The separation: Orin left, "wouldn't even face up to why"

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

• When: UNDATED (the relationship's end, into JOI's final-film period, ~YTMP-YTSDB); Bain's letter dated November YDAU
• What: Per Joelle's interiority (scene 166): the last man she let herself admire "had left and wouldn't even face up to why, instead erecting for himself a pathetic jealous fantasy about Joelle and his own poor father." Per Hal (scene 122): Orin's serial-seduction régime began "after the girl Orin had been wildly in love with and Himself had compulsively used in films had been disfigured." Per Bain (n269): JOI "began using her in his work more and more extensively and eventually asked her to perform in the… radical new type of filmed entertainment… They supposedly became close, James and Jo-Ellen, though Orin in my judgment is not a reliable source." Per Molly Notkin (scene 159 — triple hearsay: the KY events → Joelle's account → Notkin's testimony under U.S.O.U.S. interrogation; the reliability caveats are carried with Molly Notkin's own record in this archive): Orin gave Joelle "the boot within months of the traumatic deformity" under "the excuse of accusing Madame Psychosis of being sexually enmeshed with" the father — and at the 24 Nov YTMP acid-throwing itself Orin, standing right behind Joelle, instinctively ducked with the Daddy, leaving her open to the direct facial hit (a detail attested nowhere else in range). DISPUTED — the trigger and the truth of the "affair" are each cited as written. This event feeds the mailer question (whether Joelle and JOI were lovers; Orin's jealousy as possible motive).