This was one of my favorite pages from the book. I felt good about capturing the natural body language of two old friends sitting in a car, talking about little things to pass the time. It sounds kind of dull, but for me, communicating the subtleties of their relationship was interesting.
On the left, we have Tom talking about his kids (i.e. his son, Jeff, the writer), on a surface level, relating how he took them to see a serial killer movie. He thought it might help them understand their dad. He talks about this in a very nonchalant way, but throughout the rest of the book, he's dead-set on keeping his work and family life separate. This is the first time he gives any voice to wanting some understanding from his family. It think it's a great scene, because it shows this walled-off character getting vulnerable (however slightly) for the first time.
Thus, the steady forward gaze from Tom (it's no big deal, so I won't look at you because I'm afraid it might seem like a big deal), and the inquisitive look from his friend, who notices something unusual. The moment communicates something important to Tom's partner, and to us, about his character.
That's what I liked as a visual storyteller. From a drawing/craft perspective, I sometimes enjoy scenes inside cars because even though they can be tricky to draw, they create interesting abstract background shapes to frame faces and bodies. Finding these shapes is important with a straight black and white book to keep the reader's eye engaged and moving along from face to face, panel to panel.
I also liked that puffy jacket and coffee mug. They were a breath of fresh air after a lot of suits and ties.
So, yeah... two guys in a car, having a chat (with subtext!). It's a simple page, but for me, maybe my best work in the book.