I FIRST CUT THE MIDDLE WIRE FROM THE DISTRIBUTOR. THEN I WAITED
FOR HER IN THE LIBRARY AND FOLLOWED HER OUT AFTER ABOUT TWO MINUTES.
I TOLD HER THAT MY CAR WAS DOWN THE STREET
AND THAT I WOULD GIVE HER A LIFT HOME.
I TOLD HER THAT MY CAR WAS DOWN THE STREET AND THAT I
WOULD GIVE HER A LIFT HOME.
WHEN WE WERE AWAY FROM THE LIBRARY WALKING,
I SAID IT WAS ABOUT TIME.
SHE ASKED ME, “ABOUT TIME FOR WHAT?"
I SAID IT WAS ABOUT
TIME FOR HER TO DIE.
The author enhanced the structure of the Confession Letter’s second part by adding a sequential and consequential element (first this, then that), while converting the previously still comparably abstract contrasting poles directly into persons (Killer – Bates), introducing the participants of what he calls “A BALL” and naming his previously unnamed victim.
The author uses the sequential structure of this episode to describe the course of the “BALL”, where every move of the participants (dancers, actors) is predefined.