EARLIER THAT HISTORIC September evening, before Chad Bradford took the mound, a traffic jam extraordinary even by Northern California standards stretched as far as the eye could see. The Oakland A’s ticket office had never experienced anything quite like the crush of the previous two days. When the Kansas City Royals came to town, the A’s sales department expected about ten thousand fans to turn up. In just the last twenty-four hours more than twenty thousand people had stopped by, in the flesh, to buy seats in advance. Before the game, an aerial view of Oakland would reveal nearly everyone in sight heading toward the Coliseum. Billy Beane alone was heading away from it.
Billy hadn’t the slightest intention of watching his team make history. It was just another game, he said, and he didn’t watch games. “All they provide me with is subjective emotion,” he said, “and that can be counterproductive.” He figured he could give a few press interviews, and then slip away in his Range Rover to Modesto. In Modesto, on the same night the Oakland A’s were trying to win their twentieth game in a row, the Visalia Oaks were playing the Modesto A’s. Both teams were Single-A affiliates of Oakland. Most of the players the A’s had drafted a few months before played for one or the other. Billy could stand to watch young men who still had time and space to fail: Nick Swisher, Steve Stanley, Mark Teahen, and Jeremy Brown. Especially Brown, the bad body catcher from Hueytown, Alabama. Everyone had laughed when the Oakland A’s drafted Brown in the first round. Every day Brown was more interesting to Billy.
And so the only moment that Billy Beane looked forward to, on a day he should have gloated through, was when he’d make his getaway. On his way out of the office, however, he’d been cut off by the team’s stunned marketing department. The people who sold the Oakland A’s couldn’t quite believe that the guy who’d built them was taking off. They explained to Billy that if he left, he might as well pile a bunch of money in the street and set it on fire: he’d be blowing the biggest chance they’d had in years to promote the Oakland A’s to the wider world. The winning streak had become a national news story. And so Billy, slightly miffed, stayed. He sat still for CBS Evening News, CNN, Fox Sports News, ESPN, and a few others, then went down to the weight room and hid, from the media and the game.
At some point between the treadmill and the stationary bicycle he noticed on his little white box that it was the bottom of the third inning and his team was ahead 11–0. For the first time in a very long while, he relaxed. Still dripping sweat, he set himself up in manager Art Howe’s empty office, with the television switched on. Nineteen games into a winning streak, up eleven–zip against one of the worst teams in baseball, with one of the best pitchers in baseball still on the mound for the Oakland A’s—this one game appeared safe to watch. It wasn’t going to violate the laws of probability; it wasn’t going to drive him mad, and cause him to do something he might later regret. At that moment, Billy Beane was so at peace with his world that he let me into it.
His feet were up on Art Howe’s Formica desk. He was feeling detached. Expansive. Delighted and delightful. This was the way he felt most of the time; this was the way he almost always handled himself away from baseball. He had, he confessed, expressed his concern when he saw that Art Howe had written John Mabry’s name on the lineup card, where Scott Hatteberg’s should have been. It was a shame for Hatteberg, I thought. Here he’s been performing these valuable and rather selfless services to the Oakland A’s offense, and the one game the world will watch, he isn’t allowed to play. Art explained to Billy that Hatteberg had never faced Kansas City’s ace, Paul Byrd. Mabry, on the other hand, not only had hit Byrd hard but claimed to be able to see him tipping his pitches—that is, Mabry could guess what Byrd was about to throw. Billy now says he deferred to Art’s judgment, as if deferring to Art’s judgment comes naturally to him. Mabry promptly made Art Howe look like a genius. He’d driven in one run with a single up the middle in the six-run first inning—and helped to chase Byrd from the game. Then, in the second inning, he’d whacked a solo home run.
With the score 11–0, and Tim Hudson still carving up the Royals lineup, the absence of Scott Hatteberg from the lineup is a distant memory. Billy Beane is right to feel his usual self: the odds of something going wrong are ridiculously small. He calls his daughter Casey, now twelve years old, and still living in Southern California.
“Hey Casey, you watching the game?”
Pause.
“American Idol? You’re watching American Idol??”
Casey is watching American Idol.
He tells Casey the news—the team is winning big, a nation of baseball fans is watching—teases her a bit, and lets her go.
Billy Beane should always be so calm during his team’s games. If he believes what he claims to believe—that the game can be reduced to a social science; that it is simply a matter of figuring out the odds, and exploiting the laws of probability; that baseball players follow strikingly predictable patterns—then there is no point in being anything but calm. To get worked up over plays, or even games, is as unproductive as a casino manager worrying over the outcomes of individual pulls of the slot machines. Billy as good as makes this point now by pointing at the TV, where Eric Chavez, having just made a difficult defensive play look routine, sheepishly starts kicking the dirt in front of him. “He’s almost afraid to acknowledge how good he really is,” says Billy. “And here’s the thing. He’s twenty-four years old. You know if he’s here now”—he holds his hand at his chest—“he’ll wind up here”—he raises his hand over his head. “You could make a case that Chavvy is the most naturally gifted player in the game.”
I ask him to make the case, and, in his current, detached mood, he’s more than happy to. Up eleven–zip against a sorry club, he’s reveling in the objective, scientific spirit.
“Age is such a critical factor in evaluating guys,” he says, then plucks the Oakland A’s media guide off Art Howe’s bookshelf. “Here. Chavvy is twenty–four. The season isn’t over. He’s got 31 homers, 28 doubles, 55 walks, a .283 batting average, and a .353 on-base percentage. Who do you want to compare him to?”
“Jason Giambi,” I say.
“All right,” as he pulls out the New York Yankees media guide. “But I know the answer to this already, because I already did it.” He finds Giambi’s career statistics. “When Jason was twenty-four years old, he spent half the year in Edmonton—on a Triple-A team. In the half he was in the big leagues he hit 6 homers, drew 28 walks, and hit .256. Who else?”
“Barry Bonds,” I say. Across the Bay, Bonds is making the argument every night that he is the finest hitter who ever played the game.
“That’s hard,” he says. “Bonds has reached that level where even talent can’t take you. But okay, let’s take Bonds.” He grabs the San Francisco Giants media guide. “I know what it’s going to show because I did this with him, too. Bonds was born in 1964. In 1988, he hit .283, with 24 homers, 72 walks, and 30 doubles. That gives you some idea of how good Chavvy is.”
“Who else?” he asks. But before I can think of anyone else, he says, “Let’s try A-Rod [Alex Rodriguez]. No one had a quicker start than A-Rod.” He pulls the Texas Rangers media guide. “A-Rod was 24 in 1999. In 1999, he hit .285, with 25 doubles, 42 homers, and 111 runs batted in.” He looks up. “That compares well enough, but then there’s defense. Chavvy is the best fielding third baseman in the game. A-Rod isn’t the best fielding shortstop.”
I’m still having trouble getting my mind around the notion of making such forecasts about human beings, and I say as much. My problem can be simply put: every player is different. Every player must be viewed as a special case. The sample size is always one. His answer is equally simple: baseball players follow similar patterns, and these patterns are etched in the record books. Of course, every so often some player may fail to embrace his statistical destiny, but on a team of twenty-five players the statistical aberrations will tend to cancel each other out. And most of them will conform fairly exactly to his expectations. About Eric Chavez’s career, for instance, he has not the slightest doubt. “The only thing that will stop Chavvy is if he gets bored,” he says. “People don’t understand that. He continues to frustrate people who take him out of context. He is twenty-four years old. What he’s done at twenty-four no one has done. Health permitted, his whole career is a lock.”
I mention that there are times when Billy is one of the people Chavvy frustrates. Chavvy, like Miguel Tejada, is Mister Swing at Everything. In his current mood, Billy waves the objection aside. He can’t understand how I can be so intolerant. “Chavvy’s young,” he says. “He’s good-looking. He’s a millionaire. He kind of owes it to himself to swing at everything. What were you like when you were twenty-four?”
This was the character whose behavior was consistent with the way he said he wanted to run his baseball team: rationally. Scientifically. This was the “objective” Billy Beane, the general manager who was certain that “you don’t change guys; they are who they are.” Who will describe his job as “a soap box derby. You build the car in the beginning of the year and after that all you do is push it down the hill.” To this Billy Beane’s way of thinking there was no point in meddling with the science experiment. There was no point in trying to get inside players’ heads, for instance, to reshape their approach to the game. They will be who they will be. When you listen to the “objective” Billy Beane talk about his players, you begin to wonder if baseball players have free will.
But there is another, less objective Billy Beane. And in the top of the fourth inning, when Miguel Tejada drops a routine, inning-ending double-play throw from second baseman Mark Ellis, the other Billy Beane awakens from his slumber. Even as the Royals score five runs they shouldn’t have, Billy remains calm—after all, it’s still 11–5, and Tim Hudson is still pitching—but he’s on alert. He begins to talk about his players in a different way. And he allows me to see that the science experiment is messier than the chief scientist usually is willing to admit.
In the Oakland fourth, center fielder Terrence Long hits a grounder back to the pitcher, and runs hard down the first-base line. This is new. Heretofore, when Terrence Long has grounded out, he has trotted down the line with supreme indifference to public opinion. Too young to know that you are what you pretend to be, Terrence Long has nearly perfected the art of seeming not to care. As it happens, a few days ago, Terrence walked out into the players’ parking lot and discovered that someone had egged his car. Hearing of the incident, Billy stopped by Terrence’s locker and told him that he’d had an e-mail from the culprit, an A’s fan, who said he was furious that he’d paid money to watch Terrence Long jog the bases. The effect on Terrence Long was immediate. He went from jogging to first on a routine ground out to running as fast as he can until the first moment he can stop without pissing off Billy Beane. As he sprints down the line, Billy says that Terrence’s real problem is “his own self-doubt, exacerbated by the media. That’s one of the mistakes that young players make—they actually read the papers.”
In the Oakland fifth, with the score still 11–5, Ramon Hernandez leads off. Twice in the first four innings the Oakland catcher has taken outside fastballs and driven doubles to the opposite field. This is new. All season long Ramon Hernandez has been trying and failing to pull outside fastballs. He’s been a complete bust on offense, and failed to conform to the Oakland A’s front office’s greater expectations of him. As it happens, the other day, Billy stopped by Ramon Hernandez’s locker and made a bet with him: each time he went the opposite way with an outside pitch, Billy would pay him fifty bucks; each time he tried to pull an outside pitch, he’d pay Billy fifty bucks. The point of the exercise, Billy now says, is “it gives me an excuse to henpeck Ramon. It’s a subversive way for me to keep nagging the shit out of him without him knowing it.”
Most of the players who pass across the television screen on this historic evening have been on the receiving end of Billy Beane’s subtle attempts to manipulate their behavior. He claims there is no point in trying to change people, and then he goes ahead and tries to change them anyway. He knows most of his players better than he would ever allow himself to be known by them, and while that is not saying very much, it’s still says something. “Look at Miggy’s face,” he says, at the end of the sixth inning. The television camera is on Tejada, in the dugout, looking surprisingly glum. “He’s the only guy in the lineup without a hit. This is what happens with younger players: they want to do too much. Watch him: he’ll try to do more than he should.” And sure enough, after Tim Hudson gets into trouble, and Chad Bradford is called in from the bullpen, he does.
WHEN CHAD BRADFORD is in the bullpen, he often thinks about his father. It helps put whatever pressure he’s feeling into perspective. The doctors had told his father he’d never walk again and the man had not only walked, he’d worked, and not only worked, but played catch. If his father could do that, how hard was this?
The thought usually made him feel better, but tonight, with so much on the line, it doesn’t. He’s feeling like a different pitcher than he was just a few weeks ago. Before the trouble started, he’d been exactly as effective as Paul DePodesta’s computer had predicted he would be. For nearly two full seasons he’s been living his dream. Chad himself had not quite believed it when, before the 2001 season, just after his back surgery, Billy Beane called him to tell him that he had traded for him with a view to his becoming the critical middle reliever in the Oakland A’s big league bullpen. Billy told Chad the statistics he thought he was capable of generating, and even Chad thought they were a stretch. Amazingly, to Chad, he’d done almost exactly what Billy Beane predicted he would do. “It’s like the guy knows what’s going to happen before it happens,” said Chad.
Now he’s unsure that Billy Beane’s faith in him is justified. He pulls his cap down over his eyes and walks briskly toward the mound, reaching it in exactly the same number of steps he always does. Outside, everything looked the same; inside, everything felt different. A few weeks ago, when he looked in to take the signal from the catcher, he was oblivious to his surroundings. He’d be repeating to himself his usual phrase, to shut down his mind to the pressure.
Make your pitch.
Make your pitch.
Make your pitch.
Tonight, he wasn’t oblivious; tonight, as he leaned in, he was aware of everything. The crowd noise. The signs. The national audience. And a new mantra, now running through his head:
Don’t Fuck This Up!
Don’t Fuck This Up!
Don’t Fuck This Up!
He’s having the worst slump in his entire professional career and while it isn’t actually all that bad a slump—one bad outing in Yankee Stadium, another in Fenway Park—he has no ability to put it into perspective. On his bookshelf at home there were two books, side by side, tattered by his constant use of them. One was The Mental Game of Baseball. The other was the Bible. He has a favorite passage, Philippians 4:13: I can do all things through Christ who strengthens me. It’s giving him no solace. A few nights before, after another nerve-wracking outing, he’d called his wife, Jenny, who had taken the kids back to Byram for the start of the school year, and said, “I don’t think I can do this anymore.”
The Oakland A’s pitching coach, Rick Peterson, thinks that Chad’s problems began in early August, when ESPN announcer Jeff Brantley had come into Oakland and done a piece on him, identifying Chad on national television as one of the premier setup men in the game. Attention disturbed Chad’s concentration. Peterson had been critical to Oakland’s pitching success. He kept the Oakland pitchers healthy; and, in some cases, he also kept them focused. He was fond of saying that “if you have twelve different pitchers, you’ve got to speak twelve different languages.” The difference between Chad and the other pitchers was that the others’ language had words for the phrase “I belong in the big leagues.” Chad’s language lacked the vocabulary of personal defiance. Of self-confidence. Throughout his career, Chad had responded to trouble not by looking inside himself to see what was there, but by dropping his point of release lower to the ground. His knuckles now scrape the dirt when he throws. “He’s got nowhere to go,” said Peterson, “unless he throws upside down.”
His pitching coach is trying to teach Chad how to go inside. After one of his weak outings, when he was looking lost, Peterson had made him sit down and watch tape of himself slicing and dicing big league hitters for the first five months of the season. As Chad watched the tape of his old self, Peterson made his point.
“You’re a Christian, right, Chad?”
“Yeah.”
“You believe in Jesus?”
“Yeah.”
“Have you ever seen him?”
“No, I’ve never seen him.”
“Ever seen yourself get hitters out?”
“Yeah.”
“So why the fuck do you have faith in Jesus when you never seen him, but you don’t have faith in your ability to get hitters out when you get hitters out all the time?”
His coach left him with that thought. Chad sat there and said to himself: “Okay. That makes sense.” But a little while later the doubts returned. For his entire career hardly anyone has believed in him and now that they do, he can’t quite believe in himself. “It’s my greatest weakness,” he said. “I have zero self-confidence. The only way I can explain it is that I’m not the guy who throws ninety-five miles an hour. The guy who throws ninety-five can always see his talent. But I don’t have that. My stuff depends on deception. For it to work, there’s so much that has to go right. When it starts not going right, I think, ‘Oh my gosh, I hope I can keep foolin ’em. Then I start to ask, ‘How much longer can I keep foolin em?’”
He’s having—with him, there isn’t a more accurate way to put it—a crisis of faith. When he knows, he always hits his spots; when he hopes, he never does; and he’s now just hoping. Oblivious to how good he is, he is susceptible to the argument that his success is a trick, or a fluke, or a spell that at any moment might break. He doesn’t much care that he is, for the first time in his miraculous career, the only one still making this argument.
That night in early September he’s fighting himself more fiercely than ever before. Billy Beane knows it. His cheap out-getting machine has a programming glitch. He has no idea how to fix it—how to get inside Chad Bradford’s head. Sloth, indolence, a lack of discipline, an insufficient fear of management—these problems Billy knows how to attack. Insecurity is beyond him. If he knew how to solve the problem, he might be finishing up his playing career and preparing himself for election to the Hall of Fame. But he still doesn’t know; and it worries him. Chad doesn’t know that he will retire batters at such a predictable rate, in such a predictable way, that he might as well be a robot. As a result, he might not do it.
BILLY BEANE only watches all of what happens next because he’s somehow allowed himself to be trapped into watching the game with me. What happens next is that Chad Bradford shows the world how quickly a big lead in baseball can be lost. He gets the final out in the seventh inning, on a ground ball. The eighth inning is the problem. Art Howe allows Chad to return to the mound to face a series of left-handed hitters.
“I’m glad Art’s leaving him in,” says Billy. “He’s wasted if you only use him to get an out.”
I ask if it worries him that Chad relies so heavily on faith. That Chad’s genuine, understandable belief that the Good Lord must be responsible for his fantastic ability to get big league hitters out leaves him open to the suspicion that the Good Lord might have changed His mind.
“No,” says Billy. “I’m a believer, too. I just happen to believe in the power of the ground ball.”
In nearly seventy relief appearances this year Chad Bradford has walked exactly ten batters, about one every thirty he has faced. He opens the eighth inning by walking Brent Mayne.
As Mayne trots down to first base, the Oakland crowd stirs and hollers. Someone from the center field bleachers hurls a roll of toilet paper onto the field. It takes a minute to clear, leaving Chad time with his hellish thoughts. When play resumes, fifty-five thousand people rise up and bang and shout, perhaps thinking this will help Chad to settle down.
“Why should noise have any more effect on the hitter than the pitcher?” says Billy, a bit testily. “If you’re playing away, you just pretend they are cheering for you.”
Chad walks the second hitter, Dee Brown. It’s the first time all year he’s walked two batters in a row. The TV cameras pan to Miguel Tejada and second baseman Mark Ellis, conferring behind their gloves.
“In the last ten years guys started covering their lips with their gloves,” snaps Billy. “I’ve never known a single lip-reader in baseball. What, has there been a rash of lipreading I don’t know about?”
The third batter, Neifi Perez, hits a slow ground ball to the second baseman. John Mabry, playing first, races across and cuts it off. Chad just stands on the mound and watches the play develop. By the time it has, it’s too late for him to cover first base. The bases are now loaded, with nobody out. Another roll of toilet paper streams from the bleachers into center field. The crowd is on its feet, making more noise than ever, still thinking, Lord knows why, that their attention is what Chad Bradford needs to get him through his troubles.
Billy stares at the television with disgust, like a theatre critic being forced to watch a mangled interpretation of Hamlet. “I can’t believe I have to sit here and watch this shit,” he says. He pulls his little white box onto the desk in front of him. Its plastic shine has been rubbed dull. “I would be dying right now if I was walking around watching this,” he says. He’s fantasizing: if I hadn’t trapped him with the TV inside this office he would be out in the parking lot, marching around glancing every five seconds at the white box. He’d rather be dying out there than whatever he’s doing in here.
The next batter, Luis Ordaz, is the one who makes good on Billy’s prediction about Miguel Tejada (“Watch him: he’ll try to do more than he should”). Ordaz hits a routine ground ball to Tejada’s right. Instead of making the routine play, the force at third, Tejada tries to make the acrobatic one, the force at home. His leaping throw bounces in the dirt in front of Ramon Hernandez and all runners are safe: 11–6. Bases still loaded, nobody yet out.
Art Howe virtually leaps out of the dugout to yank Chad from the game. On his way to his seat on the bench Chad stares at the ground, and works to remain expressionless. He came in with a six-run lead. He leaves with the tying run in the on-deck circle. The ball never left the infield.
“Jesus Christ, what a fucking embarrassment,” says Billy. He reaches under the desk and extracts a canister of Copenhagen. He jams the chaw into his upper lip. “Why am I even watching this shit?”
The new pitcher, Ricardo Rincon, gets two quick outs, and gives up just one run on a sacrifice fly: 11–7. With two outs and runners on first and third, Art Howe walks out yet again. This time he calls for right-hander Jeff Tam, newly arrived from Triple-A, to face the right-handed Mike Sweeney, who is, at the moment, leading the American League in hitting.
“Fuck,” says Billy. “Why? They all take this lefty-righty shit too far. What’s wrong with leaving Rincon in?”
Tam had two years in the A’s bullpen where he played the role now played by Chad Bradford. There was a time when Ron Washington, the infield coach, took to calling Tam “Toilet Paper” (“Because he’s always cleanin’ up everybody else’s shit”). But something happened, either in Tam’s head or his delivery, and for the past two years he hasn’t been the same guy. “Relievers are like volatile stocks,” Billy says. “They’re the one asset you need to watch closely, and trade for quick profits.”
As his manager and reliever confer, Billy Beane looks at me apologetically. In under forty-five minutes he’s passed from detachment to interest, from interest to irritation, from irritation to anger, and is now, obviously, on the brink of rage. He’s embarrassed by his emotions but not enough to control them. “All right,” he finally says, “you’ll have to excuse me, I’m going to have to pace around here.”
With that, he walks out into the clubhouse, closing the door behind him, and begins to storm around. Past the trainer’s room where poor Tim Hudson, who must be wondering what he needs to do to get a win, is having heat applied to his shoulder. Past Scott Hatteberg and Greg Myers, the two lefties on the bench who had thought they had the night off, rushing back through the clubhouse to the batting cage to take some practice swings, in case they are asked to pinch-hit. And, finally, past the video room where Paul DePodesta stews on the improbability of the evening. Paul already has calculated the odds of winning twenty games in a row. (He puts them at fourteen in a million.) Now he’s calculating the odds of losing an eleven-run lead. (“It may not be fourteen in a million but it’s close.”)
In his 1983 Abstract, Bill James had contemplated tonight’s game. James had observed in baseball what he called a “law of competitive balance.” “There exists in the world a negative momentum,” he wrote,
which acts constantly to reduce the differences between strong teams and weak teams, teams which are ahead and teams which are behind, or good players and poor players. The corollaries are:
1. Every form of strength covers one weakness and creates another, and therefore every form of strength is also a form of weakness and every weakness a strength.
2. The balance of strategies always favors the team which is behind.
3. Psychology tends to pull the winners down and push the losers upwards.
More metaphysics than physics, it was as true of people as it was of baseball teams. People who want very badly to win, and to be seen to have won, enjoy a tactical advantage over people who don’t. That very desire, tantamount to a need, is also a weakness. In Billy Beane, the trait is so pronounced that it is not merely a weakness. It is a curse.
When play resumes, Jeff Tam and Mike Sweeney fight a great battle. On the tenth pitch of the at bat, after fouling off four pitches with Superman swings, Sweeney takes a slider from Tam and golfs it off the 1-800-BAR-NONE sign, just over the left field wall.
11–10.
Something big crashes in the clubhouse.
On the TV over Art Howe’s desk, Art himself is again on his way to the mound, to replace Jeff Tam with a lefty named Micah Bowie. Mike Sweeney enthusiastically explains to his teammates in the Kansas City dugout how he thought his home run was a foul ball. The announcers say what a pity it is that Miguel Tejada “tried to do too much” with the routine ground ball to third. Had he not, the A’s would be out of the inning. Billy bursts back in the room—cheeks red, teeth black. “Fucking Tam,” he says. “He thinks he’s going to fool the best hitter in the league with his slider.” He mutes the television, grabs his tin of Copenhagen, and vanishes, leaving me to watch the game alone in his manager’s office.
The manager’s office is now completely silent. The fifty-five thousand people outside are making about as much noise as fifty-five thousand people can make, but none of it reaches this benighted place. Pity Art Howe. What little he has done to make the office a home suggests a view of the world so different from Billy Beane’s that it’s a wonder he’s kept his job as long as he has. There’s a framed aphorism, called “The Optimist’s Creed.” There is a plaque containing the wisdom of Vince Lombardi. There is an empty coffee pot, with a canister of non-dairy creamer. Behind the manager’s white Formica desk is a sign that says Thank You For Not Smoking. There are photos that hint at a fealty to baseball’s mystique: one of Art standing on the dugout steps, another of Art and Cal Ripken, Jr. (signed by Ripken). On the television, Art maintains his stoical expression. Beneath him flashes the news that no Athletics team has lost an eleven-run lead since the Philadelphia A’s lost one to the St. Louis Browns in 1936. Baseball has so much history and tradition. You can respect it, or you can exploit it for profit, but it’s still being made all over the place, all the time.
Micah Bowie gets the final out in the Kansas City eighth, and the A’s go quickly in their half. In the top of the ninth, facing closer Billy Koch, the Royals get a man as far as second base. With two outs and two strikes against a weak hitter, Luis Alicea, the game, once again, looks over. Then Alicea lines a single into left center.
11–11.
From somewhere in the clubhouse I hear a sharp cry, then the clatter of metal on metal. I open Art Howe’s door to sneak a peek, and spot Scott Hatteberg running from the batting cage to the tunnel that leads to the Oakland dugout.
Hatteberg isn’t particularly ready to play. He’s in the wrong state of mind, and carrying the wrong bat. After Art Howe told him he wasn’t playing tonight, he’d poured himself a cup of coffee, then another. He’d sat down briefly and chatted with some guy he’d never met, and whose name he couldn’t remember, who wanted to show him some bats he had handcrafted. Hatteberg had picked out one of the guy’s bats, a shiny black maple one with a white ring around its neck. He liked the feel of it.
Like most of the players, Hatteberg, as a minor leaguer, had signed a contract with the Louisville Slugger company, in which he agreed to use only the company’s bats. All but certain that he would not play tonight, he had taken his contraband bat with him to the dugout. By the time the score was 11–0, certain that he would never play, he had the bat between his knees and four cups of coffee in his bloodstream. He is, by the bottom of the ninth, chemically altered. He’s also holding a bat he’s never hit with.
The score remains 11–11. The Kansas City closer, Jason Grimsley, is on the mound, throwing his usual blazing sinkers. Jermaine Dye flies to right for the first out. The television camera pans the A’s dugout and from their expressions you can see that a lot of the players think the game is as good as lost. In losing an eleven-run lead, they’d lost more than that. They look as if they know the last good thing already has happened to them.
Art Howe tells Scott Hatteberg to grab a bat. He’s pinch-hitting. Hatteberg grabs the bat given to him by the anonymous craftsman. It violates the contract he signed as a minor leaguer with the Louisville Slugger company, but what the hell.
He had faced Grimsley just two days before, in a similar situation. Tie game, bottom of the ninth, but that time there were men on base. He didn’t need to watch tape tonight. With a pitcher like Grimsley you always know what you’ll be getting: 96-mph heat. You also, usually, know where you’ll be getting it: at the bottom of, or just below, the strike zone. Two days ago Grimsley had thrown him six straight sinking fastballs, down and away. With two strikes on him, Hatteberg had swung at the last of them and hit a weak ground ball to second base. (Miguel Tejada had followed him with a game-winning single up the middle.) As disappointing as that experience had been, it now served a purpose. He’d seen six pitches from Jason Grimsley. He’s gathered his information. He knew that, if at all possible, he shouldn’t fool around with Grimsley’s low sinkers.
Tonight, as he steps into the box, he promises himself that he won’t swing at anything down in the zone until he has two strikes. He’ll wait for what he wants until he has no choice but to accept whatever happens to be coming. He’s looking for something up—something he can drive for a double, and get himself in scoring position.
He settles into his usual open stance, and waggles the shiny black contraband bat back and forth through the zone, like a golfer on the first tee. As Grimsley comes into the stretch, his face contorts in the most unsettling way. He actually grins as he pitches, and it’s not a friendly grin. It’s the grin of a man who enjoys pulling wings off flies. The effect on the TV viewer is unnerving. But Hatty doesn’t see Grimsley’s face. He’s gazing at the general area where he expects the ball to leave Grimsley’s hand. He needs to see just one pitch, to get his timing down. He’s thinking: if I can lay off the first pitch I might get a pitch up in the zone. Over and over he’s telling himself: lay off the first pitch. The man who will this year lead the entire American League in laying off first pitches feels he needs to give himself a pep talk to lay off the first pitch. It must be the caffeine.
He lays off the first pitch. It’s a ball, just low. Another round of horrible facial expressions, and Grimsley’s ready again. The second pitch is another fastball, but it’s high in the strike zone. Hatty takes his short swing; the ball finds the barrel of his bat, and rockets into deep right center field.
He leaves the batter’s box in a crouching run. He’s moving just as fast as he does when he hits a slow roller to the third baseman. He doesn’t see Grimsley raging. He doesn’t hear fifty-five thousand fans erupting. He doesn’t notice the first baseman turning to leave the field. He doesn’t know that there’s a fellow from Cooperstown following him around the bases, picking them up, and will soon come looking for his bat. The only one in the entire Coliseum who does not know where the ball is going is the man who hit it. Scott Hatteberg alone watches the ball soar through the late night air with something like detachment.
The ball doesn’t just leave the park; it lands high up in the stands, fifty feet or so beyond the 362 sign in deep right center field. When he’s finally certain that the ball is gone for good, Scott Hatteberg raises both hands over his head, less in triumph than disbelief. Rounding first, he looks into the Oakland dugout. But there’s no one left inside—the players are all rushing onto the field. Elation transforms him. He shouts at his teammates. He’s not saying: Look what I just did. He’s saying: Look what we just did! We won! As he runs, he sheds years at the rate of about one every twenty feet. By the time he touches home plate, he’s less man than boy.
And, not five minutes later, Billy Beane was able to look me in the eye and say that it was just another win.