Underworld

throwing easily, just getting loose.

Mays thinking helplessly, Push-pull click-click, change blades that quick.

In the stands Special Agent Rafferty is walking down the stairs to the box-seat area behind the home team dugout. He is a thickset man with a mass of reddish hair-a shock of red hair, people like to say-and he is moving with the straight-ahead look of someone who doesn't want to be distracted. He is moving briskly but not urgently, headed toward the box occupied by the Director.

Gleason has two sudsy cups planted at his feet and there's a hot dog he has forgotten about that's bulging out at each end of his squeezed fist. He is talking to six people at once and they are laughing and asking questions, season box holders, old-line fans with their spindly wives. They see he is half swacked and they admire the clarity of his wit, the fine edge of insult and derision. They want to be offended and Jackie's happy to do it, bypassing his own boozy state to do a detailed imitation of a drunk. He goes heavy-lidded and growly, making sport of one man's ragmop toupee, ridiculing a second for the elbow patches on his tweed jacket. The women enjoy it enormously and they want more. They watch Gleason, they look at Sinatra for his reaction to Gleason, they watch the game, they listen to Jackie do running lines from his TV show, they watch the mustard slide down his thumb and feel too shy to tell him.

When Rafferty reaches Mr. Hoover's aisle seat he does not stand over the Director and lean down to address him. He makes it a point to crouch in the aisle. His hand is set casually near his mouth so that no one else can make out what he is saying. Hoover listens for a moment. He says something to his companions. Then he and Rafferty walk up the stairs and find an isolated spot midway down a long ramp, where the special agent recites the details of his message.

It seems the Soviet Union has conducted an atomic test at a secret location somewhere inside its own borders. They have exploded a bomb in plain unpretending language. And our detection devices indicate this is clearly what it is-it is a bomb, a weapon, it is an instrument of conflict, it produces heat and blast and shock. It is not some peaceful use of atomic energy with home-heating applications. It is a red bomb that spouts a great white cloud like some thunder god of ancient Eurasia.

Edgar fixes today's date in his mind. October 3, 1951. He registers the date. He stamps the date.

He knows this is not completely unexpected. It is their second atomic explosion. But the news is hard, it works into him, makes him think of the spies who passed the secrets, the prospect of warheads being sent to communist forces in Korea. He feels them moving ever closer, catching up, overtaking. It works into him, changes him physically as he stands there, drawing the skin tighter across his face, sealing his gaze.

Rafferty is standing on the part of the ramp that is downhill from Mr. Hoover.

Yes, Edgar fixes the date. He thinks of Pearl Harbor, just under ten years ago, he was in New York that day as well, and the news seemed to shimmer in the air, everything in photoflash, plain objects hot and charged.

The crowd noise breaks above them, a chambered voice rolling through the hollows in the underbody of the stadium.

Now this, he thinks. The sun's own heat that swallows cities.

Gleason isn't even supposed to be here. There's a rehearsal going on right now at a midtown studio and that's where he's supposed to be, preparing a skit called 'The Honeymooners,' to be shown for the first time in exactly two days. This is material that's close to Jackie's heart, involving a bus driver named Ralph Kramden who lives with his wife Alice in a shabby Brooklyn flat. Gleason sees nothing strange about missing a rehearsal to entertain fans in the stands. But it's making Sinatra uneasy, all these people lapping at their seat backs. He is used to ritual distances. He wants to encounter people in circumstances laid out beforehand. Frank doesn't have his dago secret service with him today. And even with Jackie on one flank and Toots on the other-a couple of porkos who function as natural barriers-people keep pressing in, showing a sense of mission. He sees them decide one by one that they must speak to him. The rigid grins floating near. And the way they use him as a reference for everything that happens. Somebody makes a nice play, they look at Frank to see how he reacts. The beer vendor trips on a step, they look at Frank to see if he has noticed.

He leans over and says, 'Jack, it's a great boot being here but you think you can put a towel over your face so these people can go back to watching the game?'

People want Gleason to do familiar lines of dialogue from the show. They're calling out the lines they want him to do.

Then Frank says, 'Where the hell is Hoover by the way? We need him to keep these women off our beautiful bodies.'

The catcher works up out of his squat, dirt impacted in the creases that run across the back of his ruddled neck. He lifts his mask so he can spit. He is padded and bumpered, lips rough and scored and sun-flaked. This is the freest thing he does, spitting in public. His saliva bunches and wobbles when it hits the dirt, going sandy brown.

Russ Hodges is over on the TV side for the middle innings, talking less, guided by the action on the monitor. Between innings the statistician offers him part of a chicken sandwich he has brought along for lunch.

He says to Russ, 'What's the wistful look today?'

'I didn't know I had a look. Any look. I don't feel capable of a look. Maybe hollow-eyed.'

'Pensive,' says the statman.

And it's true and he knows it, Russ is wistful and drifting and this is so damn odd, the mood he's been in all day, a tilting back, an old creaky easing back, as of a gray-haired man in a rocker.

'This is chicken with what?'

'I'm guessing mayonnaise.'

'It's funny, you know,' Russ says, 'but I think it was Charlotte put the look in my face.'

'The lady or the city?'

'Definitely the city. I spent years in a studio doing re-creations of big league games. The telegraph bug clacking in the background and blabbermouth Hodges inventing ninety-nine percent of the action. And I'll tell you something scout's honor. I know this sounds farfetched but I used to sit there and dream of doing real baseball from a booth in the Polo Grounds in New York.'

'Real baseball.'

'The thing that happens in the sun.'

Somebody hands you a piece of paper filled with letters and numbers and you have to make a ball game out of it. You create the weather, flesh out the players, you make them sweat and grouse and hitch up their pants, and it is remarkable, thinks Russ, how much earthly disturbance, how much summer and dust the mind can manage to order up from a single Latin letter lying flat.

'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