Greatest Film Scenes
and Moments



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

Pink Flamingos (1972)

In director John Waters' ultimate, exploitational trashy/cult film ("An Exercise in Poor Taste") with homage to the Manson family, and multiple examples of grotesque sexual acts and behavior - the first in a bad taste-laden "Trash Trilogy" followed by Female Trouble (1974) and Desperate Living (1977):

  • the many oddball characters in the Maryland trailer (with plastic pink flamingos) of overweight transvestite trailer park matron-diva Divine/Babs Johnson (drag queen Divine or Harris Glenn Milstead) including her delinquent son Crackers (Danny Mills), her traveling companion Cotton (Mary Vivian Pearce), and her half-dressed, mentally-ill corpulent mother Edie (Edith Massey) who sat in a playpen and ate hard-boiled eggs
  • the continuing conflict between Babs (and her family) and the envious and rival couple involved in black-market criminal activity, Raymond Marble (David Lochary) and Connie Marble (Mink Stole), and their manservant Channing (Channing Wilroy), who artificially inseminated kidnapped girls with a turkey baster, and then sold the babies (in their "adoption clinic") to lesbian couples
  • the shocking scene of sex between Crackers and the Marbles' spy Cookie (Cookie Mueller), as voyeuristic Cotton looked on from a nearby trailer window, when the couple sucked on each other's toes for stimulation, and killed a live chicken that was crushed between them during bestiality copulation
  • the exhibitionism scene of a clown-masked tall Raymond exposing himself to two females lunching in a wooded park, after attaching a very long kielbasa sausage to his penis, and then stealing a left-behind purse
  • the scene of the surprise revelation of a Transexual's (Elizabeth Coffey, credited as "Chick with a Dick") genitals in an outdoor park
  • Babs' over-the-top birthday party scene, with a cake decorated with the words: "Happy Birthday Babs The Filthiest Person Alive", featuring bizarre sex acts, including a topless woman dancing with a snake, and a gay male contortionist (anonymous, uncredited as the "Singing Asshole") who ascended onto a performance stage, laid down on his back with his legs in the air, and musically sang or 'lip-synched' to the tune of The Trashmen's "Surfing Bird" ("Mau-mau-mau") by flexing his anal sphincter!)
  • the killing and cannibalistic eating (simulated) of a quartet of policemen (reminiscient of Night of the Living Dead (1968)) after being axed into pieces
  • the outrageous scene of mother-son incestual sex (fellatio) between Babs and Crackers
  • the revelation that Channing, after being castrated by Babs and Crackers ("I'm gonna cut that big fat worm right off"), had bled to death
  • Babs' stunning "filth politics" speech to TV reporters, including Mr. Vader who asked if blood was a turn-on: "It (blood) does more than turn me on, Mr. Vader. It makes me come. And more than the sight of it, I love the taste of it. The taste of hot, freshly killed blood...Kill everyone now! Condone first degree murder! Advocate cannibalism! Eat s--t! Filth is my politics! Filth is my life!" before a trial and execution of the bound and gagged Marble couple in front of the press - it was a 'live homicide'
  • the scatological, disgusting gross-out scene of Divine/Babs eating real fresh, recently defecated dog feces in a competition to become the 'World's Filthiest Person' at the film's conclusion - she gagged and then smiled at the camera in a close-up

Pink Floyd: The Wall (1982, UK)

In Alan Parker's re-imagining of the Pink Floyd album, a musical masterpiece - a remarkable descent into madness through a series of rambling music video segments by burned-out rock singer Pink (Bob Geldorf) in a Los Angeles hotel room:

  • the segment "Another Brick in the Wall, Part 2" with schoolchildren being turned into faceless, conforming zombies on an assembly line and being fed into an approaching meat-grinder
  • and the animated and nightmarish "Goodbye Blue Sky" in which a dove imploded and morphed into a dark monstrous bird of prey -- a fighter plane bomber over London
  • memorable adult-themed animated sequences by cartoonist Gerald Scarfe (including symbolic, sexually-explicit, botanical Freudian animation that presented a misogynistic woman-as-destroyer/devourer motif)
  • in the passionate "flowers" scene before the rock song "Empty Spaces," two flowers, one shaped like a male organ and the other like a female organ -- morphed into a couple having intercourse and then engaged in a bloody fight when the female flower revealed sharp teeth and devoured the male
  • the giant creature Judge Arse that appeared to be talking out of his anus

The Pink Panther (1963)

In Blake Edwards' caper comedy - the first film that introduced the long-running comedy series:

  • the introductory opening credits Pink Panther feline cartoon (debuting the famous animated feline with his various funny antics) accompanied by Henry Mancini's classic jazzy-bluesy music
  • the opening scene in which a discolored flaw in a large pink diamond was dubbed "The Pink Panther" by a Maharajah
  • the character of bumbling, heavy French-accented Inspector Jacques Clouseau (Peter Sellers)
  • the many hysterical slapstick scenes, including when Clouseau spun a globe, glanced out the window, and confidently stated: "We must find that woman," placed his hand back on the globe - and was immediately thrown to the floor
  • the film's twisting plot regarding the suave, playboyish jewel thief Sir Charles Lytton (David Niven) aka The Phantom, and Clouseau's unfaithful wife Simone (Capucine) conspiring behind Clouseau's back (as Lytton's lover) to steal the Pink Panther jewel from its owner - the adult Princess Dala (Claudia Cardinale)
  • the classic hide-and-seek scene in which Simone juggled suitors in her bedroom: she had to divert Clouseau's attention from both Lytton and his Lytton's American nephew George (Robert Wagner) who were hiding - one under the bubbles in her bathtub in her bathroom, and the other under her bed
  • the scene of Clouseau playing his expensive Stradivarius violin (repaired after he had stepped on it and quipped: "It's no matter. When you've seen one Stradivarius, you've seen them all") after numerous attempts to have sex with the very deceptive Simone (who was continuing to hide her suitors from him), although he told her: "I doubt if we shall need it tonight, my love" - and then popping a bottle of champagne in bed and drenching both of them
  • the costume-party scene in which the bumbling detective wore a suit of armor and chastised the sergeant dressed in the zebra costume for wearing stripes: "How dare you drink on duty! One more outburst like that and I'll have your stripes!"
  • the scene of both Sir Charles and George robbing a safe in similar gorilla costumes
  • the jail scene in which Clouseau was speaking to the incarcerated Lyttons, and put both of his fists into pots of porridge
  • the concluding trial scene in which Clouseau became a national hero (for swarms of women) when he was believed to be The Phantom -- he had pulled out his handkerchief and attached to it was a jewel - and he delightfully took credit, and on the way to prison admitted: "Well, you know, it wasn't easy"

Pinky (1949)

In director Elia Kazan's stirring melodrama - one of the earliest and most controversial films about inter-racial relations from Hollywood -- an example of the many post-war 'problem pictures':

  • noted for having a white actress (Jeanne Crain) portray light-skinned black nurse Pinky/Patricia Johnson (Oscar-nominated co-star Ethel Waters' grand-daughter) who tried to pass for white when she fell in love with white doctor Dr. Thomas Adams (William Lundigan) up North
  • the scenes of her experiencing bigotry: (the accusation: "She's nothin' but a low-down colored gal" -- and her admission: "Yes, it's true, I'm colored. My grandmother's Mrs. Dysey Johnson")

Pinocchio (1940)

In possibly the greatest of all Disney animated cartoons (the filmmaker's second animated feature):

  • Jiminy Cricket as wooden puppet Pinocchio's official conscience with the song "Give a Little Whistle"
  • the memorable "When You Wish Upon a Star" (to become a real boy) and Jiminy's high wire act on a violin string
  • Pinocchio's duping by wicked fox J. Worthington Foulfellow to become an actor and join Stromboli's marionette show
  • the song "Hi-Diddle-Dee-Dee" ("Hey, diddly-dee, an actor's life for me!") and Pinocchio's song "I Got No Strings" while performing for Stromboli
  • the scene of the Blue Fairy coming to Pinocchio's aid after his nose had grown from so many lies and advising him: ("A lie keeps growing and growing until it's as plain as the nose on your face...Always let your conscience be your guide")
  • the sinister and scary Pleasure Island sequence where bad boys such as Lampwick grew donkey ears and tail
  • the rescue of Geppetto (and Pinocchio) from the belly of Monstro the Great Whale
  • Pinocchio's transformation into a real boy ("Awake, Pinocchio")

Pirates of the Caribbean: The Curse of the Black Pearl (2003)

In director Gore Verbinski's hugely popular comedy swashbuckler:

  • the memorable introduction of pirate Captain Jack Sparrow (Oscar-nominated Johnny Depp) as he sailed into Port Royal, Jamaica while standing and balancing himself on the crow's nest of a ship in a seemingly dramatic, heroic entrance to a swelling score, but quickly revealed to be in a sinking dinghy - when he reached the wooden pier, only the very tip of the mast was showing above water, and then, in a perfectly-timed move, he stepped onto dry land from the submerged boat
  • the long, exciting, acrobatic and chatty swordfight between Jack and straight-laced swordsman and blacksmith Will Turner (Orlando Bloom) in the shop
  • the portrayal of the beautiful, spunky, kidnapped Governor's daughter Elizabeth Swann (Keira Knightley)
  • the wily 'undead' cursed pirate Captain Barbossa (Geoffrey Rush) - displayed with amazing special effects when first revealed

Pitch Black (2000) (aka The Chronicles of Riddick: Pitch Black)

In David Twohy's taut science fiction thriller:

  • the film's unique premise of a constantly-lit, barren desert planet within a three-star system which underwent a rare eclipse of its three suns every 22 years that unleashed hibernating, terrifying winged alien creatures in the darkness
  • the complex character of amoral, vicious murderer and anti-hero prisoner Richard D. Riddick (Vin Diesel in a star-making role) - the only one who could see in the dark and help save the crew from the sharp-toothed flying monsters
  • the scene of Riddick's stunned reaction: "Not for me! Not for me!" at the moment of ship pilot Carolyn Fry's (Radha Mitchell) sacrificial death to a nocturnal creature (while she was in Riddick's arms) after she had vowed earlier that she'd die rather than abandon everyone: ("I would die for them")

Pixote (1981, Brazil) (aka Pixote: A Lei Do Mais Fraco, or Survival of the Weakest)

In director Hector Babenco's neo-realistic urban drama:

  • the many grim and disturbing images of Third World urban poverty among wayward Brazilian children
  • the dark night scene in the juvenile reformatory of a boy's violent gang-rape witnessed by 11 year-old orphaned and abandoned boy Pixote (Fernando Ramos da Silva)
  • the delinquent boys' activities including pick-pocketing, selling cocaine and robbing the johns of Sueli
  • the disturbing shots in the film's conclusion of prostitute Sueli's (Marilia Pera) bloody, self-aborted fetus in a bucket in a bathroom while she sat on the toilet
  • the scene of Pixote suckling hungrily at the breast of Sueli (a distorted portrait of La Pieta) while she told him: "Baby, suck it. Mummy's with you" until it hurt and she pushed him away: "Take your dirty mouth off me"

A Place In the Sun (1951)

In Best Director-winning George Stevens' classic tearjerker based upon Theodore Dreiser's An American Tragedy:

  • the powerful romantic chemistry between poor boy George Eastman (Montgomery Clift) and rich society girl Angela Vickers (Elizabeth Taylor) in the "Are they watching us?" dancing and balcony scenes
  • their soft-focus kiss in gigantic closeup: ("Tell Mama, tell Mama all")
  • the scene of pregnant factory co-worker Alice (Shelley Winters) telling George that he must marry her right away
  • the lake/rowboat "murder" scene when George rowed out into the middle of Loon Lake with Alice and she fell overboard and drowned
  • the dramatic trial
  • the final prison/execution farewell scene in the death cell between the condemned George and Angela

The Plainsman (1936)

In Cecil B. DeMille's epic western:

  • the character of bull-whip snapping Calamity Jane (Jean Arthur)
  • the famous barroom shootout scene in Deadwood, South Dakota between Wild Bill Hickok (Gary Cooper) and profiteer John Lattimer (Charles Bickford) who ended up dead; soon after while playing poker (with a famous dead man's hand of aces and eights), Hickok was fatally shot in the back by cowardly Lattimer cohort Jack McCall (Porter Hall)
  • as the film ended, heartbroken and teary-eyed Calamity Jane kissed Wild Bill Hickok on the floor as she cradled him in her arms, telling him: "That's one kiss you won't wipe off"
  • the film's epilogue: "It shall be as it was in the past... Not with dreams, but with strength and with courage... Shall a nation be molded to last"

Planes, Trains, and Automobiles (1987)

In director John Hughes' odd-couple road comedy:

  • during a busy Thanksgiving travel season, the many scenes of uptight, easily-annoyed Chicago marketing ad executive Neal Page (Steve Martin) releasing vitriolic criticism and rage at his boorish and undesired traveling companion: buffoonish, shower curtain ring sales rep Del Griffith (John Candy)
  • their reunion at JFK airport after Neal accused Del of stealing his cab earlier in the day, and Del's failed attempt to appease Neal with offers of a hot dog and a beer, just a hot dog, some coffee, milk, soda, some tea, Life Savers, a Slurpee - and then ended the conversation with: "I knew I knew ya!"
  • the extended, confrontational, ill-fated Marathon rental car sequence with an incompetent rental car clerk -agent (Edie McClurg) ("Give me a f--king automobile") - a one-minute scene of the exasperated Page spouting off the "F" word over a dozen times (and ending with the clerk's two-word retort about his thrown-away rental agreement: "You're f--ked!")
  • their sharing a grungy, cramped Wichita hotel room and sleeping in the same bed (and waking up cuddled and snuggling together) with Neal angrily telling Del his "other hand" was not between two pillows: ("Those aren't pillows!")
  • Page's raging monologue about Del's annoying habit of spouting anecdotes: ("Didn't you notice on the plane when you started talking, eventually I started reading the vomit bag? Didn't that give you some sort of clue, like maybe this guy is not enjoying it? You know everything is not an anecdote. You have to discriminate. You choose things that are funny or mildly amusing or interesting. You're a miracle! Your stories have none of that. They're not even amusing accidentally! 'Honey, I'd like you to meet Del Griffith, he's got some amusing anecodotes for ya. Oh and here's a gun so you can blow your brains out. You'll thank me for it.' I could tolerate any insurance seminar. For days, I could sit there and listen to them go on and on with a big smile on my face. They'd say: 'How can ya stand it?' I'd say, ''Cause I've been with Del Griffith. I can take anything.' You know what they'd say? They'd say, 'I know what you mean. The shower curtain ring guy. Whoa.' It's like going on a date with a Chatty Cathy doll. I expect you have a little string on your chest, you know, that I pull out and have to snap back. Except I wouldn't pull it out and snap it back - you would. Agh! Agh! Agh! Agh! And by the way, you know, when you're telling these little stories? Here's a good idea - have a point. It makes it so much more interesting for the listener!")
  • and then, Del's speech about judging others: ("You wanna hurt me? Go right ahead if it makes you feel any better. I'm an easy target. Yeah, you're right, I talk too much. I also listen too much. I could be a cold-hearted cynic like you but I don't like to hurt people's feelings. Well, you think what you want about me; I'm not changing. I like - I like me. My wife likes me. My customers like me. 'Cause I'm the real article. What you see is what you get")

Planet of the Apes (1968)

In Franklin J. Schaffner's original sci-fi film of the long-running series, a twisting time-travel adventure with an effective, politically-charged message of social commentary - about a post-apocalyptic, post-nuclear futuristic planet (Earth) with evolved, highly-intelligent talking apes - the film was most celebrated for its Oscar-winning make-up artistry of the civilized, evolved yet dictatorial ape-like creatures:

  • the opening crash-landing of a US spacecraft launched in 1972, and landing after a long flight of 18 months, on a desolate planet - on November 25, 3978, over two millennia after take-off
  • the action scene of the pursuit of stranded American astronaut 'George' Taylor (Charlton Heston) and other primitive humans in a cornfield by horse-back riding, armed gorillas
  • the scenes of Taylor's shocking realization that the imprisoned and rounded-up caged humans were mute and inarticulate, and could only grunt; and his own failed attempt, with a damaged throat voice-box, of trying to speak to chimpanzee scientist Dr. Zira (Kim Hunter) and orangutan ape leader Dr. Zaius (Maurice Evans); an assistant sarcastically noted: "You know what they say, 'Human See, Human Do'"; Zaius also commented: "Yes, amusing, a man acting like an ape!...He has a definite gift for mimickry"
  • during Taylor's attempted escape in Ape City, his discovery of a museum display or exhibit of a fellow astronaut - Dodge (Jeff Burton), now a stuffed and eyeless corpse
  • Taylor's snarling and defiant insults toward the ruling apes, when he was caught in a net like a beast, and spoke for the first time: ("Take your stinkin' paws off me, you damn dirty ape!"); he also cried out when restrained and sprayed with a high-powered hose ("It's a madhouse!")
  • the "See No Evil, Hear No Evil, Speak No Evil" pose of the three National Academy orangutans during a tribunal hearing, imitating the wise monkeys of Japanese culture
  • the laugh-out-loud goodbye kiss between Taylor and Dr. Zira: (Taylor: "Doctor, I'd like to kiss you goodbye" Dr. Zira: "All right, but you're so damned ugly")
  • Dr. Zaius' confirmation of a cover-up - that savage, war-like Earth dwellers had destroyed the planet: "I have always known about man. From the evidence, I believe his wisdom must walk hand in hand with his idiocy. His emotions must rule his brain. He must be a warlike creature who gives battle to everything around him, even himself...The Forbidden Zone was once a paradise. Your breed made a desert of it, ages ago"
  • the startling, twist-surprise ending as George rode down a beach on horseback with mute cavewoman Nova (Linda Harrison) in the out-of-bounds Forbidden Zone and suddenly saw something, and dismounted to stare upwards
The Twist Surprise Ending
George Taylor on Horseback Riding Down a Beach Shoreline
in the Forbidden Zone With Mute Cave-Woman Nova

Dismounting, and Staring Upwards

"Oh, my God. I'm back. I'm home. All the time, it was..."

"We finally really did it. You maniacs! You blew it up! Ah, damn you! Goddamn you all to hell!"
  • as the camera panned forward toward Taylor, through a spiked object, he had two major reactions; he first exclaimed: "Oh, my God! I'm back, I'm home. All the time, it was..."; but then he dropped to his knees: "We finally really did it." He pounded his fist into the sand and railed against Earth's generations almost 2,000 years earlier that had destroyed his home planet's civilization with a devastating nuclear war - the film's final line of dialogue: "You maniacs! You blew it up! Ah, damn you! Goddamn you all to hell!"
  • in a final shock revelation, the full object came into view as the camera panned backward - the spiked crown of a battered Statue of Liberty that was buried waist-deep in beach sand, signifying that Taylor was still on Earth!
  • the end title credits played without musical accompaniment; the only sound was the ever-present rhythmic waves pounding the shore


Humans, Including Taylor, Hunted by Gorillas

Taylor Struggling to Speak

Stuffed Corpse of Astronaut Dodge - A Museum Display

"Take your stinkin' paws off me..."

"It's a madhouse!"

"See No Evil, Hear No Evil, Speak No Evil"

Kiss with Dr. Zira

Dr. Zaius' Confirmation of Humans' Destructiveness

Platoon (1986)

In Oliver Stone's Best Picture-winning war film:

  • the controversial scene in a Vietnamese village as malevolent and murderous Sgt. Bob Barnes (Tom Berenger) cold-bloodedly executed an innocent but talkative elderly Vietnamese woman, and was prevented from murdering a young girl by intervention from Sergeant Elias Grodin (Willem Dafoe)
  • the statement of the film's major conflict - the struggle for the "possession of the (my) soul" of enlisted idealistic rookie soldier Private Chris Taylor (Charlie Sheen) as he narrated while on patrol in the rain: ("I don't know what's right and what's wrong anymore. The morale of the men is low, a civil war in the platoon. Half the men with Elias, half with Barnes. There's a lot of suspicion and hate. I can't believe we're fightin' each other, when we should be fighting them")
  • the many dark or night scenes of hand-to-hand and close-range combat with VCs; and one of Chris' many narrated (voice-over) letters to his Grandmother: ("They come from the end of the line, most of 'em. Small towns you never heard of...They're poor. They're the unwanted, yet they're fighting for our society, and our freedom. It's weird, isn't it?")
  • the startling scene in which the saintly and compassionate Sgt. Elias staggered out of the jungle after being shot by sociopathic Sgt. Barnes and left for dead in the Vietnamese jungle - his arms outstretched upwards in slow-motion in a sacrificial, crucifixion pose (while Samuel Barber's Adagio For Strings is played) as he was repeatedly shot by VC enemy forces - viewed from a chopper overhead
  • wounded Chris' final thoughts after being carried on a stretcher for evacuation by a helicopter as he saw the devastation below - ("...we did not fight the enemy, we fought ourselves, and the enemy was in us. The war is over for me now, but it will always be there the rest of my days...")

Play It Again, Sam (1972)

In actor/director Woody Allen's funny classic:

  • the character of Allan Felix (Woody Allen), a self-professed, depressed "aspirin junkie" ("Next thing, I'll be boiling the cotton at the top of the bottle to get the extra")
  • scene of the breakup of Allan and his wife Nancy (Susan Anspach) after two years of marriage because she was an active 'doer' and he was a passive 'watcher' - ("I can't stand the marriage. I don't find you any fun. I feel you suffocate me. I don't feel any rapport with you and I don't dig you physically. Oh, for God's sake, Allan, don't take it personal") and when she said she'd contact his lawyer, he responded: "I don't have a lawyer. Want to call my doctor?"
  • the cheesy, hard-boiled romantic advice given to recently-divorced, shy, insecure and neurotic loser Allan by the trench-coated ghost of Humphrey Bogart (flawlessly impersonated by Jerry Lacy): ("Tell her your life has changed since you met her"), who counseled Allan about being a desirable and virile man
  • Allan's Bogart-like words to himself, standing in front of a mirror before his blind date with Sharon (Mari Fletcher and Jennifer Salt): ("They say that dames are simple. I never met one who didn't understand a slap in the mouth or a slug from a .45. Come here, Sharon")
  • the physical comedy of all of nerdy Allan's disastrous and fumbling blind date scenes and rejections - when he was preparing for the date with Sharon and splashed on too much Canoe lotion and wrestled with his hair dryer, and especially the one in which he failed to impress her by attempting to be "cool", but ended up swinging his arm wildly - gesturing and sending an Oscar Peterson record out of its album cover to crash against the wall, and as he leaned over a chair, he clumsily tipped it over
  • another failed pickup at an art gallery when he asked Museum Girl (Diana Davila) about her interpretation of a Jackson Pollock painting: ("It restates the negativeness of the universe. The hideous lonely emptiness of existence. Nothingness. The predicament of Man forced to live in a barren, Godless eternity like a tiny flame flickering in an immense void with nothing but waste, horror and degradation, forming a useless bleak straitjacket in a black absurd cosmos"), and then when he asked what she was doing on Saturday night, she responded: "Committing suicide" - then undeterred, he asked about Friday night instead!
  • the continuing joke of Allan's friend Dick (Tony Roberts) leaving phone messages about his location (i.e., "This is Mr. Christie, I'm at The Hong Fat Noodle Company...")
  • the scene of a blonde Discotheque Girl (Susanne Zenor) on the dance floor, who rejected him with: "Get lost, worm!"
  • Bogart advising Allan to tell Linda (Diane Keaton): "I have met a lot of dames, but you are really something special" - and then when it worked, Allan cooed happily to Bogart: "She bought it!"
  • the scenes of Allan forcing a "platonic kiss" on Linda before she stormed out of his apartment, and later their apres-sex scene when he described what he thought about during love-making - baseball: (Linda: "What were you thinking about while we were doing it?" Allan: "Willie Mays...It keeps me going" Linda: "Yeah, I couldn't figure out why you kept yelling Slide!"
  • a clever re-enactment and reprise of the airport scene from Casablanca (between Rick and Ilsa) in the film's final moments when Allan gave up his beloved Linda, he was able to spout lines from his favorite film ("It's from Casablanca; I waited my whole life to say it"), and his added Bogart-like excuse: "She came over to babysit with me because I was lonely"

Play Misty For Me (1971)

In actor/director Clint Eastwood's crime thriller - his directorial debut film:

  • D. J. Dave Garland's (Clint Eastwood) breathy delivery of the "Play Misty for Me" dedications
  • psycho-stalker Evelyn's (Jessica Walter) threatening, knife-wielding scenes of terror
  • Evelyn's plunge to her death in the final struggle

(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
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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