The Orin-Joelle separation

pivotal · UNDATED (~YTMP-YTSDB), versions differ

• When: UNDATED (~the relationship's end, before/into JOI's final-film period, c. YTMP-YTSDB); Bain's written testimony dated only November YDAU
• What: Per Joelle's own interiority (scene 166's one POV-slip paragraph): the last and pretty much only man she ever let herself admire romantically — Orin — "left and wouldn't even face up to why," instead erecting a pathetic jealous fantasy about Joelle and his own father, whose interest in her "had been first aesthetic and then anti-aesthetic." Per Marlon Bain (n.269, answer 3e): JOI began using Joelle in his work more and more extensively and eventually asked her to perform in the radical new entertainment that was supposedly driving him to a breakdown; "They supposedly became close, James and Jo-Ellen" — with Bain's caveat that Orin is not a reliable source on their relationship (note Bain's spelling "Jo-Ellen," as printed). Notkin's version of the triangle: see events 23 and 90; Orin's n.234 material sits outside this record — cite each as written.