Part 4

It was one of those fragile games in which one run makes a lot of difference, the sort that has a fringe of nervous prostration for the spectators. Chance was up first in the ninth and he pushed a base hit to right field. Steinfeldt followed with a triple that brought Chance home and left the run which would win the game for the Cubs on third base. The crowd was shouting like mad, thinking I was done. I looked at the hitters, waiting to come up, and saw Hofman and Tinker swinging their bats in anticipation. Both are dangerous men, but the silver lining was my second look, which revealed to me Kling and Brown following Hofman and Tinker.

Without a second's hesitation, I decided to pass both Hofman and Tinker, because the run on third base would win the game anyway if it scored, and with three men on the bags instead of one, there would be a remote chance for a triple play, besides making a force out at the plate possible. Remember that no one was out at this time. Kling and Brown had always been easy for me.

When I got two balls on Hofman, trying to make him hit at a bad one, the throng stood up in the stand and tore splinters out of the floor with its feet. And then I passed Hofman. The spectators misunderstood my motive.

"He's done. He's all in," shouted one man in a voice which was one of the carrying, persistent, penetrating sort. The crowd took the cry up and stamped its feet and cheered wildly.

Then I passed Tinker, a man, as I have said before, who has had a habit of making trouble for me. The crowd quieted down somewhat, perhaps because it was not possible for it to cheer any louder, but probably because the spectators thought that now it would be only a matter of how many the Cubs would win by. The bases were full, and no one was out.

But that wildly cheering crowd had worked me up to greater effort, and I struck Kling out and then Brown followed him back to the bench for the same reason. Just one batter stood between me and a tied score now. He was John Evers, and the crowd having lost its chortle of victory, was begging him to make the hit which would bring just one run over the plate. They were surprised by my recuperation after having passed two men. Evers lifted a gentle fly to left field and the three men were left on the bases. The Giants eventually won that game in the eleventh inning by the score of 4 to 1.

But that system doesn't always work. Often I have passed a man to get a supposedly poor batter up and then had him bang out a base hit. My first successful year in the National League was 1901, although I joined the Giants in the middle of the season of 1900. The Boston club at that time had a pitcher named "Kid" Nichols who was a great twirler. The first two games I pitched against the Boston club were against this man, and I won the first in Boston and the second in New York, the latter by the score of 2 to 1.

Both teams then went west for a three weeks' trip, and when the Giants returned a series was scheduled with Boston at the Polo Grounds. There was a good deal of speculation as to whether I would again beat the veteran "Kid" Nichols, and the newspapers, discussing the promised pitching duel, stirred up considerable enthusiasm over it. Of course, I, the youngster, was eager to make it three straight over the veteran. Neither team had scored at the beginning of the eighth inning. Boston runners got on second and third bases with two out, and Fred Tenney, then playing first base on the Boston club, was up at the bat. He had been hitting me hard that day, and I decided to pass him and take a chance on "Dick" Cooley, the next man, and a weak batter. So Tenney got his base on balls, and the sacks were full.

Two strikes were gathered on Cooley, one at which he swung and the other called, and I was beginning to congratulate myself on my excellent judgment, which was really counting my chickens while they were still in the incubator. I attempted to slip a fast one over on Cooley and got the ball a little too high. The result was that he stepped into it and made a three base hit which eventually won the game by the score of 3 to 0. That was once when passing a man to get a weak batter did not work.

I have always been against a twirler pitching himself out, when there is no necessity for it, as so many youngsters do. They burn them through for eight innings and then, when the pinch comes, something is lacking. A pitcher must remember that there are eight other men in the game, drawing more or less salary to stop balls hit at them, and he must have confidence in them. Some pitchers will put all that they have on each ball. This is foolish for two reasons.

In the first place, it exhausts the man physically and, when the pinch comes, he has not the strength to last it out. But second and more important, it shows the batters everything that he has, which is senseless. A man should always hold something in reserve, a surprise to spring when things get tight. If a pitcher has displayed his whole assortment to the batters in the early part of the game and has used all his speed and his fastest breaking curve, then, when the crisis comes, he "hasn't anything" to fall back on.

Like all youngsters, I was eager to make a record during my first year in the Big League, and in one of the first games I pitched against Cincinnati I made the mistake of putting all that I had on every ball. We were playing at the Polo Grounds, and the Giants had the visitors beaten 2 to 0, going into the last inning. I had been popping them through, trying to strike out every hitter and had not held anything in reserve. The first man to the bat in the ninth got a single, the next a two bagger, and by the time they had stopped hitting me, the scorer had credited the Cincinnati club with four runs, and we lost the game, 4 to 2.

I was very much down in the mouth over the defeat, after I had the game apparently won, and George Davis, then the manager of the Giants, noticed it in the clubhouse.

"Never mind, Matty," he said, "it was worth it. The game ought to teach you not to pitch your head off when you don't need to."

It did. I have never forgotten that lesson. Many spectators wonder why a pitcher does not work as hard as he can all through the game, instead of just in the pinches. If he did, they argue, there would be no pinches. But there would be, and, if the pitcher did not conserve his energy, the pinches would usually go against him.

Sometimes bawling at a man in a pinch has the opposite effect from that desired. Clarke Griffith, recently of Cincinnati, has a reputation in the Big Leagues for being a bad man to upset a pitcher from the coacher's box. Off the field he is one of the decentest fellows in the game, but, when talking to a pitcher, he is very irritating. I was working in a game against the Reds in Cincinnati one day, just after he had been made manager of the club, and Griffith spent the afternoon and a lot of breath trying to get me going. The Giants were ahead, 5 to 1, at the beginning of the seventh. In the Cincinnati half of that inning, "Mike" Mitchell tripled with the bases full and later tallied on an outfield fly which tied the score. The effect this had on Griffith was much the same as that of a lighted match on gasolene.

"Now, you big blond," he shouted at me, "we've got you at last."

I expected McGraw to take me out, as it looked in that inning as if I was not right, but he did not, and I pitched along up to the ninth with the score still tied and with Griffith, the carping critic, on the side lines. We failed to count in our half, but the first Cincinnati batter got on the bases, stole second, and went to third on a sacrifice. He was there with one out.

"Here's where we get you," chortled Griffith. "This is the point at which you receive a terrible showing up."

I tried to get the next batter to hit at bad balls, and he refused, so that I lost him. I was afraid to lay the ball over the plate in this crisis, as a hit or an outfield fly meant the game. Hoblitzell and Mitchell, two of Griffith's heaviest batters, were scheduled to arrive at the plate next.

"You ought to be up, Mike," yelled the Cincinnati manager at Mitchell, who was swinging a couple of sticks preparatory to his turn at the bat. "Too bad you won't get a lick, old man, because Hobby's going to break it up right here."

Something he said irritated me, but, instead of worrying me, it made me feel more like pitching. I seldom talk to a coacher, but I turned to Griffith and said:

"I'll bring Mike up, and we'll see what he can do."

I deliberately passed Hoblitzell without even giving him a chance to hit at a single ball. It wasn't to make a grand stand play I did this, but because it was baseball. One run would win the game anyway, and, with more men on the bases, there were more plays possible. Besides Hoblitzell is a nasty hitter, and I thought that I had a better chance of making Mitchell hit the ball on the ground, a desirable thing under the conditions.

"Now, Mike," urged Griffith, as Mitchell stepped up to the plate, "go as far as you like. Blot up the bases, old boy. This blond is gone."

That sort of talk never bothers me. I had better luck with Mitchell than I had hoped. He struck out. The next batter was easy, and the Giants won the game in the tenth inning. According to the newspaper reports, I won twenty-one or twenty-two games before Cincinnati beat me again, so it can be seen that joshing in pinches is not effective against all pitchers. A manager must judge the temperament of his victim. But Griffith has never stopped trying to rag me. In 1911, when the Giants were west on their final trip, I was warming up in Cincinnati before a game, and he was batting out flies near me. He would talk to me between each ball he hit to the outfield.

"Got anything to-day, Matty?" he asked. "Guess there ain't many games left in you. You're getting old."

When I broke into the National League, the Brooklyn club had as bad a bunch of men to bother a pitcher as I ever faced. The team had won the championship in 1900, and naturally they were all pretty chesty. When I first began to play in 1901, this crowd--Kelly, Jennings, Keeler and Hanlon--got after me pretty strong. But I seemed to get pitching nourishment out of their line of conversation and won a lot of games. At last, so I have been told, Hanlon, who was the manager, said to his conversational ball players:

"Lay off that Mathewson kid. Leave him alone. He likes the chatter you fellows spill out there."

They did not bother me after that, but this bunch spoiled many a promising young pitcher.

Speaking of sizing up the temperament of batters and pitchers in a pinch, few persons realize that it was a little bit of carelessly placed conversation belonging to "Chief" Bender, the Indian pitcher on the Athletics, that did as much as anything to give the Giants the first game in the 1911 world's series.

"Josh" Devore, the left-fielder on the New York team, is an in-and-out batter, but he is a bulldog in a pinch and is more apt to make a hit in a tight place than when the bases are empty. And he is quite as likely to strike out. He is the type of ball player who cannot be rattled. With "Chief" Myers on second base, the score tied, and two out, Devore came to the bat in the seventh inning of the first game.

"Look at little 'Josh,'" said Bender, who had been talking to batters all through the game.

Devore promptly got himself into the hole with two strikes and two balls on him, but a little drawback like that never worries "Josh."

"I'm going to pitch you a curved ball over the outside corner," shouted Bender as he wound up.

"I know it, Chief," replied "Josh," and he set himself to receive just that sort of delivery.

Up came the predicted curve over the outside corner. "Josh" hit it to left field for two bases, and brought home the winning run. Bender evidently thought that, by telling Devore what he was actually going to pitch, he would make him think he was going to cross him.

"I knew it would be a curve ball," Devore told me after the game. "With two and two, he would be crazy to hand me anything else. When he made that crack, I guessed that he was trying to cross me by telling the truth. Before he spoke, I wasn't sure which corner he was going to put it over, but he tipped me."

Some batters might have been fooled by those tactics. It was taking a chance in a pinch, and Bender lost.

Very few of the fans who saw this first game of the 1911 world's series realize that the "break" in that contest came in the fifth inning. The score was tied, with runners on second and third bases with two out, when "Eddie" Collins, the fast second baseman of the Athletics, and a dangerous hitter, came to the bat. I realized that I was skating on thin ice and was putting everything I had on the ball. Collins hit a slow one down the first base line, about six feet inside the bag.

With the hit, I ran over to cover the base, and Merkle made for the ball, but he had to get directly in my line of approach to field it. Collins, steaming down the base line, realized that, if he could get the decision at first on this hit, his team would probably win the game, as the two other runners could score easily. In a flash, I was aware of this, too.

"I'll take it," yelled Merkle, as he stopped to pick up the ball.

Seeing Merkle and me in front of him, both heavy men, Collins knew that he could not get past us standing up. When still ten or twelve feet from the bag, he slid, hoping to take us unawares and thus avoid being touched. He could then scramble to the bag. As soon as he jumped, I realized what he hoped to do, and, fearing that Merkle would miss him, I grabbed the first baseman and hurled him at Collins. It was an old-fashioned, football shove, Merkle landing on Collins and touching him out. A great many of the spectators believed that I had interfered with Merkle on the play. As a matter of fact, I thought that it was the crisis of the game and knew that, if Collins was not put out, we would probably lose. That football shove was a brand new play to me in baseball, invented on the spur of the second, but it worked.

In minor leagues, there are fewer games in which a "break" comes. It does not develop in all Big League contests by any means. Sometimes one team starts to win in the first inning and simply runs away from the other club all the way. But in all close games the pinch shows up.

It happens in many contests in the major leagues because of the almost perfect baseball played. Depending on his fielders, a manager can play for this "break." And when the pinch comes, it is a case of the batter's nerve against the pitcher's.

IV

Big League Pitchers and Their Peculiarities.

_Nearly Every Pitcher in the Big Leagues Has Some Temperamental or Mechanical Flaw which he is Constantly Trying to Hide, and which Opposing Batters are always Endeavoring to Uncover--The Giants Drove Coveleski, the Man who Beat them out of a Pennant, Back to the Minor Leagues by Taunting him on One Sore Point--Weaknesses of Other Stars._

Like great artists in other fields of endeavor, many Big League pitchers are temperamental. "Bugs" Raymond, "Rube" Waddell, "Slim" Sallee, and "Wild Bill" Donovan are ready examples of the temperamental type. The first three are the sort of men of whom the manager is never sure. He does not know, when they come into the ball park, whether or not they are in condition to work. They always carry with them a delightful atmosphere of uncertainty.

In contrast to this eccentric group, there are those with certain mechanical defects in their pitching of which opposing clubs take advantage. Last comes the irritable, nervous box artist who must have things just so, even down to the temperature, before he can work satisfactorily.

"As delicate as prima donnas," says John McGraw of this variety.

He speaks of the man who loses his love for his art when his shirt is too tight or a toe is sore. This style, perhaps, is the most difficult for a manager to handle, unless it is the uncertain, eccentric sort.

As soon as a new pitcher breaks into the Big Leagues, seven clubs are studying him with microscopic care to discover some flaw in his physical style or a temperamental weakness on which his opponents can play. Naturally, if the man has such a "groove," his team mates are endeavoring to hide it, but it soon leaks out and becomes general gossip around the circuit. Then the seven clubs start aiming at this flaw, and oftentimes the result is that a promising young pitcher, because he has some one definite weakness, goes back to the minors. A crack in the temperament is the worst. Mechanical defects can usually be remedied when discovered.

Few baseball fans know that the Giants drove a man back to the minor leagues who once pitched them out of a pennant. The club was tipped off to a certain, unfortunate circumstance in the twirler's early life which left a lasting impression on his mind. The players never let him forget this when he was in a game, and it was like constantly hitting him on a boil.

Coveleski won three games for the Philadelphia National League club from the Giants back in 1908, when one of these contests would have meant a pennant to the New York club and possibly a world's championship. That was the season the fight was decided in a single game with the Chicago Cubs after the regular schedule had been played out. Coveleski was hailed as a wonder for his performance.

Just after the season closed, "Tacks" Ashenbach, the scout for the Cincinnati club, now dead, and formerly a manager in the league where Coveleski got his start, came to McGraw and laughed behind his hand.

"Mac," he said, "I'm surprised you let that big Pole beat you out of a championship. I can give you the prescription to use every time that he starts working. All you have to do is to imitate a snare drum."

"What are you trying to do--kid me?" asked McGraw, for he was still tolerably irritable over the outcome of the season.

"Try it," was Ashenbach's laconic reply.

The result was that the first game Coveleski started against the Giants the next season, there was a chorus of "rat-a-tat-tats" from the bench, with each of the coachers doing a "rat-a-tat-tat" solo, for we decided, after due consideration, this was the way to imitate a snare drum. We would have tried to imitate a calliope if we had thought that it would have done any good against this pitcher.

"I'll hire a fife and drum corps if the tip is worth anything," declared McGraw.

"Rat-a-tat-tat! Rat-a-tat-tat!" came the chorus as Coveleski wound up to pitch the first ball. It went wide of the plate.

"Rat-a-tat-tat! Rat-a-tat-tat!" it was repeated all through the inning. When Coveleski walked to the Philadelphia bench at the end of the first round, after the Giants had made three runs off him, he looked over at us and shouted:

"You think you're smart, don't you?"

"Rat-a-tat-tat! Rat-a-tat-tat!" was the only reply. But now we knew we had him. When a pitcher starts to talk back, it is a cinch that he is irritated. So the deadly chorus was kept up in volleys, until the umpire stopped us, and then it had to be in a broken fire, but always there was the "Rat-a-tat-tat! Rat-a-tat-tat!" When Coveleski looked at McGraw coaching on third base, the manager made as if to beat a snare drum, and as he glanced at Latham stationed at first, "Arlie" would reply with the "rat-a-tat-tat."

The team on the bench sounded like a fife and drum corps without the fifes, and Coveleski got no peace. In the fourth inning, after the game had been hopelessly lost by the Philadelphia club, Coveleski was taken out. We did not understand the reason for it, but we all knew that we had found Coveleski's "groove" with that "rat-a-tat-tat" chorus. The man who had beaten the New York club out of a pennant never won another game against the Giants.

"Say," said McGraw to "Tacks" Ashenbach the next time the club was in Cincinnati, "there are two things I want to ask you. First, why does that 'rat-a-tat-tat' thing get under Coveleski's skin so badly, and, second, why didn't you mention it to us when he was beating the club out of a championship last fall?"

"Never thought of it," asserted Ashenbach. "Just chanced to be telling stories one day last winter about the old times in the Tri-State, when that weakness of Coveleski's happened to pop into my mind. Thought maybe he was cured."

"Cured!" echoed McGraw. "Only way he could be cured of that is to poison him. But tip me. Why is it?"

"Well, this is the way I heard it," answered Ashenbach. "When he was a coal miner back in Shamokin, Pennsylvania, he got stuck on some Jane who was very fond of music. Everybody who was any one played in the Silver Cornet Band down in Melodeon Hall on Thursday nights. The girl told Coveleski that she couldn't see him with an X-ray unless he broke into the band.

"'But I can't play any instrument,' said the Pole.

"'Well, get busy and learn, and don't show around here until you have,' answered the girl.

"Now Coveleski had no talent for music, so he picked out the snare drum as his victim and started practising regularly, getting some instruction from the local bandmaster. After he had driven all the neighbors pretty nearly crazy, the bandmaster said he would give him a show at the big annual concert, when he tried to get all the pieces in his outfit that he could. Things went all right until it was time for Coveleski to come along with a little bit on the snare drum, and then he was nowhere in the neighborhood. He didn't even swing at it. But later, when the leader waved for a solo from the fiddle, Coveleski mistook it for his hit-and-run sign and came in so strong on the snare drum that no one could identify the fiddle in the mixup.

"The result was that the leader asked for waivers on old Coveleski very promptly, and the girl was not long in following suit. That snare drum incident has been the sore point in his makeup ever since."

"I wish I'd known it last fall about the first of September," declared McGraw.

But the real snapper came later when the Cincinnati club was whipsawed on the information. In a trade with Philadelphia, Griffith got Coveleski for Cincinnati along with several other players. Each game he started against us he got the old "rat-a-tat-tat." Griffith protested to the umpires, but it is impossible to stop a thing of that sort even though the judges of play did try.

The Pole did not finish another game against the Giants until his last in the Big League. One day we were hitting him near and far, and the "rat-a-tat-tat" chorus was only interrupted by the rattle of the bats against the ball, when he looked in at the bench to see if Griffith wanted to take him out, for it was about his usual leaving time.

"Stay in there and get it," shouted back Griff.

Coveleski did. He absorbed nineteen hits and seventeen runs at the hands of the Giants, this man who had taken a championship of the National League away from us.

That night Griffith asked for waivers on him, and he left the Big Leagues for good. He was a good twirler, except for that one flaw, which cost him his place in the big show. There is little mercy among professional ball players when a game is at stake, especially if the man has taken a championship away from a team by insisting upon working out of his turn, so he can win games that will benefit his club not a scintilla.