This is how it is in life and love. In life and love we are with people for a while, and then we join other people, people we have not met, and we walk with them, and we leave behind all the things we used to be. Sometimes we leave people behind too... This happens everyday. Everyday this happens and scarcely anybody cares.
There are so many movies like this, where you thought you were smarter than the screen but the director was smarter than you, of course he's the one, of course it was a dream, of course she's dead, of course, it's hidden right there, of course it's the truth and you in your seat have failed to notice in the dark.
Phillip Murray and Wanda Saxton meet in the last scene under the rainy awning, their wrong wife and fiance finally story-lined away, and walk out together into the downpour - we know from the first scene, Christmas eve, that both of them like walking in the rain but don't have anybody who will do it with them - and it's the miracle of the ending.
But before, not so long ago - my own rose from prom still OK on the mirror, dried but not a corpse - you were just Ed Slaterton, jocky hero, handsome in the student newspaper and star of a million strands of gossip. Now Annette was a person to me, standing right there, and not just an oh-my-God-have-you-heard, and I tried to put it together in my head, the print and the negative, the boyfriend and the celebrity shadow, like Theodora Sire sat next to me in history, borrowing pencils, but was still a movie star above my bed. Because as you came out of the dark to me, you were the boy I was kissing and wanted to kiss more, back to find me at a party like anybody might do, but you were Ed Slaterton too, and not the cad you are now, but just Ed Slaterton, co-captain, with a beer in your hand and Jillian Beach on your arm.
I know you can't see it, not you, Ed, but maybe if I tell you the whole plot you'll understand it this once, because even now I want you to see it. I don't love you anymore, of course I don't, but there's still something I can show you. You know I want to be a director, but you never truly see the movies in my head and that, Ed, is why we broke up.
Maybe, generations ago, young people rebelled out of some clear motive, but now, we know we’re rebelling. Between teen movies and sex-ed textbooks we’re so ready for our rebellious phase we can’t help but feel it’s safe, contained. It will turn out all right, despite the risk, snug in the shell of rebellion narrative. Rebellion narrative, does that make sense? It was appropriate to do, so we did it.