you know and he dies.  She then puts him in a parcel and sends him off.

Picture: Ursula Andress dispatches the body of  Ian Hendry down the rubbish shoot in Casino Royale [1967]. The last remaining remnant of the scene to survive the cut. Perhaps the first role in which Ian made an exit without uttering a word, being seen or even making an entrance!


Now the Ian Hendry’s scene is cut out of the film. 

So you start the scene with her with a parcel, saying get rid of this rubbish, you know, tomorrow morning. Now you don’t know what’s in that parcel. That’s Ian Hendry, who you’ve seen [editor’s note: or rather should have seen!]  being shot by her six times.

The reason we shot,  Terry Southern and I wrote that scene – which Charlie didn’t understand when he saw it, he said it isn’t funny. I said it’s funny in a different way, Charlie. It’s showing that in movies people get hit six times and still can do dialogue and still live, you know, I said it takes about eight bullets to kill them. It’s a joke, I said you know you get hit by a bullet – you don’t get up.  You know. And Charlie said, “nobody’ll get it, nobody’ll get it.”  

Anyway the point I’m making is, Ian Hendry got five thousand pounds, for a non-appearance in Casino Royale, as a parcel!


Anyway the point I’m making is, Ian Hendry got five thousand pounds, for a non-appearance in Casino Royale, as a parcel!

Joseph McGrath, Director – Casino Royale [1967]


This helps to provide a little more substance and context to the story behind Ian Hendry’s involvement in this film. In Gabriel Hersham’s biography on Ian, he recounts that he had a cameo role in Casino Royale, but no details were known of the scene or why it was cut. The scene is probably long gone, but at least we now know a little more thanks to Joseph McGrath’s fascinating account.

Picture: Ursula Andress gazes into the distance, with Peter Seller and Orson Welles. This artwork is based on the one day of shooting when Sellers and Welles were able to stand the sight of each other. Ian Hendry’s scene with Ursula Andress, however, ultimately ended up on the cutting room floor.”

Gabriel Hershman, commenting on the Joseph McGrath interview on the Ian Hendry Appreciation Society Facebook page, mentioned that:

“I remember many years ago watching Casino Royale and hoping to see Ian and being so disappointed. This was back in the days when David Quinlan’s Illustrated Directory of Film Stars was THE BIBLE. And I just couldn’t spot him even though Quinlan listed him as being in it. To be honest, I think the paucity of Ian’s major film roles between 1965-8 wasa disgrace. He was totally underused.”

But perhaps the explanation given by Joseph McGrath, that the corpse being disposed of by Ursula Address was in fact Ian Hendry, is just sufficient to justify the mention by David Quinlan?!

Chris Williams  also commented that it’s a great shame that this scene was cut from the film. And a view that I think we would all share:

“Amazing. That would have been a very funny scene and totally in character with the film. How disappointing it was deleted, but well paid.£5000 in 1967 would have bought you a couple of houses. I agree with Gabriel too that Ian was underused and we were all denied what I’m sure would have been some wonderful performances.”

Ian Hendry – Did He Turn Down The Part Of James Bond In 1962?

In his biography, Gabriel Hersman mentions the impact that Ian Hendry’s lead role as Dr. David Keel in the first series of The Avengers [1961] had in raising his profile. Was Ian Hendry offered the part of James Bond in 1962?

An extract from Send In The Clowns – The Yo Yo Life of Ian Hendry,  by Gabriel Hershman, sheds a bit more light on this topic:

“The Avengers had another repercussion. One of Ian’s frequent stories, usually after a few drinks, was that he was later offered the part of James Bond but turned it down. The truth is that Ian was probably one of many actors CONSIDERED for the part. But many other actors were also in the running, including Richard Todd, Richard Burton, Christopher Lee, Edward Judd and Patrick McGoohan. There is another story – cited by Olive Bird, Michael J. Bird’s widow, which may be apocryphal,that Ian arrived drunk for a scene test for Bond and so was rejected.”


Picture: Ian Hendry – signed promotional photograph for the film, Live Now, Pay Later [1962].

But whilst Ian Hendry may have missed out on the part of  James Bond – 007 – in 1962, he may have gained some solace from the fact that it appears that he was cast as a hitman in 1967!

And although he had his scene cut from Casino Royale in 1967, Ian did still work with some of the notable actors who starred in some of the Bond films.

This list includes:

  • Ursula Andress – cast as Honey Rider in Dr. No [1962] and as Vesper Land in Casino Royale[1967]. Ian worked with Ursula in the film, The Southern Star [1969], as well as Casino Royale [1967].
  • Honor Blackman – cast as Pussy Galore in Goldfinger [1964]. Ian worked with Honor in the play, The Motive [1976].
  • Orson Welles – cast as Le Chiffre in Casion Royale [1967[. Ian worked with Orson in the film, The Southern Star [1969].
  • Diana Rigg – cast as Countess Tracy di Vicenzo in ‘On Her Majesty’s Secret Service’ [1969]. Ian worked with Diana on the film, Theatre of Blood [1973].
  • Britt Ekland – cast as Mary Goodnight in ‘The Man With The Golden Gun’ [1974]. Ian worked with her in the Armchair Theatre television play, A Cold Peace[1965] Britt’s first appearance on British television and Get Carter [1971].

And last, but certainly not least, Ian’s partner in crime from the early days of ‘The Avengers’ [1961]:

  • Patrick Macnee [cast as Sir Godfrey Tibbett in ‘A View To A Kill’, 1985]

Casino Royale [1967]

The film is, perhaps, more famous now for the complete chaos that seems to have surrounded the production.  And to further emphasise that point, six different directors were involved in the making of this film:

Ken Hughes
John Huston
Joseph McGrath
Robert Parrish
Val Guest
Richard Talmadge

The following information is taken from the Casino Royale [1967] Wikipedia page:

Picture: Original film poster for Casino Royale [1967]. The film was also clearly too much for a lot of other people as well!

Casino Royale is a 1967 British-American spy comedy film originally produced by Columbia Pictures featuring an ensemble cast. It is loosely based on Ian Fleming’s first James Bond novel. The film stars David Niven as the “original” Bond, Sir James Bond 007. Forced out of retirement to investigate the deaths and disappearances of international spies, he soon battles the mysterious Dr. Noah and SMERSH. The film’s tagline: “Casino Royale is too much… for one James Bond!” refers to Bond’s ruse to mislead SMERSH in which six other agents are pretending to be “James Bond”, namely, baccarat master Evelyn Tremble (Peter Sellers); millionaire spy Vesper Lynd (Ursula Andress); Bond’s secretary Miss Moneypenny (Barbara Bouchet); Mata Bond (Joanna Pettet), Bond’s daughter by Mata Hari; and British agents “Coop” (Terence Cooper) and “The Detainer” (Daliah Lavi).

Charles K. Feldman, the producer, had acquired the film rights in 1960 and had attempted to get Casino Royale made as an Eon Productions Bond film; however, Feldman and the producers of the Eon series, Albert R. Broccoli and Harry Saltzman, failed to come to terms. Believing that he could not compete with the Eon series, Feldman resolved to produce the film as a satire. The budget escalated as various directors and writers got involved in the production, and actors expressed dissatisfaction with the project.

Casino Royale was released on 13 April 1967, two months prior to Eon’s fifth Bond movie, You Only Live Twice. The film was a financial success, grossing over $41.7 million worldwide, and Burt Bacharach’s musical score was praised, earning him an Academy Award nomination for the song “The Look of Love”. Critical reception to Casino Royale, however, was generally negative; some critics regarded it as a baffling, disorganised affair. Since 1999, the film’s rights have been held by Metro-Goldwyn-Mayer, distributors of the official Bond movies by Eon Productions.

Picture: Ursula Andress as Vesper Lynd and Woody Allen as Dr. Noah – Casino Royale [1967].


The studio approved the film’s production budget of $6 million, already quite large in 1966. However, during filming the project ran into several problems and the shoot ran months over schedule, with the costs also running well over. When the film was finally completed it had doubled its original budget. The final production budget of $12 million made it one of the most expensive films that had been made to that point. The previous Eon Bond film, Thunderball (1965), had a budget of $11 million while the nearly contemporary You Only Live Twice (1967), had a budget of $9.5 million. The extremely high budget of Casino Royale led to comparisons with a troubled production from 1963, and it was referred to as “a runaway mini-Cleopatra”. Columbia at first announced the film was due to be released in time for Christmas 1966. The problems postponed the launch until April 1967.

Release + Reception

Casino Royale had its world premiere in London’s Odeon Leicester Square on 13 April 1967, breaking many opening records in the theatre’s history. Its American premiere was held in New York on 28 April, at the Capitol and Cinema I theatres. It opened two months prior to the fifth Bond film by Eon Productions, You Only Live Twice.

Box Office + Marketing

Despite the lukewarm nature of the contemporary reviews, the pull of the James Bond name was sufficient to make it the 13th highest-grossing film in North America in 1967 with a gross of $22.7 million and a worldwide total of $41.7 million ($306 million in 2017 dollars). Orson Welles attributed the success of the film to a marketing strategy that featured a naked tattooed woman on the film’s posters and print adsas well as a billboard in New York’s Times Square. The campaign also included a series of commercials featuring British model Twiggy. As late as 2011, the film was still making money for the estate of Peter Sellers, who negotiated an extraordinary 3% of the gross profits (an estimated £120 million), with the proceeds currently going to Cassie Unger, the daughter and sole heir of Sellers’ beneficiary, fourth wife Lynne Frederick. When box-office receipts are adjusted for inflation, Casino Royale is second-lowest grossing of all the Bond films, with only Licence To Kill (1989) showing a lower return.

Critical Reception

No advance press screenings of Casino Royale were held, leading reviews to only appear after the premiere.The chaotic nature of the production features heavily in contemporary and later reviews. Roger Ebert said “This is possibly the most indulgent film ever made”, Time described Casino Royale as “an incoherent and vulgar vaudeville”, and Variety declared the film to be “a conglomeration of frenzied situations, ‘in’ gags and special effects, lacking discipline and cohesion.” Bosley Crowther of The New York Times had some positive statements about the film, considering Casino Royale had “more of the talent agent than the secret agent” and praising the “fast start” and the scenes up to the baccarat game between Bond and Le Chiffre. Afterward, Crowther felt, the script became tiresome, repetitive and filled with clichés due to “wild and haphazard injections of ‘in’ jokes and outlandish gags”, leading to an excessive length that made the film a “reckless, disconnected nonsense that could be telescoped or stopped at any point”.

Writing in 1986, Danny Peary noted, “It’s hard to believe that in 1967 we actually waited in anticipation for this so-called James Bond spoof. It was a disappointment then; it’s a curio today, but just as hard to get through.” Peary described the film as being “disjointed and stylistically erratic” and “a testament to wastefulness in the bigger-is-better cinema,” before adding, “It would have been a good idea to cut the picture drastically, perhaps down to the scenes featuring Peter Sellers and Woody Allen. In fact, I recommend you see it on television when it’s in a two-hour (including commercials) slot. Then you won’t expect it to make any sense.”

A few recent reviewers have been more impressed by the film. Andrea LeVasseur, in the AllMovie review, called it “the original ultimate spy spoof”, and opined that the “nearly impossible to follow” plot made it “a satire to the highest degree”. Further describing it as a “hideous, zany disaster” LeVasseur concluded that it was “a psychedelic, absurd masterpiece”. Cinema historian Robert von Dassanowsky has written about the artistic merits of the film and says “like Casablanca, Casino Royale is a film of momentary vision, collaboration, adaption, pastiche, and accident. It is the anti-auteur work of all time, a film shaped by the very zeitgeist it took on.” Romano Tozzi complimented the acting and humour, although he also mentioned that the film has several dull stretches.

In his review of the film, Leonard Maltin remarked, “Money, money everywhere, but [the] film is terribly uneven – sometimes funny, often not.” Simon Winder called Casino Royale “a pitiful spoof”, while Robert Druce described it as “an abstraction of real life”.

Rogert Ebert gave Casino Royale two star and some ascerbic comments:

“At one time or another, “Casino Royale” undoubtedly had a shooting schedule, a script and a plot. If any one of the three ever turns up, it might be the making of a good movie.

In the meantime, the present version is a definitive example of what can happen when everybody working on a film goes simultaneously berserk.

Lines and scenes are improvised before our very eyes. Skillful cutting builds up the suspense between two parallel plots — but, alas, the parallel plots never converge. No matter; they are forgotten, Visitors from Peter O’Toole to Jean-Paul Belmondo are pressed into service. Peter Sellers, free at last from every vestige of’ discipline goes absolutely gaga.

This is possibly the most indulgent film ever made. Anything goes. Consistency and planning must have seemed the merest whimsy. One imagines the directors (there were five, all working independently) waking in the morning and wondering what they’d shoot today. How could they lose? They had bundles of money, because this film was blessed with the magic name of James Bond.”

The film holds a 27% rating on Rotten Tomatoes, based on 37 reviews with an average rating of 4.6/10. The website’s critical consensus states: “A goofy, dated parody of spy movie cliches, Casino Royale squanders its all-star cast on a meandering, mostly laugh-free script.”

Video: An excellent review/ documentary of Casino Royale ’67, giving further insights into the chaos that surrounded the film’s production

The video above contains some great footage of the director Val Guest being interviewed about his work on the film.

Extract from Casino Royale [1967] in Wikipedia:

“Val Guest was given the responsibility of splicing the various “chapters” together, and was offered the unique title of “Co-ordinating Director” but declined, claiming the chaotic plot would not reflect well on him if he were so credited. His extra credit was labelled “Additional Sequences” instead.”

Roy Baird formed a strong working relationship with the director Guest. The son of a storekeeper at the film studios at nearby Elstree, he studied draughtsmanship at Southall Technical College before completing National Service in the RAF. He joined the Elstree studios as a runner and worked his way up to first assistant director, regarded as the best in the country on account of his energy and ability.

Together Guest and Baird released The Day the Earth Caught Fire (1961), 80,000 Suspects (1963) and The Beauty Jungle (1964). An interesting connection is that Ian Hendry was the lead in The Beauty Jungle and his future wife, Janet Munro, starred in The Day The Earth Caught Fire.

Roy Baird’s son Mark shared this comment concerning his father’s work on Casino Royale, on the above Youtube review video:

“My father was assistant director on this film and has a photograph with David Niven both looking up at a tree. Niven wrote on the photo “Somewhere up there Roy is the script!!” It was legendary chaotic. Incidentally the Tartan used in the castle scenes is the Baird tartan after our surname which Roy arranged. Most of the crew had a blast working on it from what I was told.”

Ian Hendry + Ursula Andress – The Southern Star [1969]

Two years later, Ian worked with Ursula Andress again in another comedy adventure film, ‘ The Southern Star’ [1969]. The film also featured Orson Welles, another cast member from Casino Royale [1967].

Ian Hendry played the part of Captain Karl Ludwig and Ursula Andress the part of his fiancee, Erica Kramer. And although Ian’s accent is markedly different here, this may be the closest we ever get to knowing what their onscreen ‘chemistry’ may have been like.

Video: Ian Hendry and Ursula Andress – The Southern Star [1969]


The Southern Star (French title: L’Étoile du sud) is a Technicolor 1969 British-French comedy crime film directed by Sidney Hayers and starring George Segal, Ursula Andress and Orson Welles. In French West Africa in 1912, an extremely valuable diamond is stolen. It was based on the novel The Vanished Diamond (French title L’Étoile du sud) by Jules Verne. The film’s opening scenes were anonymously directed by Orson Welles – the last time he would direct scenes in another director’s film.


Further Reading/ Podcasts –  James Bond Radio:

To explore the world of James Bond Radio further, we can recommend the following:

Website: http://jamesbondradio.com
iTunes: http://jamesbondradio.com/itunes
Facebook: http://www.facebook.com/jamesbondradio
Twitter: http://twitter.com/jamesbondradio


If I do find out any more information about Ian Hendry’s role in ‘Casino Royale’ [1967], or any other Bond connection for that matter, I’ll be sure to let you know.

And lastly, many thanks to Joseph McGrath for sharing his fascinating insights into the making of Casino Royale and to Pete Doherty/ James Bond Radio for such a wonderful podcast and video.

Until next time,

Neil Hendry
Editor, Official Tribute To Ian Hendry

Further Reading

A detailed account of the life and work of Ian Hendry in the new biography:

Read: ‘Send in the Clowns – The Yo Yo Life Of Ian Hendry’ by Gabriel Hershman

Send In The Clowns - The Yo Yo Life of Ian Hendry

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