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Arte IA: Panel 4 – Miles’ Withdrawn Reply Profile shot of Miles, replying without looking up: “Yeah… just tired.” His dad leans forward slightly, wanting to say more but holding back. Subtext: The emotional distance grows. Panel 5 – The Silent Excuse Medium shot: Miles gently pushes his plate away. Dialogue: “I’m not really hungry… I’ll eat later.” Parents glance at each other again, a mix of worry and resignation. Panel 6 – The Walk Away Tracking shot: Camera follows Miles from behind as he walks down the hallway toward his room. The muffled sound of his parents talking quietly carries from the dining table. Tone: The house feels big and empty around him. Panel 7 – Entering the Room Overhead shot: Miles opens his bedroom door, soft light spilling in from the hall, then shuts it. He’s small in frame, surrounded by shadows of the room. Mood: Retreat into isolation. Panel 8 – Lying on the Bed Medium wide: Miles lies down, looking at the ceiling. The city lights leak faintly through the window blinds. The sound begins to fade into silence… then the first notes of “Hummingbird” start. Panel 9 – Gwen Appears (Imagination) Close-up: Miles closes his eyes, breath slows. Match cut: His mind shifts—Gwen’s face comes into frame, soft-lit, dreamlike. She’s not “real” here, but imagined, floating in his thoughts. Tone: Warm, ethereal, comforting—she is his escape.

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Panel 4 – Miles’ Withdrawn Reply Profile shot of Miles, replying without looking up: “Yeah… just tired.” His dad leans forward slightly, wanting to say more but holding back. Subtext: The emotional distance grows. Panel 5 – The Silent Excuse Medium shot: Miles gently pushes his plate away. Dialogue: “I’m not really hungry… I’ll eat later.” Parents glance at each other again, a mix of worry and resignation. Panel 6 – The Walk Away Tracking shot: Camera follows Miles from behind as he walks down the hallway toward his room. The muffled sound of his parents talking quietly carries from the dining table. Tone: The house feels big and empty around him. Panel 7 – Entering the Room Overhead shot: Miles opens his bedroom door, soft light spilling in from the hall, then shuts it. He’s small in frame, surrounded by shadows of the room. Mood: Retreat into isolation. Panel 8 – Lying on the Bed Medium wide: Miles lies down, looking at the ceiling. The city lights leak faintly through the window blinds. The sound begins to fade into silence… then the first notes of “Hummingbird” start. Panel 9 – Gwen Appears (Imagination) Close-up: Miles closes his eyes, breath slows. Match cut: His mind shifts—Gwen’s face comes into frame, soft-lit, dreamlike. She’s not “real” here, but imagined, floating in his thoughts. Tone: Warm, ethereal, comforting—she is his escape.
—— Fin ——
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Panel 4 – Miles’ Withdrawn Reply Profile shot of Miles, replying without looking up: “Yeah… just tired.” His dad leans forward slightly, wanting to say more but holding back. Subtext: The emotional distance grows. Panel 5 – The Silent Excuse Medium shot: Miles gently pushes his plate away. Dialogue: “I’m not really hungry… I’ll eat later.” Parents glance at each other again, a mix of worry and resignation. Panel 6 – The Walk Away Tracking shot: Camera follows Miles from behind as he walks down the hallway toward his room. The muffled sound of his parents talking quietly carries from the dining table. Tone: The house feels big and empty around him. Panel 7 – Entering the Room Overhead shot: Miles opens his bedroom door, soft light spilling in from the hall, then shuts it. He’s small in frame, surrounded by shadows of the room. Mood: Retreat into isolation. Panel 8 – Lying on the Bed Medium wide: Miles lies down, looking at the ceiling. The city lights leak faintly through the window blinds. The sound begins to fade into silence… then the first notes of “Hummingbird” start. Panel 9 – Gwen Appears (Imagination) Close-up: Miles closes his eyes, breath slows. Match cut: His mind shifts—Gwen’s face comes into frame, soft-lit, dreamlike. She’s not “real” here, but imagined, floating in his thoughts. Tone: Warm, ethereal, comforting—she is his escape.

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