"That's not a bush curve Maglie's throwing," he says into the mike.
When he was doing ghost games he liked to take the action into the stands, inventing a kid chasing a foul ball, a carrot-topped boy with a cowlick (shameless, ain't I) who retrieves the ball and holds it aloft, this five-ounce sphere of cork, rubber, yarn, horsehide and spiral stitching, a souvenir baseball, a priceless thing somehow, a thing that seems to recapitulate the whole history of the game every time it is thrown or hit or touched.
He puts the last bite of sandwich in his mouth and licks his thumb and remembers where he is, far from the windowless room with the telegraph operator and the Morse-coded messages.
Over on the radio side the producer's saying, "See that thing in the paper last week about Einstein?"
Engineer says, "What Einstein?"
"Albert, with the hair. Some reporter asked him to figure out the mathematics of the pennant race. You know, one team wins so many of their remaining games, the other teams wins this number or that number. What are the myriad possibilities? Who's got the edge?"
"The hell does he know?"
"Apparently not much. He picked the Dodgers to eliminate the Giants last Friday."
The engineer talks through the blanket to his counterpart from KMOX. The novelty of the blanket has these men talking to each other in prison slang. When they switch to black dialect the producer gets them to stop but after a while they're at it again, doing a couple of reefer Negroes in the fumy murmurs of some cellar room. Not loud enough to be picked up on mike of course. An ambient noise like random dugout buzz-a patter, a texture, an extension of the game.
Down in the field boxes they want Gleason to say, "You're a dan-dan-dandy crowd."
Russ makes his way back to the radio side after the Giants go down in their half of the sixth still trailing by a run. He's glad he doesn't have a thermometer because he might be tempted to use it and that would be demoralizing. It's a mild day, glory be, and the rain's holding off.
Producer says, "Going to the wire, Russ."
"I hope I don't close down. My larynx feels like it's in a vise."
"This is radio, buddy. Can't close down. Think of what's out there. They are hugging their little portables."
"You're not making me feel any better."
"They are goddamn crouched over the wireless. You're like Murrow from London."
"Thank you, Al."
"Save the voice."
"I am trying mightily."
"This game is everywhere. Dow Jones tickers are rapping out the score with the stock averages. Every bar in town, I guarantee. They're smuggling radios into boardrooms. At Schrafft's I hear they're breaking into the Muzak to give the score."
"All those nice ladies with their matched sweater sets and genteel sandwiches."
"Save the voice/'Al says.
"Do they have tea with honey on the menu?"
"They're eating and drinking baseball. The track announcer at Bel-mont's doing updates between races. They got it in taxicabs and barbershops and doctors' offices."
They're all waiting on the pitcher, he's a faceful of boding, upper body drawn forward, glove hand dangled at the knee. He's reading and reading the sign. He's reading the sign. Hitter fidgeting in the box. This son of a buck can bring it.
The shortstop moves his feet to break the trance of waiting.
It's the rule of confrontation, faithfully maintained, written across the face of every slackwit pitcher since there were teams named the Superbas and the Bridegrooms. The difference comes when the ball is hit. Then nothing is the same. The men are moving, coming out of their crouches, and everything submits to the pebble-skip of the ball, to rotations and backspins and airstreams. There are drag coefficients. There are trailing vortices. There are things that apply unrepeatably, muscle memory and pumping blood and jots of dust, the narrative that lives in the spaces of the official play-by-play.
And the crowd is also in this lost space, the crowd made over in that One-thousandth of a second when the bat and the baseball are in contact. A rustle of murmurs and curses, people breathing soft moans, their faces changing as the play unrolls across the grassy scan. John Edgar Hoover stands among them. He is watching from the wide aisle at the head of the ramp. He has told Rafferty he will remain at the game. No purpose served by his leaving. The White House will make the announcement in less than an hour. Edgar hates Harry Truman, he would like to see him writhing on a parquet floor, felled by chest pains, but he can hardly fault the President's timing. By announcing first, we prevent the Soviets from putting their own sweet spin on the event. And we ease public anxiety to some degree. People will understand that we've maintained control of the news if not of the bomb. This is no small subject of concern. Edgar looks at the faces around him, open and hopeful. He wants to feel a compatriot's nearness and affinity. All these people formed by language and climate and popular songs and breakfast foods and the jokes they tell and the cars they drive have never had anything in common so much as this, that they are sitting in the furrow of destruction. He tries to feel a belonging, an opening of his old stop-cocked soul. But there is some bitter condition he has never been able to name and when he encounters a threat from outside, from the moral wane that is everywhere in effect, he finds it is a balance to this state, a restoring force. His ulcer kicks up of course. But there is that side of him, that part of him that depends on the strength of the enemy.
Look at the man in the bleachers who's pacing the aisles, a neighborhood crazy, he waves his arms and mumbles, short, chunky, bushy-haired-could be one of the Ritz Brothers or a lost member of the Three Stooges, the Fourth Stooge, called Flippo or Dummy or Shaky or Jakey, and he's distracting the people nearby, they're yelling at him to siddown, goway, meshuggener, and he paces and worries, he shakes his head and moans as if he knows something's coming, or came, or went-he's receptive to things that escape the shrewdest fan.
It is a stone-faced Director who returns to his seat for the seventh-inning stretch. He says nothing of course. Gleason is shouting down a vendor, trying to order beers. People on their feet, shaking off the tension and fret. A man slowly wiping his glasses. A staring man. A man flexing the stiffness out of his limbs.
"Get me a brandy and soda," Toots says.
Jackie tells him, "Don't be a clamhead all your life."
"Treat the man nice," Frank says. "He's come a long way for a Jew who drinks. He's best buddies with world leaders you never even heard of. They all roll into his joint sooner or later and knock back a brandy with Toots. Except maybe Mahatma Gandhi. And him they shot."
Gleason flares his brows and goggles his eyes and shoots out his arms in a nitwit gesture of revelation.
"That's the name I couldn't think of. The midget that pinch-hits."
People around them, hearing part of this and reacting mainly to inflection and gesture-they've seen Jackie physically building the remark and they knock together laughing even before he has finished the line.
Edgar is also laughing despite the return of the midget business. He admires the rough assurance of these men. It seems to flush from their pores. They have a size to them, a natural stamina that mocks his own bible-school indoctrination even as it draws him to the noise. He's a self-perfected American who must respect the saga of the knockabout boy emerging from a tenement culture, from backstreets slant with danger. It makes for gusty egos, it makes for appetites. The pussy bandits Jackie and Frank have a showy sort of ease around women. And it's true about Toots, he knows everybody worth knowing and can drink even Gleason into the carpeting. And when he clamps a sympathetic paw on your shoulder you feel he is some provident force come to guide you out of old despond.