7+6+7=20 was the pattern I thought suitable for arranging the glyphs Ca2-1--20. According to the parallel texts in H/P/Q, however, Ca2-7 belongs to the group above.

Ca2-1--6 must (according to the parallel texts) instead be the last part of a group of glyphs beginning with Ca1-19:

For instance: Pa1-1--15 corresponds to Ca1-1--18, Pa8-22--35 to Ca1-19--Ca2-6 and Pa9-10--21 to Ca2-7--19. Ca2-20 has no corresponding glyph in P.

Very interesting are the glyphs in parallel with Ca2-11, how different leg designs anyhow seem to mean about the same thing. Vai with double rim in C and P, with single rim in H and Q.

Ca2-20 is like Ca2-12, a repetition of an earlier glyph (Ca2-15 respectively Ca2-10) and without any corresponding glyphs in H/P/Q.

H and Q have once again single-rimmed vai, while in P tagata with a special type of elbow ornament seems to carry a similar meaning.

Hand gestures point both forward (Ca2-13, Pa9-15--16, Ha10-3 and Ha10-7) and inwards (Ca2-14 and Ca2-19, Pa9-14, Ha10-2), while in Q the description is different.

The main point, though, is the structure of the glyphs in C revealed by the parallel texts:

We must now introduce yet another parallel text, viz. one in N (Small Vienna Tablet):

Nb4-109 (redmarked) is similar to Aa2-3--4:

In Friday we have this kind of vai (without 'flashes') too:

In Bb2-37 the situation presumably is the same:

The word hihoga presumably means 'transformation':.

Bb2-32--33 makes us remember Ca5-9--10 and te pito (Ca5-20):

In the 23rd period of the Keiti calendar for the year 'tamaiti' occurs: