The engineer says, 'All day it looks like rain. It affects the mood. People say the hell with it."
The producer is hanging a blanket across the booth to separate the crew from the guys who've just arrived from KMOX in St. Louis. Have to double up since there's nowhere else to put them.
He says to the engineer, "Don't forget. There wasn't any advance sale."
And the engineer says, "Plus the Giants lost big yesterday and this is a serious thing because a crushing defeat puts a gloom on the neighborhoods. Believe me, I know this where I live. It's demoralizing for people. It's like they're dying in the tens of thousands."
Russ Hodges, who broadcasts the games for WMCA, he is the voice of the Giants-Russ has an overworked larynx and the makings of a major cold and he shouldn't be lighting up a cigarette but here he goes, saying, "That's all well and good but I'm not sure there really is a logical explanation. When you deal with crowds, nothing's predictable."
Russ is going jowly now but there are elements of the uncomplicated boy in his eyes and smile and in the hair that looks bowl-cut and the shapeless suit that might belong to almost anyone. Can you do games, can you do play-by-play almost every day through a deep summer and not be located in some version of the past?
He looks out at the field with its cramped corners and the over-compensating spaces of the deep alleys and dead center. The big square Longines clock that juts up from the clubhouse. Strokes of color all around, a frescoing of hats and faces and the green grandstand and tawny base paths. Russ feels lucky to be here. Day of days and he's doing the game and it's happening at the Polo Grounds-a name he loves, a precious echo of things and times before the century went to war. He thinks everybody who's here ought to feel lucky because something big's in the works, something's building. Okay, maybe just his temperature. But he finds himself thinking of the time his father took him to see Dempsey fight Willard in Toledo and what a thing that was, what a measure of the awesome, the Fourth of July and a hundred and ten degrees and a crowd of shirtsleeved men in straw hats, many wearing handkerchiefs spread beneath their hats and down to their shoulders, making them look like play-Arabs, and the greatness of the beating big Jess took in that white hot ring, the way the sweat and blood came misting off his face every time Dempsey hit him.
When you see a thing like that, a thing that becomes a newsreel, you begin to feel you are a carrier of some solemn scrap of history.
In the second inning Thomson hits a slider on a line over third.
Lockman swings into an arc as he races toward second, looking out at left field.
Pafko moves to the wall to play the carom.
People stand in both decks in left, leaning out from the rows up front, and some of them are tossing paper over the edge, torn-up scorecards and bits of matchbook covers, there are crushed paper cups, little waxy napkins they got with their hot dogs, there are germ-bearing tissues many days old that were matted at the bottoms of deep pockets, all coming down around Pafko.
Thomson is loping along, he is striding nicely around first, leaning into his run.
Pafko throws smartly to Cox.
Thomson moves head-down toward second, coasting in, and then sees Lockman standing on the bag looking at him semi-spellbound, the trace of a query hanging on his lips.
Days of iron skies and all the mike time of the past week, the sore throat, the coughing, Russ is feverish and bedraggled-train trips and nerves and no sleep and he describes the play in his familiar homey ramble, the grits-and-tater voice that's a little scratchy today.
Cox peers out from under his cap and snaps the ball sidearm to Robinson.
Look at Mays meanwhile strolling to the plate dragging the barrel of his bat on the ground.
Robinson takes the throw and makes a spin move toward Thomson, who is standing shyly maybe five feet from second.
People like to see the paper fall at Pafko's feet, maybe drift across his shoulder or cling to his cap. The wall is nearly seventeen feet high so he is well out of range of the longest leaning touch and they have to be content to bathe him in their paper.
Look at Durocher on the dugout steps, manager of the Giants, hard-rock Leo, the gashouse scrapper, a face straight from the Gallic Wars, and he says into his fist, "Holy fuggin shit almighty."
Near the Giants' dugout four men are watching from Leo's own choice box when Robinson slaps the tag on Thomson. They are three-quarters show biz, Frank Sinatra, Jackie Gleason and Toots Shor, drinking buddies from way back, and they're accompanied by a well-dressed man with a bulldog mug, one J. Edgar Hoover. What's the nation's number one G-man doing with these crumbums? Well, Edgar is sitting in the aisle seat and he seems to be doing just fine, smiling at the rude banter that rolls nonstop from crooner to jokesmith to saloonkeeper and back. He would rather be at the racetrack but is cheerful enough in this kind of company whatever the venue. He likes to be around movie idols and celebrity athletes, around gossip-meisters such as Walter Winchell, who is also at the game today, sitting with the Dodger brass. Fame and secrecy are the high and low ends of the same fascination, the static crackle of some libidinous thing in the world, and Edgar responds to people who have access to this energy. He wants to be their dearly devoted friend provided their hidden lives are in his private files, all the rumors collected and indexed, the shadow facts made real.
Gleason says, "I told you chumps, it's all Dodgers today. I feel it in my Brooklyn bones."
"What bones?" says Frank. "They're rotted out by booze."
Thomson's whole body sags, it loses vigor and resistance, and Robinson calls time and walks the ball to the mound in the pigeon-toed gait that makes his path seem crooked.
"The Giants'll have to hire that midget if they want to win, what's-his-name, because their only hope is some freak of nature," Gleason says. "An earthquake or a midget. And since this ain't California, you better pray for an elf in flannels."
Frank says, "Fun-nee."
The subject makes Edgar nervous. He is sensitive about his height even though he is safely in the middle range. He has added weight in recent years and when he sees himself in the mirror getting dressed, thick-bodied and Buddha-headed, it is a short round man that looks back at him. And this is something the yammerheads in the press have reported to be true, as if a man can wish his phantom torment into public print. And today it's a fact that taller-than-average agents are not likely to be assigned to headquarters. And it's a further fact that the midget his pal Gleason is talking about, the three-foot seven-inch sportif who came to bat one time for the St. Louis Browns some six weeks ago in a stunt that was also an act, Edgar believes, of political subversion-this fellow is called Eddie Gaedel and if Gleason recalls the name he will flash-pair Eddie with Edgar and then the short-man jokes will begin to fly like the storied shit that hits the fan. Gleason got his start doing insult comedy and never really stopped-does it for free, does it for fun and leaves shattered lives behind.
Toots Shor says, "Don't be a shlump all your life, Gleason. It's only one-zip. The Giants didn't come from thirteen and a half games back just to blow it on the last day. This is the miracle year. Nobody has a vocabulary for what happened this year."
The slab face and meatcutter's hands. You look at Toots and see a speakeasy vet, dense of body, with slicked-back hair and a set of chinky eyes that summon up a warning in a hurry. This is an ex-bouncer who throws innocent people out of his club when he is drinking.