Jones St., Chapter 1: Pages 21-22
Page 21, 5 Panels- Lobby, Black Box Theatre, UNLV
Panel 1: Cut to Henry who is a little confused by the question. He glances around from side to side, trying to come up with an answer to what he thinks it means. You can see a little bit of the wall and the ceiling in the background as well as the closed theatre entrance doors.
HENRY [confused, to Melanie]: What do you mean?
Panel 2: Back to Melanie in an action shot, with the same wall in the background as it was in Page 20, taking a couple of more steps toward Mr. Austin with an increased head of steam as she continues on the train of thought that she had started at the end of the previous page.
MELANIE [to Henry]: Of all the women you've been in relationships with, how many times did you use that to get a first date?
Panel 3-4: A two-part set of panels that focuses on Mr. Austin's face in a similar setting as the first panel, but with more of a close-up than before. In Panel 3, he ponders for another line of defense. But in Panel 4, moments later, he looks down shamefully and in his body language admits defeat.
HENRY [Panel 4]: Fuck me, I'm so sorry! I...I've really obliterated our friendship, haven't I?
Panel 5: Back to Melanie in the same type of setting and layout as Panel 2, though this time she's stationary compared to that shot. She understands a little more of the situation, displaying to her friend a slight touch of empathy toward his predicament.
MELANIE: It's punched and bruised a bit. But it's nothing that time and a venti Chai at the Coffee Bean can't fix...
Page 22, 6 Panels- Lobby/Parking Lot, Black Box Theatre/Cemetery, UNLV/Present Day Las Vegas
Panel 1: Cut to Henry glancing over in his friend's direction as they start to walk out; the theatre and the walls nearby behind him in the background. For the first time in the past few pages, you can see a little glimmer of hope in his eyes as he speaks.
HENRY [half-raised eyebrow, to Melanie]: This mean you...feel the same way about me?
Panel 2: Back to Melanie walking alongside her friend at the same moment; the background behind her moves from left to right to signify this movement. She chuckles mildly and shakes her head, though not in any way that would be seen as malicious or negative in any way.
MELANIE [correcting, to Henry]: All I know you're my dearest friend alive, and that after all this (plus the all-nighter for my Algebra final) I need sugar by the bucket full. As for the L word, well...
Panel 3-5: A three-part set of panels that focuses on a gap between Henry (rear view off to the right of the panel view) and Melanie (rear view off to the left of the panel view) as they walk out of the building. With each panel, you can see their hands slowly moving toward one another as if about to hold for the first time.
MELANIE [Cont., Panel 3]: I won't say for sure now, but I won't rule out either. HENRY [Panel 3]: Fair enough...
Panel 6: Same layout as the previous panel, though the setting has changed to one of a parking lot sometime in the early evening; the hand of the young Henry, along with the rest of the body, is gone. In her right hand is a bouquet of flowers that drift downward toward the pavement along with the close-up of what appears to be an engagement ring. You can see part of the cemetery's main building up in the top of the panel view, blocked only by Ms. Haynes in a formal black top with a "Firefly" skirt.
MELANIE [caption]: Hey...Another year, and I--I'm happy I took that chance with you, my dearest!