Folks are friendlier to me on the afternoon of my death. The cons are friendlier by not hassling, especially the one I gave my clacker-balls to. Everybody else quietly avoids the issue. It's a busy-feeling day, like one of your mom's urgent baking days gone wrong, with feelings left unattended, a sense that somehow I forgot something, left the oven on, didn't lock the door. A sense that I can do it when I get back.

When my belongings are neatly folded on the table, and my bunk is stripped clean, four executives arrive with a cameraman. My row-mates wave fingers through their grilles, and holler good wishes as I shuffle down the row. 'Yo, Burnem - fuck 'em up man, piss on those muthas …'

Bless them. We pass down the hallway Lasalle disappeared from, not for the ride to the Huntsville unit, but to the new Events Suite here at Ellis, right downstairs. It's a one-stop shop now, carpeted and all, with artwork on the walls. I miss the chance of a last drive, but at least the Suite has windows. It seems gray and cool out, with just a few bugs clicking. A part of me is disappointed there ain't tornadoes and firestorms for the night of my death, but then - who do I think I am, right?

Just like she promised, Pam supervised my last meal. Chik'n'Mix Choice Supreme, with fries, rib-rings, corn relish, and two tubs of coleslaw. How smart she is - she had the kitchen people stuff bread in the tub, to absorb any excess steam, and keep the bottom pieces crisp. You figure the coleslaw ain't Pam though - that'll be Ma, on account of it's healthy. Those gals will be eating the same thing this evening, when I'm on the gurney. It's what they want, to imagine I'm just out and about on my bike, instead of being put to death.

At four-thirty I get to evacuate my tracts in a private restroom. They even give me a copy of Newsweek to read, and a Marlboro to suck on. I'm numb, like anesthetized or something, but I still appreciate these little touches. Newsweek says Martirio has the fastest economic growth rate in the world, with more new millionaires than even California. The cover shows a bunch of Guries throwing banknotes into the air and laughing. It ain't all roses, though: if you read farther down it says they're getting sued by the California tragedy, over the use of their statistics. Typical Martirio, I have to say.

An hour before my execution, I get to make some private phone calls. First I try home, then Pam's. There's no answer, I must've missed them already. Ma's been through a lot, and so's Pam, I guess. Bless them. They don't have answering machines, so I can't just say 'I love you' or something. In a way, though, it gives me the courage to make some other calls.

First I try Lally, to get it over with. His secretary almost hangs up, until I tell her why I'm calling. Lally's in a meeting at the new Martirio mall. She connects me to his phone. 'Big man!' he says when the phone answers. I give him what he wants, and tell him where my gun is stashed. He seems to accept the gesture gracefully.

Next I call Mrs Lechuga. Boy is she surprised, she even tries to change her voice so I'll think it's a wrong number. 'Oh my God,' she says.

'Yes?' I answer. She's been through a lot, bless her. In the end I think she's glad I called. Knowing her love of information, and her ole position as president of the douche-brigade, I'm sure she just loves the want I grant her. In a way, I designated her the command center for this evening's wants.

The next brainwave is to call Vaine Gurie, on her way to meet Mom and Pam at the Barn. I give her just what she really wants - just what she really needs, actually, if you think about it. She ends up being real touched to hear from me, and promises to pass my love on to the gals. I guess it is love after all, in that zany way we humans have.

Finally, for my last call in the world, I try Taylor Figueroa. She answers her phone personally, and her voice immediately takes me back to another time and place - a moist, fruity place, if it's not too smutty to say. And guess what: I give her the break she's been waiting for. She squeals with delight, and says to look after myself. Sounds like she means it too.

When I hang up the phone, two guards appear with a chaplain, and escort me to the make-up suite.

'Don't you worry darlin,' says a make-up lady, 'a little blush'll perk you up.'

Another lady whispers, 'You want toothpaste, or you think you can make it on your own?' I snort when she says it, and she looks at me, confused. Then she kind of gets it, and laughs along too. Not everybody gets the irony of things, that's what I learned.

Next, a girl with a clipboard arrives and makes me sign a waiver for my final statement. I'm going out quietly, just like Lasalle. I ask her one special favor in return. She calls a producer to check it out, then says it's okay. I can take my shirt off for the Event. She leads the pastor, the officers, and me down a bright hallway to the execution chamber. My knees go weak with the kind of swooniness you get from hospital smells; the pastor even takes hold of my arm when I hear the tune playing down the hall.

'Galveston, oh Galves-ton - I am so afraid of dying …'

We pass the broadcast control room, and guess what: they must've licensed the TV weather theme for the show. I hate that theme. I close my ears until we reach this simple white room with a window along one wall, and theater-like seats beyond.

'Before I dry the tears she's crying …'

I take off my shirt. My skin is mostly healed now, from my art project. Tattooed in big blue letters across my chest are the words 'Me ves y sufres' - 'See me and suffer.' A medical orderly helps me climb onto the gurney, which is kind of person-shaped, like the hole left after a cartoon character crashes through a wall. I catch a glimpse of Jonesy in a room at the back. He must be manning the governor's phone. The governor is the only man who can stop this now. He'd need some damn convincing evidence to do that. Jonesy just turns away when he sees me. He doesn't stand near the phone.

Guards secure me to the gurney using thick cowhide straps with metal buckles, then the orderly raises a vein in my arm, and gives me a tiny shot, of anesthetic I guess. He fixes a long needle onto a tube that runs through the wall from the back room. I look away as he slides the needle into my vein. After a moment, cool solution begins to flow.

An usherette appears behind the glass that separates me from the witness area, and people start filing into their seats. Fragile Mrs Speltz is the only person I recognize. Aside from the wave of sadness I get from her haunted eyes, I actually feel relieved that she's the highlight of the witness area. Nothing in there suggests I'll be missing any parties when I'm gone. Then, just as I'm thinking that, the darnedest thing happens: a tall, beautiful young woman in a pale blue suit squeezes along the back row to her seat, kindling my groin out of retirement. Even the guards turn to watch as she sits, modestly tugging down the hem of her skirt. Then she looks at me. It's Ella Bouchard. Boy did her equipment arrive. Bluebonnet eyes call to me through the glass.

'Sailing' starts to play now, because when Fate opens up, it opens up with both barrels. I t............