Greatest Film Scenes
and Moments



W (continued)
Title Screen
Movie Title/Year and Scene Descriptions

Wedding Crashers (2005)

In director David Dobkin's R-rated romantic comedy:

  • a bawdy R-rated film about two intrepid Washington DC bachelors and lifelong friends John Beckwith (Owen Wilson) and Jeremy Grey (Vince Vaughn) who invited themselves to nuptial receptions to pick up on women and bridesmaids
  • Jeremy's fears of the 'perils of dating', after Janice (Stephanie Nevin) offered to set him up on a date: "I've got the perfect girl for you" - he responded: "Janice, I apologize to you if I don't seem real eager to jump into a forced, awkward intimate situation that people like to call dating. I don't like the feeling. You're sitting there, you're wondering, 'Do I have food on my face? Am I eating? Am I talking too much? Are they talking enough? Am I interested? I'm not really interested. Should I play like I'm interested? But I'm not that interested, but I think she might be interested. But do I want to be interested? But now she's not interested.' So now, all of sudden I'm, I'm starting to get interested. And when am I supposed to kiss her? Do I have to wait for the door? 'Cause then it's awkward, it's like 'Well, good night.' Do you do like the ass-out hug? Where you like, you hug each other like this, and the ass sticks out because you're trying not to get too close. Or do you go right in and just kiss 'em on the lips or don't kiss 'em at all? It's very difficult trying to read the situation and all the while, you're just really wondering, 'Are we gonna get hopped enough to make some bad decisions?' Perhaps play a little game called 'Just the Tip.' Just for a second, just to see how it feels, or 'Ouch Ouch, You're on My Hair.'... And thank you. Hey, Janice. Great talk"
  • the sped-up, raucous montage sequence of the two scammers seeking free love at various wedding receptions, and flopping around in bed with partly-clothed and naked women from the weddings - including Brunette (Rachel Sterling), Ivana (Ivana Bozilovic), Hindu woman (Naureen Zaim) and Vivian (Diora Baird), to the tune of the Isley Brothers' "Shout"
  • the objectives of their 'wedding crashing' - including two sisters: Claire Cleary (Rachel McAdams) (with a hotheaded, unfaithful boyfriend named Sack Lodge (Bradley Cooper)), and Claire's "stage-five virgin clinger" sister Gloria (Isla Fisher)
  • Jeremy's insistence to John, at the Cleary's wedding reception, that there were specific rules for 'crashing weddings' - there's no overtime and they had to leave right away: "John, this is completely against the rules. You have a wedding and a reception to seal the deal. Period. There's no overtime" - they both argued: "You lock it up!"
  • the Cleary dinner table scene when Jeremy was touched in his crotch area (to bring him to orgasm) under the table by nymphomaniacal Gloria, as a serious discussion about venture capitalism was being conducted: "Well, there's the company that we have where we're taking the, the fur or the wool from sheep and we turn it into thread for homeless people to sew. And then they make it into cloth, which they in turn sew then, um, make some shirts and pants for other homeless people to sell. It's a pretty good deal"; Jeremy struggled to add that he was relieved: "People, people helping people... Terrific, it was terrific!"
  • the protective warning of presidential wannabe, William Cleary (Christopher Walken), the US Secretary of the Treasury, to Jeremy about his daughter: "You know, she's not just another notch on the old belt...I'm a very powerful man"
  • the racy scene of Jeremy being seduced by sexually-insatiable, and "social alcoholic" Kathleen "Kittycat" Cleary (Jane Seymour) - the socialite wife of William Clearly who requested that he personally rate her recent breast implants
  • the 'motorboating' scene, when John admitted: "Claire's mom just made me grab her hooters"; Jeremy tried to calm him: "Well, snap out of it! What? A hot, older woman made you feel her cans? Stop crying like a little girl...Why don't you try getting jacked off under the table in front of the whole damn family and have some real problems? Jackass. What were they like, anyway? They look pretty good. Are they real? Are they built for speed or for comfort? What did you do with 'em? Motorboat? You play the motorboat? Ppppt! You motorboatin' son of a bitch. You old sailor, you!"
  • words of wisdom by Chazz Reinhold (Will Ferrell), Jeremy's former wedding crashing mentor (but who was still living with his mother), about how to pick up women - at funerals, where he met his latest female conquest: "I got her yesterday....I rode my bike over to a cemetery nearby. Her boyfriend just died...The dude died in a hang-gliding accident. What an idiot! Ha, ha, ha. 'Oh, I'm hang gliding! Honey, take a good picture... I'm dead!' Ha, ha. What a freak!...Yeah, I'll throw in a wedding every now and then, but funerals are insane! The chicks are so horny, it's not even fair. It's like fishing with dynamite....Yeah, crazy horny...Grief is nature's most powerful aphrodisiac. Look it up"

The Wedding March (1928)

In director Erich von Stroheim's stately drama:

  • the extended flirtatious sequence of the meeting of dissolute Prince Nicki (director Erich von Stroheim) (on horseback) and commoner Mitzi (Fay Wray) outside St. Stephens as he prepared to participate in the Corpus Christi procession
  • their courtship under an apple-blossom tree with a romantic kiss
  • the film's controversial and notorious orgy scene in a brothel populated by an assortment of Chinese, Nubian, and Polynesian women
  • the wedding march itself when Nicki must marry crippled rich heiress Cecelia Schweisser (Zasu Pitts) for money instead - witnessed by a tearful Mitzi from the side

Week End (1967, Fr.)

In director Jean-Luc Godard's prescient and politicized film:

  • the opening sexually-graphic "orgy" scene monologue in which affluent Parisian Corinne Durand (Mireille Darc), silhouetted and dressed in her panties and bra and sitting on a desk, described to her fully-dressed lover-analyst an orgy between a couple (Paul and his wife Monique) and herself (as the camera shifted left and right, and zoomed in and out)
  • the weekend journey of the bickering Durand couple: Corinne and husband Roland (Jean Yanne) to visit her parents in the countryside
  • the famed over 8-minute long tracking shot (the longest of its kind at the time) - viewing surrealistic and nightmarishly apocalyptic images of the roads littered with traffic jams, car wrecks and accidents, bloody casualties, and burning cars
  • the stark images of the slaughter of a chicken and a pig

Weekend at Bernie's (1989)

In director Ted Ketchoff's summer sleeper hit black comedy:

  • the memorable scenes involving the murdered corpse of boss Bernie Lomax (Terry Kiser) who was propped up to appear alive - pretending to be the host of a weekend beach party in the Hamptons over Labor Day weekend
  • the scene of the two insurance company employees: slacker Larry (Andrew McCarthy) and uptight workalcoholic Richard's (Jonathan Silverman) speedboat departure that dragged Bernie's body into buoys
  • the off-screen scene of the visit of NY moll Tina (Catherine Parks) to his bedroom for sex (without noticing his unresponsiveness)

West Side Story (1961)

In co-directors Jerome Robbins and Robert Wise's Best Picture-winning adaptation of the popular Broadway musical:

  • the opening prologue with aerial shots of Manhattan
  • the remarkably energetic Jerome Robbins' choreography (filmed in New York's Hell's Kitchen district) especially in the opening balletic sequence, demonstrating the rivalry between the Caucasian Jets and the immigrant Puerto Rican Sharks - and the dance-song "The Jet Song"
  • the dance at the gymnasium during the first meeting of star-crossed lovers Maria (Natalie Wood) and Tony (Richard Beymer), and Tony's subsequent singing of "Maria" about his newfound love
  • the Romeo and Juliet balcony scene re-enacted on a tenement fire escape with the singing of the duet "Tonight" by both Tony and Maria
  • the scene of Anita's (Oscar-winning Rita Moreno) passionate skirt-tossing dance with other Puerto Ricans on the rooftop in the singing of "America"
  • the biting satire of "Gee Officer Krupke," Maria's "I Feel Pretty" dance in a bridal shop, and Tony and Maria's sensitive exchange of love vows during a make-believe wedding between them in "One Hand, One Heart"
  • the action-oriented rumble/dance sequence leading to the killings of two rival gang leaders Riff (Russ Tamblyn) and Bernardo (Oscar-winning George Chakiris)
  • the melodramatic finale when Tony died in Maria's arms as she knelt by his side (singing a reprise of Somewhere: "Hold my hand and I'll take you there")

The Westerner (1940)

In director William Wyler's A-list western:

  • quick-thinking Cole Harden's (Gary Cooper) sweet-talking of Jane-Ellen Mathews (Doris Davenport) for a lock of her hair
  • the drinking bout between Hardin and hanging Judge Roy Bean (Oscar-winning Walter Brennan)
  • the exciting scene of the devastating cornfield fire set by the Judge's men to run off homesteaders
  • the scene of the theater curtain's opening revealing deputized Hardin standing on stage and ready for a gunfight with Judge Bean (the sole audience member) rather than a performance by British actress Lily Langtry (Lilian Bond) - 'the famous Jersey Lily'
  • the Judge's wide-eyed, backstage death scene as he glimpsed the fantasy woman of his life - she blurred in his vision as he fell dead

Westworld (1973)

In writer/director Michael Crichton's futuristic sci-fi thriller (his directorial debut film), with many similarities to Halloween (1978), The Terminator (1984), The Magnificent Seven (1960) (Yul Brynner's Gunslinger character), and Jurassic Park (1993), with its story of an amusement park with malfunctioning attractions - remade as a TV series beginning in 2016:

  • the opening interviewer promo for three attractions at the Delos theme park, all for only $1,000 a day: "Hi. Ed Renfrew for Delos again. If there's anyone who doesn't know what Delos is, well, as we've always said, Delos is the vacation of the future, today. At Delos, you get your choice of the vacation you want. There's Medieval World, Roman World and, of course, Westworld. Let's talk to some of the people who've been there"
  • the various announcements to elite Delos visitors just as their hovercraft arrived at their destination, where guests took color-coded trams to the resort of their choice: "Expensive and unusual, Delos is not for everyone. But for those that choose it, it is truly a unique and rewarding experience... (the female announcer's ominous words in the background) Welcome to Delos. Please go to your color-coded tram which will take you to the World of your choice. We are sure you will enjoy your stay in Western World. While you are there, please do whatever you want. There are no rules. And you should feel free to indulge your every whim. Do not be afraid of hurting anything or of hurting yourself. Nothing can go wrong"
  • the role-playing experiences of first-time nerdy visitor Peter Martin (Richard Benjamin) and his pal John Blane (James Brolin) at Westworld, acting out archetypal 'western' fantasies: a mock saloon ("new-in-town" Martin ordered a "vodka martini on the rocks with a twist of lemon, very dry" rather than a whiskey) and a quick-draw shootout with the Magnificent Seven's cold and mechanical gunslinger (Yul Brynner) (with authentic blood splatter); then their bedding down of a pair of honky-tonk prostitutes (one showed signs of defectiveness in her eyes), an escape-breakout from a sheriff's jail-cell, a cyborg rattlesnake bite, a rollicking bar-room brawl, and another showdown at high-noon with the gunslinger in the middle of the dusty town (resulting in Blane's actual death!)
  • the behind-the-scenes views of white-coated scientists speaking into primitive computer monitors to control the programmed robotic humanoids, and their repair efforts each night (after a van picked up malfunctioning, broken-down, damaged or dead robots) to rehabilitate them; ultimately, the scientists died of oxygen deprivation when the entire resort's computers began to spread breakdowns (like a viral disease) among the androids (who became disobedient and began harming guests) - and the scientists became locked in the control room after they shut down the park's power
  • the lengthy, relentless almost dialogue-less chase sequence of the beserk, rogue Gunglinger pursuing and stalking Peter, first on horseback and then into Medieval World; the robot was doused in the face with hydrochloric acid, resulting in the robot using its heat-seeking, infra-red senses to locate Peter (this was the first use of computer digitized (pixellated) images in film history, to simulate the robot's red-tinted POV); and then the gunslinger was set on fire with a flaming torch and eventually was charred to a smoldering crisp and suffered a lethal short-circuit
  • the ironic words that ended the film (resonating inside sole surviving Peter's head) - a replay of promotional words from a male voice: "Why don't you make arrangements to take our Hovercraft to Medieval World, Roman World and Westworld. Contact us today, or see your travel agent. Boy, have we got a vacation for you, vacation for you - for you, for you, you you you you you you you you (echoing)"

What Dreams May Come (1998)

In director Vincent Ward's artistic, visually-astonishing after-life drama (a cross between Ingmar Bergman's films and Stairway to Heaven/A Matter of Life and Death (1946, UK)), an adaptation of Richard Matheson's novel:

  • the opening scene of vacationing pediatrician Dr. Chris Nielsen (Robin Williams) meeting and falling in love at first sight with future wife Annie (Annabella Sciorra) in Italy: ("When I was young, I met this beautiful girl by a lake") and their picnic
  • and after their marriage, the tragic scene in which he and artist wife Annie lost their two children Marie (Jessica Brooks Grant) and Ian (Josh Paddock) in an off-screen car crash after he waved goodbye, with his melancholy narration: "It was the last time Annie and I saw them alive"
  • and then four years later, the scene in which Chris, now also deceased and in the afterlife but lingering on Earth - after another multi-car crash in a tunnel - attended his own funeral and attempted to console still-living, grief-stricken Annie
  • his attempts to have despondent Annie acknowledge his continued existence (after whispering in her ear "This is Chris. I still exist," he made her scrawl the words: "ISTILEXST" in her diary, and then tried to contact her at his gravesite: "Don't worry, baby, I'm not leaving you alone. I'm not goin' anywhere") -- and her violent sobbing reactions, forcing Chris to reluctantly leave her and Earth and journey to the afterworld
  • the appearance of a blurry mentor-guide Albert Lewis (Cuba Gooding, Jr.) with advice urging him to depart: "The reality is it's over when you stop wanting to hurt her"
  • the scenes of an Expressionist painting world in Chris' imagined heaven (using surreal Oscar-winning CGI effects) modeled after Annie's paintings, when he was told: "Nice place you got here...You're making all of this. See, we're all pretty insecure at first, so we see ourselves somewhere safe, comforting. We all paint our own surroundings, Chris, but you're the first guy I know to use real paint"
  • the moment when Albert helped him create a "real" afterlife by carving a hole in his dreamhouse's wall
  • "soul-mate" ("sort of like twin souls tuned into each other") Annie's despairing successful suicide foreshadowed by the death of the purple-flowered tree in her 'heavenly' painting and then her afterlife in Hell: ("You never see her. She's a suicide. Suicides go somewhere else...The real Hell is your life gone wrong")
  • Chris' quest to bring her back - to rescue her lost soul from the torment with the help of the dark-cloaked Tracker (Max von Sydow)
  • the view of a vast and dark Hell (Tracker: "In Hell, there's real danger from losing your mind")
  • the Sea of Faces where dozens of pale and tortured souls were buried up to their necks in sand
  • the moment of Chris' discovery of the location of Annie in Hell, his delivery of a sentimental apology to her for all the things he couldn't give her: ("I'll never buy you another meatball sub with extra sauce -- that was a big one! I'll never make you smile..."), and his decision to share his wife's insanity rather than abandon her in Hell (she had earlier told him: "Sometimes, when you lose, you win")
  • the re-uniting of wife Annie with him and their dead children in his heavenly afterlife during the 'feel-good' finale: ("Travel here is like everything else, it's in your mind. All you have to do is close your eyes if you know where you're going. Looks like we did")
  • the final scene of their spiritual reawakening in the bodies of two young children by a lake ("When I was young, I met this beautiful girl by a lake")
Annie's Death and Hell

What Ever Happened to Baby Jane? (1962)

In Robert Aldrich's Grand Guignol classic horror film:

  • the two legendary screen rivals dueling onscreen - with the many scenes of ex-child actor and sister 'Baby' Jane Hudson (Oscar-nominated Bette Davis) terrorizing wheelchair-bound, hungry, crippled ex-movie star sister Blanche Hudson (Joan Crawford)
  • Baby Jane driven insane by feelings of jealousy (Blanche's success as a movie star while her career fizzled) and guilt (thinking she had crippled Blanche by running the car into her in an early scene)
  • her petty tortures including the servings of "din-din": a dead pet parakeet and roasted rat
  • the scene of a grotesquely made-up Jane practicing "I've Written a Letter to Daddy" while dressed in a baby-doll suit (with her hair in golden curly locks) to corpulent gigolo pianist Edwin Flagg (Oscar-nominated Victor Buono in his film debut) in a demented attempt at a comeback as Baby Jane
  • Blanche's excruciating attempt to make her way down the staircase to phone for help - when Baby Jane unexpectedly arrived home
  • Jane's response to Blanche's helplessness in her wheelchair: ("You wouldn't be able to do these awful things to me if I weren't still in this chair") - retorting: "But-cha ARE, Blanche! Yah ARE in that chair!"
  • the concluding beach scene in which a dying Blanche revealed the truth, with her final words, of the accident years earlier (Jane hadn't crippled her after all) with Jane's astonished reply: "Then you mean, all this time we could've been friends?"
  • the film's end in which a totally insane but deeply happy Jane (shot in soft focus) purchased two strawberry ice cream cones, then danced and spun as a crowd gathered around her, as two policemen located Blanche's body (with an ambiguous fate) in the sand

What's Eating Gilbert Grape (1993)

In Swedish director Lasse Hallstrom's family drama:

  • the heartbreaking scene of brain-damaged brother Arnie Grape (Leonardo DiCaprio), a day after his 18th birthday, discovering his dead, morbidly obese mother Bonnie (Darlene Cates) in her upstairs bedroom ("Momma, stop it now")
  • his decision with his brother Gilbert Grape (Johnny Depp) to empty the house and set fire to it, to avoid having her removed by a crane - which would cause a crowd and make them a joke in the town

When Harry Met Sally... (1989)

In Rob Reiner's popular romantic comedy from Nora Ephron's script:

  • the various vignettes of elderly couples reflecting on their relationships (with one-liners such as: " know a great melon")
  • the film's premise: can a man and a woman be friends without sex becoming an issue?, and the eleven year friendship/relationship between journalist Sally Albright (Meg Ryan) and political consultant Harry Burns (Billy Crystal)
  • the roadside cafe scene of fussy Sally ordering apple pie and ice cream during a 1977 car trip from Chicago to NYC: ("I'd like the chef salad, please, with the oil and vinegar on the side. And the apple pie a la mode....But I'd like the pie heated, and I don't want the ice cream on top. I want it on the side. And I'd like strawberry instead of vanilla if you have it. If not, then no ice cream, just whipped cream, but only if it's real. If it's out of a can, then nothing." Waitress: "Not even the pie?" Sally: "No, just the pie. But then not heated")
  • the scene of Harry describing his recurring sex fantasy dream to Sally: "I had my dream again - where I'm making love and the Olympic judges are watching? I've nailed the compulsories, so this is it: the finals. I got a 9.8 from the Canadian, a perfect 10 from the American. And my mother, disguised as an East German judge, gave me a 5.6. Must've been the dismount"; then it was Sally's turn to describe her 'embarrassing' sex dream: "Basically it's the same one I've been having since I was 12...OK, there's this guy...He's just kinda faceless...He rips off my clothes...That's it...Sometimes I vary it a little...What I'm wearing"
  • the "high-maintenance/low-maintenance" split-screen phone discussion between Harry and Sally, while they were both watching the conclusion of Casablanca from their respective beds: Harry: "There are two kinds of women: high maintenance and low maintenance...You're the worst kind; you're high maintenance but you think you're low maintenance....You don't see that? Waiter, I'll begin with a house salad, but I don't want the regular dressing. I'll have the balsamic vinegar and oil, but on the side. And then the salmon with the mustard sauce, but I want the mustard sauce on the side. 'On the side' is a very big thing for you..."
  • the crowded New York deli-restaurant scene of Sally's fully-clothed, simulated orgasm with table-beating and ecstatic moans and gasps ("Ooooh. Oh, God. Oooooh. Oh God!..."), foot-noted by an elderly patron (director Rob Reiner's mother Estelle) exclaiming to the waiter at a nearby table: "I'll have what she's having"
  • the scene of the simultaneous, split-screen four-way phone call, when Harry called his friend Jess (Bruno Kirby) and Sally called her friend Marie (Carrie Fisher) to tell them that they had just had sex - and when the call was finished, Marie asked Jess: "Tell me I never have to be out there again"
  • the last scene in which Harry frantically ran down a New York street (to the tune of Sinatra's "It Had to Be You") toward a hotel's crowded New Year's Eve party where he finally reached Sally and expressed his love to her ("...I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible")

When Worlds Collide (1951)

In producer George Pal's disaster picture - a follow-up to Destination Moon (1950):

  • the Oscar-winning special effects including a great fireball - a sun-sized body called Bellus - hurtling toward earth
  • the rocket-propelled spaceship built on a ramp
  • the film's catastrophic climax in which New York was struck by a tidal wave

Whiplash (2014)

In writer/director Damien Chazelle's musical drama about a psychological battle of wits and talent:

  • the growing tension between talented and determined young jazz student Andrew Neiman (Miles Teller) and his perfectionist, relentless and abusive Terence Fletcher (Oscar-winning J.K. Simmons), a notoriously tyrannical jazz music instructor at New York City's prestigious Shaffer Conservatory
  • the final confrontation between Fletcher and Andrew (pushed past his breaking point) at the JVC Jazz Festival, when Andrew asserted himself and performed a magnificent drum solo of "Caravan" to defy Fletcher and force his teacher (and the band) to follow his lead

White Cargo (1942)

In director Richard Thorpe's melodramatic remake of the 1929 original:

  • tight sarong-clad, sultry, and exotic, dark-haired half-breed (Hollywood's code name for a non-white temptress) - an African, tan-skinned native girl named Tondelayo (Hedy Lamarr) seductively announcing herself with the popular catch-phrase in one of filmdom's greatest entrances: "I am Tondelayo"
  • the concluding scene of her poisoning

White Heat (1949)

In director Raoul Walsh's exciting Freudian-tinged gangster film:

  • the opening mail-train robbery sequence in the High Sierra at the California border
  • Arthur "Cody" Jarrett's (James Cagney) mother-fixation, exemplified by sitting on his crooked mother's - "Ma" Jarrett (Margaret Wycherly) - lap when he described the feeling of pain in his head during debilitating headaches: "It's like having a - it's like having a red hot buzzsaw inside my head"
  • the instances that Cody shot people through objects (a car trunk, an apartment door)
  • the 'accident' scene in the prison's machine shop
  • the screeching of the machines that portrayed Cody's mental state
  • the 3-minute prison dining-hall sequence when Cody passed a question about his mother ("Ask him how my mother is?") down a long line of prisoners sitting at a table; the camera panned to the left as each prisoner whispered the question to the next guy; word of Cody's mother's death ("She's dead") was then passed back (prisoner to prisoner) and when it reached Cody, he had a beserk, epileptic reaction - standing on and sprawling across the table, and then attacking the guards and making gutteral sounds before being dragged away
  • Cody's final cry: "Made it Ma. Top of the world," and his fiery ending atop the globe-shaped gas tanks as they exploded in the climax
  • the film's concluding words, spoken by undercover agent Hank Fallon (Edmond O'Brien): "He finally got to the top of the world... and it blew right up in his face"

Who Framed Roger Rabbit (1988)

In director Robert Zemeckis' award-winning animated-live action tribute and parody of detective noirs of the 40s:

  • the end of the opening toon cartoon (Tummy Trouble) that remarkably combines animated characters and live actors
  • whiskey-voiced Toon-star Baby Herman
  • the character of luscious sexpot Jessica Rabbit (Kathleen Turner's voice, but Amy Irving's voice for singing), including her sexy and seductive swaggering performance near down-and-out, hard-boiled private detective Eddie Valiant (Bob Hoskins) of "Why Don't You Do Right?" at the Ink and Paint Club
  • her famous line: "I'm not bad, I'm just drawn that way"
  • the incriminating game of "Patty-cake" played by gag factory head and Toontown owner Marvin Acme (Stubby Kaye) and sexy Jessica
  • the characters of the Toon Patrol
  • the cab trip to Toontown
  • Judge Doom's (Christopher Lloyd) threat to 'dip' Jessica and Roger but his own demise in the bubbling acid
  • Eddie and Roger's noisy wet kiss
  • the joyous conclusion with Porky Pig delivering his famous "That's all folks!"

(alphabetical by film title)

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F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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