Underworld

Bill says down to him, 'I take my seventh-inning stretch seriously. I not only stand. I damn well make it a point to stretch.'

'I've been noticing,' says Cotter.

'Because it's a custom that's been handed down. It's part of something. It's our own little traditional thing. You stand, you stretch-it's a privilege in a way.'

Bill has some fun doing various stylized stretches, the bodybuilder, the pet cat, and he tries to get Cotter to do a drowsy kid in a classroom.

'Did you ever tell me your name?'

'Cotter.'

'That's the thing about baseball, Cotter. You do what they did before you. That's the connection you make. There's a whole long line. A man takes his kid to a game and thirty years later this is what they talk about when the poor old mutt's wasting away in the hospital.'

Bill scoops his jacket off the seat and puts it on his lap when he sits down. Seconds later he is standing again, he and Cotter watching Pafko chase down a double. A soft roar goes up, bushy and dense, and the fans send more paper sailing to the base of the wall. Old shopping lists and ticket stubs and wads of fisted newsprint come falling around Pafko in the faded afternoon. Farther out in left field they are dropping paper on the Dodger bullpen, on the working figure of Labine and the working figure of Branca and the two men who are catching them and the men sitting under the canted roof that juts from the wall, the gum-chewing men with nothing to say.

Branca wears the number thirteen blazoned on his back.

'Told you,' Bill says. 'What did I tell you? I told you. We're coming back.'

'We still have to score the run,' Cotter says.

They take their seats and watch the hitter steer a look right up the line at Durocher dummying through the signs from the coach's box at third. Then Bill is on his feet again, rolling up his sleeves and shouting encouragement to the players, common words of spark and heart.

Cotter likes this man's singleness of purpose, his insistence on faith and trust. It's the only force available against the power of doubt. He figures he's in the middle of getting himself befriended. It's a feeling that comes from Bill's easy voice and his sociable sweaty gymnasium bulk and the way he listens when Cotter speaks and the way he can make Cotter believe this is a long and close association they share-boon companions goes the saying. He feels a little strange, it's an unfamiliar thing, talking to Bill, but there's a sense of something protective and enclosing that will help him absorb the loss if it should come to that.

Lockman squares around to bunt.

There's a man in the upper deck leafing through a copy of the current issue of Life. There's a man on 12th Street in Brooklyn who has attached a tape machine to his radio so he can record the voice of Russ Hodges broadcasting the game. The man doesn't know why he's doing this. It is just an impulse, a fancy, it is like hearing the game twice, it is like being young and being old, and this will turn out to be the only known recording of Russ' famous account of the final moments of the game. The game and its extensions. The woman cooking cabbage. The man who wishes he could be done with drink. They are the game's remoter soul. Connected by the pulsing voice on the radio, joined to the word-of-mouth that passes the score along the street and to the fans who call the special phone number and the crowd at the ballpark that becomes the picture on television, people the size of minute rice, and the game as rumor and conjecture and inner history. There's a sixteen-year-old in the Bronx who takes his radio up to the roof of his building so he can listen alone, a Dodger fan slouched in the gloaming, and he hears the account of the misplayed bunt and the fly ball that scores the tying run and he looks out over the rooftops, the tar beaches with their clotheslines and pigeon coops and splatted condoms, and he gets the cold creeps. The game doesn't change the way you sleep or wash your face or chew your food. It changes nothing but your life.

The producer says, 'At last, at least, a run.'

Russ is frazzled, brother, he is raw and rumpled and uncombed. When the teams go to the top of the eighth he reports that they have, played one hundred and fifty-four regular season games and two playoff games and seven full innings of the third play-off game and here they are tied in a knot, absolutely deadlocked, they are stalemated, folks, so light up a Chesterfield and stay right here.

The next half inning seems to take a week. Cotter sees the Dodgers put men on first and third. He watches Maglie bounce a curve in the dirt. He sees Cox bang a shot past third. A hollow clamor begins to rise from the crowd, men calling from the deep reaches, an animal awe and desolation.

In the booth Russ sees the crowd begin to lose its coherence, people sitting scattered on the hard steps, a priest with a passel of boys filing up the aisle, paper rolling and skittering in the wind. He hears the announcer from St. Louis on the other side of the blanket, it is Harry Caray and he sounds like his usual chipper self and Russ thinks of the Japanese term for ritual disembowelment and figures he and Harry ought to switch names about now.

Light washing from the sky, Dodgers scoring runs, a man dancing down the aisle, a goateed black in a Bing Crosby shirt. Everything is changing shape, becoming something else.

Cotter can barely get out the words.

'What good does it do to tie the score if you're going to turn around and let them walk all over you?'

Bill says, 'They're going into that dugout and I guarantee you they're not giving up. There's no quit in this team. Don't pull a long face on me, Cotter. We're buddies in bad times-gotta stick together.'

Cotter feels a mood coming on, a complicated self-pity, the strength going out of his arms and a voice commencing in his head that reproaches him for caring. And the awful part is that he wallows in it. He knows how to find the twisty compensation in this business of losing, being a loser, drawing it out, expanding it, making it sickly sweet, being someone carefully chosen for the role.

The score is 4-1.

It should have rained in the third or fourth inning. Great rain drenching down. It should have thundered and lightning'd.

Bill says, 'I'm still a believer. What about you?'

The pitcher takes off his cap and rubs his forearm across his hairline. Big Newk. Then he blows in the cap. Then he shakes the cap and puts it back on.

Shor looks at Gleason.

'Still making with the mouth. Leave the people alone already. They came here to see a game.'

'What game? It's a lambasting. We ought to go home.'

'We're not going home,' Toots says.

Jackie says, 'We can beat the crowd, clamhead.'

Frank says, 'Let's take a vote.'

Toots says, 'You're tubercular in the face. Sit back and watch the game. Because nobody goes until I go and I ain't going.'

Jackie waves down a vendor and orders beer all around. Nothing happens in the home half of the eighth. People are moving toward the exit ramps. It is Erskine and Branca in the bullpen now with the odd paper shaving dropped from the upper deck. Dodgers go down in the top of the ninth and this is when you sense a helpless scattering, it is tastable in the air, audible in the lone-wolf calls from high in the stands. Nothing you've put into this is recoverable and you don't know whether you want to leave at once or stay forever, living under a blanket in the wind.

Engineer says, 'Nice season, boys. Let's do it again sometime.'

The closeness in the booth, all this crammed maleness is making Russ a little edgy. He lights another cigarette and for the first time all day he does not reproach himself for it. He hears the solitary wailing, he hears his statistician reciting numbers in fake French. It is all part of the same thing, the feeling of some collapsible fact that's folded up and put away, and the school gloom that traces back for decades-the last laden day of summer vacation when the range of play tapers to a screwturn. This is the day he has never shaken off, the final Sunday before the first Monday of school. It carried some queer deep shadow out to the western edge of the afternoon.

He wants to go home and watch his daughter ride her bike down a leafy street.

Dark reaches for a pitch and hits a seeing-eye bouncer that ticks off the end of the first baseman's glove.

A head pops up over the blanket, it's the engineer from KMOX and he starts telling a joke about the fastest