I went through several compositions for it before scrapping it and restarting from scratch again this morning, and for such a quiet page, I just couldn't quite settle on something that worked. The original two layouts had a lot less of the close face shots/talking heads (something that I personally always prefer to have less of), but it ended up being something that I felt I needed for Nancy's transition, and for a chance to compose something akin to Alice's heart on display since it's a huge driving point for her character. I had originally wanted to relay this with a close shot of Nancy's hands as opposed to her face, but it would have slowed the pacing down and become too much of an abstract and unfocused read when paired with Alice's close crop, which I felt was more important to the page. I felt it also was necessary to create a sense of opposition leading to acceptance in that second to last panel, and in such a limited space, sometimes the blatancy of a facial expression shift is what will get the job done most efficiently, alongside framing. Having Nancy's back to Alice and then splitting them up entirely into their own separate panels, before bringing them both together and facing each other on equal levels was my means of trying to achieve that opposition to acceptance shift through composition.
Perhaps this wasn't the most effective way to do it, and I do hope it reads in that way, but at the end of the day you can't win them all. Onwards and upwards, to the next page!