Frank says, "This is our inning."
And Toots says, "Better be. Because these shit-heel Dodgers are making me nervous."
Jackie is passing beers along the row.
Frank says, "Seems to me we've all made our true loyalties known. Shown our hearts' desire. We got a couple of old-timey Giant fans. And this porpoise with a haircut from Brooklyn. But what about our friend the G-man. Is it G for Giants? Fess up, Jedgar. Who's your team?"
J. Edgar. Frank calls him Jedgar sometimes and the Director likes the name although he never lets on-it is medieval and princely and wily-dark.
A faint smile creeps across Hoover's face.
"I don't have a rooting interest, Whoever wins," he says softly. "That's my team."
He is thinking of something else entirely. The way our allies one by one will receive the news of the Soviet bomb. The thought is grimly cheering. Over the years he has found it necessary to form joint ventures with the intelligence heads of a number of countries and he wants them all to die a little.
Look at the four of them. Each with a hanky neatly tucked in his breast pocket. Each holding his beer away from his body, leaning forward to tease the high scud from the rim of the cup. Gleason with a flower in his lapel, a damp aster snatched from a vase at Toots' place. People are still after him to do lines from the show.
They want him to say, "Harty har-har."
The plate umpire stands mask in hand, nearly blimpish in his outfitting. He is keeping the numbers, counting the pitcher's warm-up tosses. This is the small dogged conscience of the game. Even in repose he shows a history thick with embranglement, dust-stomping men turning figures in the steep sun. You can see it in his face, chin thrust out, a glower working under his brow. When the number reaches eight he aims a spurt from his chaw and prepares to take his whisk-broom to the rubber slab.
In the stands Bill Waterson takes off his jacket and dangles it lengthwise by the collar. It is rippled and mauled and seems to strike him as a living body he might want to lecture sternly. After a pause he folds it over twice and drops it on his seat. Cotter is sitting again, surrounded by mostly vertical people. Bill looms above him, a sizable guy, a one-time athlete by the look of him, getting thick in the middle, his shirt wet under the arms. Lucky seventh. Cotter needs a measly run to keep him from despairing-the cheapest eked-out unearned run ever pushed across. Or he's ready to give up. You know that thing that happens when you give up before the end and then your team comes back to perform acts of valor and you feel a queasy shame stealing over you like pond slick.
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.