First there was a click, then the sound of breathing. Fast, panicked breathing. "Yes? It's ready? I go
now?"
"Excuse me," I said. "It sounds like I've called at a bad time. Is this Mister Galosh?"
"Great Jesus," he whispered. "Who is this? How did you find me? Who gave you this number?"
"It's in the book. There's only one J. Galosh."
"Of course," he said. "Of course, the book. All those little numbers. Number sequences are brain poison, they give me night terrors like you wouldn't believe. Spiraling fever dreams. Sixes are the enemy. Sevens, not so bad, but in those dreams you never get sevens. Eights are endless loops of crazy, zeros are oases of perfect calm, but again, you never get zeros."
"I'm sorry to hear that," I said. "Are you Joe Galosh? The writer?"
He wasn't all that interested in my side of the conversation. I get that sometimes. "Remember that number song on Sesame Street?
Onetwothreefourfive, sixseveneightnineten, eleven twelve. I first heard that at the height of a three-day wide-spectrum bender in the summer of '87 and it became the soundtrack to my every waking thought until '95, when I met a doctor who specialized in that kind of thing. The doctor used a deprogramming technique he learned in the CIA. It involved dangling my balls in alternate baths of hot and cold water."
"The trick with the balls!"
"Yes," he said. "That's exactly what he called it. So you're a spook. This is new."
"I'm a writer."
"Great Jesus. Another spook writer. You guys have ruined Hollywood, you know that? You have it all tied up. You and the Freemasons. Why are you calling me, spook writer? At this hour?" It was four o'clock in the afternoon. "I need this line free. I'm expecting a call."
"Please...is this Joe Galosh? Do I have the right number?"
"The call I'm expecting is very important. Not just for me."
"Joe Galosh," I begged. "Joe Galosh. Author of Selling Stories For Cash. I'm just looking for Joe Galosh."
"For all humanity, this call. Vitally important."
"Published 1985. Selling Stories For Cash. Joe Galosh also wrote Under All That Weather, His Besmirching Love, and possibly Jurassic Park."
"JURASSIC PARK!" That seemed to grab his attention. "Jurassic Park. Yes, you could say I knew the man who wrote Jurassic Park. Back then, it was called Full-On Dinosaur Frenzy. It was a different movie. A very different movie." He grew wistful.
"I thought it was based on a book."
"No." But it was. It was based on a book by Michael Crichton. The book was called
Jurassic Park. "No, it wasn't. Full-On Dinosaur Frenzy came first. George Lucas wanted to make it. But Spielberg read the script and said it stank. But it didn't stink, spook writer. It was sublime. It was channeled, not written. But it was too daring. The world just wasn't ready for dinosaur sex. Spielberg took it and dumbed the whole thing down. Gutted it. Bought the rights to some schmuck's book just so as he could use the name. And instead of paying Joe Galosh the money he deserved...they blackballed him. Now they say it doesn't happen, the blackballing. But it happens. There's a blackballing system at play. It's managed by Freemasons and Jews."
"Freemasons
and Jews?"
"Oh yes. They don't often work together. But when they do...dynamite, my friend. But then you know that, don't you, Langley boy?"
"I'm not with the government." Or maybe I was. Sometimes it was hard to know. "And hold on--I'm pretty sure that Selling Stories For Cash was dedicated to all the children of Israel."
"It was. I don't mind the kids. The kids are okay. I...I mean, Joe Galosh...was hoping to win a few over."
"Ah. Listen, I, I just wanted to talk to Joe Galosh. Maybe meet him, buy him lunch. People buy people lunch here, right? I'm new in town, a writer, and his book was a great source of inspiration to me."
Silence on the other end of the line. A full count of ten. Then a long sigh. "The man you're looking for is gone."
"He's dead?"
"Not dead, but gone all the same. Transformed, transposed, transmuted, transpired, transformed, trans everything."
"Oh." It all became clear. Joe Galosh wrote women so well. "He's a woman now."
"Not transsexual, you schmuck. Trans everything but that."
"Will you meet me, Mister Galosh?"
"Buck Zintarus. My name is Buck Zintarus. Galosh was my father's name. Never watched the show. Not once. You know it got picked up for a second season, right? That almost never happened! But it wasn't good enough for Marty Galosh, no sir. And when they passed on the third, there he was, smiling his big fat
I told you so smile. Writing plays was for goddamn faeries and chumps and schmucks and he made sure I knew it."
"Oh, okay. Buck."
"Zintarus. Just Zintarus. Where I'm from, Buck is, uh, a prefix. Like Mister. You're not the kind of guy who goes around calling people Mister, are you? That would be rude."
Of course not. That would be rude. "No sir."