In the last panel of the previous page we saw the curtain close, sparing us (we assumed) from having to witness Mary’s suffering.  The cut to the kitchenette, therefore, comes as a shock–we have been brought here against our will as surely as Mary has.  Watching the unwatchable–even if only for a second–engenders in the reader a visceral need for Inez’s arrival, and increases our appreciation of her selfless gesture.

The sickly monochrome rust palette (which we indelicately referred to as “rape light” during the coloring process)  is unlike anything else in the book, and itself appears only one more time, much later.