He flips back to the most recent page, and then to a blank one after it.
A short interval of scribbling later, with much crossing-out and gazing thoughtfully at the page and one instance of nearly nibbling on her pen but stopping himself in time, he passes the notebook back.
His handwriting is pretty terrible, but more or less readable nevertheless. All in all, it only took half the page.
At the very top are the words Because I like you, with 'like' crossed out and 'love' written in next to it. From that sentence, two arrows wiggle down the page.
One points to a scribbled-out 'because', followed by So I want you to hurt me, which is also crossed out; the final version, So I want you to have the chance to hurt me, is written below that.
The other arrow points to So I want you to know what I think, with a (/how) added next to the 'what' as an obvious afterthought.
"Because I like you's what I ended up wanting to say," he explains. "The other stuff's what it actually meant."
no subject
A short interval of scribbling later, with much crossing-out and gazing thoughtfully at the page and one instance of nearly nibbling on her pen but stopping himself in time, he passes the notebook back.
His handwriting is pretty terrible, but more or less readable nevertheless. All in all, it only took half the page.
At the very top are the words Because I like you, with 'like' crossed out and 'love' written in next to it. From that sentence, two arrows wiggle down the page.
One points to a scribbled-out 'because', followed by So I want you to hurt me, which is also crossed out; the final version, So I want you to have the chance to hurt me, is written below that.
The other arrow points to So I want you to know what I think, with a (/how) added next to the 'what' as an obvious afterthought.
"Because I like you's what I ended up wanting to say," he explains. "The other stuff's what it actually meant."