"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.