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Beltin' Ray Bremer

by Michael N. Field

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Cast of Characters

George Bremer: George Bremer is a simple, sincere, hardworking, middle-aged German immigrant man of 1920s America. He is the father of a talented young baseball player, Ray Bremer, of whom he is humbly proud. He speaks with a German accent

Maddie Bremer: Maddie Bremer is the wife of George Bremer. She is a dutiful, occasionally fretful woman whose character parallels that of her husband. She also speaks with a German accent.

Ray Bremer: Ray Bremer is the son of George and Maddie Bremer. He is, like his parents, loyal, humble and honest, but he is much more Americanized than his parents, and eager to succeed in baseball and enjoy the fame and financial benefits athletic success can bring him, along with the benefits of being an assimilated, spectacularly upwardly mobile American.

Dr. Willpeg: Dr. Willpeg in an old German doctor who practices as a neighborhood physician for the German immigrant families in the New York neighborhood where the Bremer family lives. He is proud of and hopeful for young Ray Bremer. He holds hopes that Bremer can bring recognition to the German-American community, and show others, in the wake of World War I, that Germans are good Americans.

The Babe: The Babe needs no introduction. He is a figure gargantuan in every way, as a sports celebrity and as a person. He is imposing physically, prodigious in his baseball feats, giant in his ego and appetites, yet possessed himself of a simple humility and of a sense of decency both of which are as much larger than life as his more flamboyant traits. For all of this, he remains the common man, without intellectual pretension and ruled by his heart and his emotion. His expression, in this work, possesses an evocative pungency and a surprising exactitude not found in most fictional treatments of his character.

Selma Rothbury Bremer: Selma is the daughter of a wealthy man and the wife of Ray Bremer. She is bright, attractive and an enormously enthusiastic supporter of her husband.

Arthur Rothbury: Selma Rothbury Bremer's father. He is a pleasant, approving middle-aged man of American aristocratic manner, a democratic aristocrat, that is to say.

Paul Mumson: Paul Mumson is a fictional top Negro League player of the era and friend of the Babe. Typical of many Black characters of common origins in American fiction, he possesses a down-to-earth practicality, a reserve which makes him seem deliberative in his judgments, and a sense of motivational spirituality.

Coach Bowen: Harold "Hal" Bowen is the coach of the Princeton University baseball team. He has the looks and confident, exuberant manner of a sportsman of the 1920s.

Students, Field Announcer, Clubhouse Man

Scene 1

SETTING: The play begins in the living room of a typical small, comfortable big city apartment like what might be found in Brooklyn or the Queens, New York in the 1920s. On the right, is a front door and a hallway leading to the back of the apartment. On the left is a window overlooking the street.

AT RISE: An old-fashioned looking couple is sitting in living room in an apartment in New York in the 1920s. The man is GEORGE BREMER and the woman is MADDIE BREMER.

They are seated in adjacent chairs. They are clasping each other's hands and exchanging apprehensive glances.

For the occasion they are dressed in good clothes, though perhaps less than their "Sunday best", so-called.

After some moments, MADDIE addresses her son RAY BREMER, who is elsewhere in the apartment.

MADDIE: Ray. Hurry up. Coach Bowen is going to be here any minute.

GEORGE: Let him take his time dear.

(There is a knock at the door, a rhythmic duh-duh-duh duh-duh duh-duh followed by a tap-tap-tap.)

MADDIE: He's here already George. Ray, hurry up. The Princeton coach is here.

(Maddie scurries to the door and opens it. Behind the door is the Princeton baseball coach Hal Bowen, dressed as a protypical sportsman of the 1920s.)

MADDIE (continuing): Everybody. It's coach Bowen. Get out here Ray.

GEORGE: (to coach Bowen) Ray's in the bathroom shaving.

BOWEN: (with a slight sense of mirth) It's okay folks. Let the young man take his time. Let's introduce ourselves while your son is getting ready. I'm Hal Bowen, of course.

GEORGE: Mr. Bowen. I'm George Bremer. This is my wife Maddie.

BOWEN: Such a pleasure to meet you folks. I think we can get on to business. Everybody knows what kind of ballplayer your son is. At Princeton we want to know what kind of young man the ballplayer is before we take him on our team. And of course, what kind of family he comes from.

GEORGE: I'm afraid our family will disappoint you then. I'm just a workingman. And Maddie is just a housefrau, (He hesitates, realizing that he needs to use an English word.) a housewife who shops in the neighborhood and has the neighborhood German women for her friends.

BOWEN: Mr. and Mrs. Bremer. You have the wrong idea of what I mean. When I say what kind of family, I'm talking about whether you are honorable people who have raised a good son. It has nothing to do with your walk of life. We have boys from all backgrounds coming to Princeton these days. Honestly folks, I love nothing better than coming to a New York neighborhood like this to meet an outstanding young man and his family.

MADDIE: There is no better boy in this year's class. Did you know he had thirty-one A's and one A-minus in high school too?

BOWEN: I'll tell you, Mr. and Mrs. Bremer, the kind of young man we want is the one who wants to make a difference in the world when it's all over. That's the thing we want most of all in a young man.

(Young RAY BREMER enters the room. He is immaculately clean, tall, lean and athletic looking. His charisma instantly electrifies not only Coach Bowen, but even his own parents.)

BOWEN (continuing): Hey there he is, Ray Bremer. You look wonderful, young man. Well built. Handsome. Honest. Intelligent. I don't think there's a better young man in America.

RAY: Thank you sir. Coach Bowen.

BOWEN: As I was telling your folks Ray, we're looking for special kind of young man. Not just a great ballplayer, but great young man.

RAY: I want to be a great ballplayer if I can be, but most important to me, I want to show our boys and girls what it means to be a good American. Like you say, I want to make a difference.

BOWEN: I think we already have all the answers we need. Son, will you come to Princeton, and play baseball for the Princeton Tigers?

RAY: Yes, sir.

BOWEN: Mr. and Mrs. Bowen? What do you say?

MADDIE: Of course. What mother wouldn't want her son to go to Princeton?

GEORGE: Just be practical in your outlook, son. You can't be sure of professional baseball until you play there.

BOWEN: With all due respect, Mr. Bremer, I think your son is more than you can imagine. I think he has every chance to be not just a great ballplayer in college, but a great player in the major leagues after that. I think the day will come when he makes a nation proud to have him as its son.

RAY: You can thank my mom and dad for that.

BOWEN: Ray, with your parents' permission of course, I want to take you today to see our Princeton campus. I'm sure you'll be very happy with what you see.

GEORGE: Of course.

MADDIE: Of course. We want him to see the school.

BOWEN: We have some papers, but we want you to be sure of your decision before you sign them. (turning to Ray) Young man.

(Bowen gestures to Ray, who proceeds to his side. Bowen and Ray walk out the door. In their chairs, George and Maddie Bremer stare in wonder at their own son as he departs.)

MADDIE: He's almost grown up now.

GEORGE: And ready to think with a mind of his own. No?

MADDIE: Yes dear. With a mind of his own, and thank the stars he wants to do only good.

(End of Scene 1)

Scene 2

AT RISE: RAY BREMER is sitting on gurney in the office of DR. WILLPEG following an examination.

The office itself is characteristic of a doctor's office in an urban neighborhood in the 1920s. This is shown by the decor of the office itself and its architecture, which is that of a neighborhood office building.

In the rear of the office is a large window on which is written in large black letters:

Otto V. Willpeg, M.D.

Physician and Surgeon

Outside the window, at the rear of the stage, similar big, brick walk-up office buildings can be seen. Outside the window an elevated train structure is visible.

WILLPEG: Let us see. We have a young man, just eighteen years old, coming in for his sports physical. Ray, I know your health very well. I will just fill out this form here and send it in. I want to talk to you about other things. So tell me. What do you intend to study at Princeton?

RAY: Commerce. Then I'll probably play professional baseball.

WILLPEG: We need a young man like you in the sports system. After the unfortunate experience of this war with the Kaiser, we need someone to give us Germans in America a good name again. You might be the one who does it.

RAY: I'm a good American.

WILLPEG: As you should be.

RAY: I'll help if I can. In America everyone should have a chance to be an American first. No matter who they are.

WILLPEG: I agree with you, young man. Now let us go on to baseball. I know a lot about this game of baseball, more than you think. I consider it very charming. Like billiards with people.

RAY: (laughing) My ears are wide open, doctor.

WILLPEG: Much more Ray, much more than you think. A lot of boys hit four hundred in high school and get some long home runs, but they never play professional baseball. I will tell you Ray. If there is a boy who deserves to be a star in baseball, that boy is you.

RAY: Thank you doctor.

WILLPEG: Come see me when you are a done with college, Ray, and ready to play professional baseball. I will have some help for you, if you want it.

RAY: What kind of help?

(Willpeg holds up a vial of liquid.)

WILLPEG: It's new from Germany. I got it just for you.

RAY: I don't know if I should try it. I'm only eighteen years old.

WILLPEG: No, it is too soon. Come and see me every now and then as you are going through college. When the time comes, I will do everything I can to make you the best ballplayer there is. And the best young man.

RAY: Yes. Thank you.

WILLPEG: You are old enough now to have your own secrets. Even from your parents. No?

RAY: What secret do I need to know?

WILLPEG: What I have told you about today, the new injection from Germany. You will tell no one about it, not even your parents. It will be for you to decided when the time comes.

RAY: I won't speak of it to anyone, doctor.

WILLPEG: Your exam is over. I will mail your medical papers to your coach.

RAY: Thank you, doctor

(Ray puts on his shirt. He walks out of the office, leaving Willpeg behind. Willpeg shakes his fists.)

WILLPEG: He will be the greatest American ballplayer there ever is. I will make sure of it. I will make absolutely sure.

(End of Scene 2)

Scene 3

AT RISE: A large number of people are gathered in a meeting room, seated at tables. Among them are GEORGE and MADDIE BREMER.

On stage, COACH BOWEN and a group of young men all dressed in identical collegiate outfits of the 1920s wait. In the center of them is RAY BREMER. They grab him and toss him in the air.

MEN: Hip, hip hooray. Hip, hip hooray. Hip, hip hooray for Ray Bremer..

(At a podium, COACH BOWEN speaks.)

BOWEN: Young men. Young men. We're going to present our Princeton Tigers baseball team Senior of the Year award to our captain and greatest player ever, Ray Bremer. Ladies and gentlemen. I want to announce that our awards this year will be presented by a man who needs no introduction, the great Bambino of the New York Clippers, the one and only Babe.

(From the rear of the stage, as if entering through a tunnel, a large man comes striding forward, accompanied by several other men, all wearing suits.)

BOWEN: (continuing): Ladies and gentlemen, here at our Princeton University, the Babe.

(Much applause.)

BABE: I want to thank you for inviting me to come from New York to your great Princeton University to present your Senior of the Year award to your All-American first baseman Ray Bremer. Ray step forward now to receive your award.

(Ray, amid applause, steps up to the podium.)

BABE: (continuing): As I present this award to you, let me say that I hope and believe that you will go on to a great career in professional baseball. (cheers) Here's your trophy Ray. I hope you will treasure this momento of your college days above any other you receive in your lifetime. (cheers) Ray, let me tell you, after hearing so much about you and seeing you play from time to time, I would like nothing more in this world right now than to have you as a teammate on the New York Clippers for the remaining years of my career. (cheers)

RAY: Thank you Babe.

BABE: Ray, Col. Ashport, the owner of the New York Clippers has authorized me to offer you a contract to play professional baseball with the New York Clippers. Along with this contract, he has sent this $5,000 check for you. (Much commotion, until the Babe gestures for quiet.) Col. Ashport has told me, Ray, that you will have the opportunity to prove yourself with the Clippers and he gives his solemn word that if you become the successful player all believe you will be, you will never play professional baseball for any team except the New York Clippers.

ALL: Hip, hip hooray. Hip, hip hooray. Hip, hip for Ray Bremer.

RAY: (embarassedly) Thanks, folks. I don't deserve all this attention.

BABE: Ray, I'd like to ask you at this time for the formality of your signature on this contract, if, of course, you wish to join the New York Clippers.

(Ray looks at his parents. George Bremer grins and nods. Ray takes the contract. He looks at it. The Babe points to where he is to sign.)

BABE (continuing): Right there, Ray.

(Ray takes a pen which the Babe offers.)

RAY: (as he sign his name) Raymond J. Bremer.

BABE: Congratulations Ray. You are now a New York Clipper.

(The Babe motions to one of the men who has accompanied his. He steps forward with a package he has been carrying, and hands it to the Babe. The Babe takes a baseball uniform out of the package, bearing the number "4", unfurls it, and holds it up.)

BABE (continuing): Congratulations, Ray. Now you are a professional baseball player. Let me express my belief that you will be a great credit to the New York Clippers family and to the great game of baseball. May your career in this game be long and honorable.

(Tumultous applause follows.)

(End of Scene 3)

Scene 4

At Rise: RAY is seated on the gurney in Dr. Willpeg'S office. In appearance he now looks bigger and stronger than before.

RAY: Well, how am I doing Doctor?

WILLPEG: Everything about you is excellent, young man. Everything. Tell me, how soon can I see you batting for the Clippers. I go to the baseball game regularly, you know.

RAY: I don't know. Even in the minor leagues, it's much tougher. Every player was best player in his school or in his town. I really have my hands full against this competition. But the Clippers say they will bring me up in September to test myself against major league players.

WILLPEG: I'm sure you will do very well. Now it is time to get down to business. Today you are fully a man, Ray. And ready to make your own man's decisions.

RAY:

Are you talking about that stuff from Germany again, Doctor Willpeg?

(Willpeg reaches into a drawer.)

WILLPEG: Yes. Here it is. The same vial I showed you four years ago. Ready for you, with your name on it. (He chortles)

RAY: I stll don't know doc, uh doctor.

WILLPEG: You can call me doc, as the Americans do. You're more American every time I see you, the longer you are away from our old neighborhood here.

RAY: This stuff you want to give me, what does it really do?

WILLPEG: It just makes you do your best every day. And it makes your best better. Those days when you feel down, everybody has them, you will not have them anymore. Every day, you will be golden, Ray, the golden boy of a golden age such as we live in today. I promise you. You will be the greatest of our age in American sports.

RAY: Some people have told me I will be the greatest anyway.

WILLPEG: As you say yourself, the competition is stern. We must be sure you will become the best. What do you say?

RAY: All right. I'll try it, if it doesn't make me act like I'm taking something.

WILLPEG: No, you will act just fine. Ray Bremer, stand up. (Ray stands up) Turn around. (He turns around) Now drop your shorts for a moment.

(Ray lowers his shorts. Deftly, Willpeg prepares the syringe and jabs it into Ray's backsides.)

WILLPEG: There. Now it is sealed.

(End of Scene 4)

Scene 5

AT RISE: RAY BREMER and a woman, SELMA ROTHBURY, his fiancé, are alone in an sitting room of a large house on Long Island. These are clearly refined surroundings, with elegant furniture and decorations. The atmosphere is one of light, with greenery visible through several large windows and through a double door leading to a patio outside.

Ray, himself, it is clear, is much more of a mature man than in previous scenes. At rise, he looks around the room with giddy amazement on his face.

SELMA: Come over here Ray. (She leads him to the window by the hand.) Ray, take a look at what you can see from here. Over there, you can see the water of the sound if you just look real hard. If you look over there really carefully, you can see the Chrysler building and all those other buildings. And from the top of that hill outside there, you can see the Clipper's stadium. I could climb up there and watch you play baseball, couldn't I?

RAY: I'm not so sure you can see inside the park.

SELMA: My daddy has a box seats along the first base line. I saw you play before we even met. That's when I fell in love with you. I saw you hit a home run.

RAY: (peering into the distance) You're right, Selma. I can see the Chrysler building. I think I can even see New Jersey.

SELMA: At night it all lights up. You can see the Queens and Brooklyn down there below. And New York. And Staten Island. And even New Jersey.

RAY: Selma, I've been thinking about myself and what kind of man I want to be. I love the Babe, Selma. He's a sinner and a saint all in one. But I don't want to be like him. He's with a different girl every night. I want to be with one girl every night for the rest of my life. That's how my mom and dad did it. And I want to be like them. Were your mom and dad like that, being rich as they were.

SELMA: Yes they were, Ray.

(He leads Selma to the center of the room.)

RAY: Then you're my kind of girl, Selma. (He takes a small case out of his pocket.) Selma, will you marry me?

SELMA: Yes, Ray. I'll marry you.

(He slips the ring on her finger and they kiss a long kiss.)

SELMA (continuing): Now that it's decided, where do you want to live. Out on the Island out here or in the city.

RAY: I want to live in the city. After we retire, we can move out to the Island again.

SELMA: And how many do you want to have?

RAY: At least forty-five. With a hundred and sixty r.b.i's and a three-forty average.

SELMA: You know what I mean. Kids

RAY: Three.

SELMA: What kind?

RAY: Two girls and a boy.

SELMA: And what will their names be?

RAY: Dawn, Amelia and George, after my father.

(She puts her arms around him and embraces him. There is a knock on the door.)

SELMA: That's probably my daddy.

(She opens the door. Selma's father, Arthur Rothbury, enters the room.)

ROTHBURY: How's my precious daughter doing?

SELMA: I'm just fine.

ROTHBURY: Hello Ray.

RAY: Hello sir.

ROTHBURY: How are the pride of the Rothburys and the Pride of the Clippers getting along?

SELMA: He asked me to marry him daddy. And I said 'yes'.

ROTHBURY: Wonderful. Wonderful. There's no family in America that wouldn't want Ray Bremer as their son in law. Congratulations, Ray, and welcome to the Rothbury family

RAY: Thank you sir. I'll do my best to live up to the Rothburys.

ROTHBURY: You're the model young man of a generation. It's you we who have to live up to.

SELMA: He's embarrassed daddy because he grew up in the neighborhood, in an apartment on a second floor with wooden back porches and an alley behind. I think he's the most gracious young man I have ever known and the smartest too.

ROTHBURY: I think he was richer than we are. You two excuse me. I have to tell Mrs. Rothbury the good news.

(He exits.)

SELMA: (She puts her arms around him) Ray darling, when you go to the ballpark tomorrow, hit a home run for us darling. I love you so.

RAY: I love you so too. Someday we'll be old together Selma. We'll be able to go to the city with our grandchildren.

SELMA: Someday we'll being be sitting in a restaurant and we'll hear somebody we don't know say to his son, "See that handsome man over in the corner. That's Ray Bremer, he played first base for the Clippers and batted fourth right behind the Babe.

RAY: They'll say, "Look at that woman. See how smart she looks. She's the daughter of the famous Rothburys."

SELMA: Let's live each day like it was precious, for it truly is, and may we have thousands of them together, at least.

(They walk toward the double which they swing open ahead of them, and walk into the garden.)

(End of Scene 5)

Scene 6

AT RISE: Ray in the office of Dr. Willpeg. He is sitting on the edge of an examination table, wearing only shorts. Willpeg is standing beside him.

RAY: How am I, doc?

WILLPEG: You are just fine of course. You are doing so well in this game of baseball.

RAY: I'm pushing the Babe. I'm ahead of him in RBIs.

WILLPEG: Very good. Say, let me ask. Are the shots helping you, do you think, playing a major league schedule?

RAY: I guess so. I don't seem to ever get tired. And if I get a little hurt, I get over it very fast. I haven't missed a game in four years.

WILLPEG: Yes I know, Ray. I follow your career very closely. It looks like everything is going so well. How do you like being a married man?

RAY: It's great. I never liked chasing after a lot of girls like the Babe does. Marriage is right for me.

WILLPEG: And such a girl too. I'm so happy for you. And your mom and dad. I never see them anymore. How are they doing?

RAY: I bought them their own house. They're very happy. They know they will never want anything.

WILLPEG: Are you ready?

RAY: I'm so used to being poked by doctors, I don't even think about it anymore.

(He stands up and lowers his shorts and Willpeg prepares the injection.)

RAY (continuing): Go ahead doc.

(Willpeg gives Ray a shot.)

WILLPEG: There. Your shot is over.

(Ray pulls his shorts up. He jumps into his pants and puts his shirt on. Then he begins to tie his shoes. He looks at the doctor.)

WILLPEG: Yes.

RAY: Doc. I think I'm going to stop these. This is going to be the last one.

WILLPEG: As you wish, Ray. But I only want the best for you. If you need help come back to me.

RAY: I think I'll be okay. I know my own talent.

(Ray leaves the office.)

WILLPEG: If he thinks so. Talent is not enough in this world. He just doesn't understand. He is meant to be great. He is meant to be the best in the land. Well, he will be back. Second or third best is not good enough for him.

(End of Scene 6)

Scene 7

AT RISE: The time is night. The Babe, dressed in street clothes, is alone in the clubhouse. He is leaning on his bat and staring down the tunnel to field. From the upper deck, a lone light shines onto the field. The clubhouse, itself, is lit by a couple of dim, clear bulbs at each end.

After a few moments, the Babe walks over to his locker. He picks up his uniform, brushes it with his hands, and replaces it.

Then he returns to his previous place, again leaning on a baseball bat, and staring out toward the field.

After a moment, from the tunnel, Ray Bremer walks into the clubhouse.

RAY: Hi Babe.

BABE: How are doing Ray?

RAY: Not so good Babe. You know how it's going.

BABE: Cheer up. I think you're doing pretty good. The Herald said you hit three oh one over the last month. You got four dingers, and most important, you drove in twenty four runs. That still adds up to a pretty good month in my estimation.

RAY: I'm not the same Ray Bremer. I don't feel right anymore.

BABE: What are you now? Twenty eight years old?

RAY: Yeah.

BABE: Maybe you're slowing down. We all do. In three, maybe four years, I'll be out of the game. I know that.

RAY: You had your best seasons when you were thirty-one, thirty-two, thirty-three, thirty-four years old. I don't want to be through when I'm thirty two.

BABE: No man knows what the man upstairs has given him. It's up to him, not us.

RAY: No, within our power. We can take it into our own hands.

(From out of the tunnel, a pair of eyes emerges, then the full figure of man. He is black man, not quite as tall as the Ray, and with a slimmer, though still muscular frame.)

BABE: There he is. Ray, I want you to meet a great friend of mine, the greatest scientific hitter of the age in my opinion, Paul Mumson.

PAUL: Ray, It's a pleasure to meet you.

RAY: I've seen you play in the Negro game. It's too bad we don't all get to play together. Then we'd have some baseball.

PAUL: I'm a practical man, Ray. Most of us ballplayers are not educated men like you are. I just think it's wonderful we get paid to play this great game of baseball. Otherwise most of us'd be working in a mill if we were working at all in these times. Maybe someday we will all play together. Right now, most of us are happy just to have a job.

BABE: You watched Ray play. What do you think?

PAUL: I think his bat's just slowed down a little. Ray, I think you're doing the right thing. You're driving the ball between the outfielders. You're average is moving up now. Listen, I think as you're getting older, you're just going with the pitch more and hitting the ball back over the middle more. I seen that happen to some lefties. Ray, you are truly blessed by life, and I think you should be happy with what you have.

RAY: Thank you, Mr. Mumson. I just want to be the great hitter I've always been. Or I don't want to play this game at all.

PAUL: That's a new one on me. Mr. Bremer. (He holds out his hand. They shake hands.) We think you're still the best hitter in this game in any league.

BABE: (Putting his are around ray.) Ray, I think you're the luckiest man alive.

(Ray grimaces with embarrassment. The Babe, and Paul Mumson walk out of the dugout onto the field with bats in their hands. They pick up balls out of a bucket one by one, toss them in the air, and crack them into the night.)

RAY: They think this is luck, to be the second best? To be the man who gets the job done, yes? But not the man who leads? No, old Dr. Willpeg is right. I must be the best, I must live up to what I am expected to be. As long as I play this game, I must be the best. There is no other way.

(End of Scene 7)

Scene 8

AT RISE: RAY is seated on the gurney in Dr. WILLPEG'S office. Now he is beginning to have the look of a mature man.

WILLPEG: Well Ray. I knew you would be getting back to me.

RAY: I am not a happy man, doctor.

WILLPEG: Why not? You're batting way over three hundred again. And you lead the league in runs batted in. What can you want as a baseball player?

RAY: I want to be absolutely the best. I feel ashamed of myself, going with the outside pitch and hitting singles and doubles. I want to hit screaming home runs into the right field seats and hear tens of thousands cheer.

WILLPEG: I think I know what you are getting to.

RAY: Yes. I want to start the shots again.

WILLPEG: I have been thinking. Maybe it is not such a good idea. We don't know what happens if you take this drug for so long.

RAY: I'm only going to take it until I'm done with baseball.

WILLPEG: How long has it been? Five years already? I think we have made our little point. The Germans in America are accepted again, and you have done your part. No one will be ashamed if you do not play baseball as well as you did when you were twenty five years old. It is a short career. By the time it starts it is getting close to over. No?

RAY: I want to play another twelve years. I might even pass the Babe in home runs if I can.

WILLPEG: If you want it I can give it you. But it is at your own risk, Ray. I cannot promise you, something won't happen if you go on so long. Do you understand this very clearly?

RAY: Yes, doc. It is my choice.

WILLPEG: If you choose it. I don't know if I can get it forever, of course. But if you wish.

(Willpeg takes a vial out of the drawer. He prepares a syringe as Ray again turns his back to the audience.)

(End of Scene 8)

Scene 9

AT RISE: ARTHUR ROTHBURY is reading in the sitting room of the Rothbury house. In appearance he is clearly much older than when he last appeared, as shown by his white hair. Outside, through the windows, it can be seen that it is late in the day.

After a short pause, SELMA enters the room.

SELMA: Hello, daddy. How are you?

ROTHBURY: Pretty good for an old man.

SELMA: You're not an old man.

ROTHBURY: Yes I am, Selma. Look at me. I spend my whole life in a chair reading. If that's not an old man, I don't know what is.

SELMA: No. An old man dotters and walks all bent over like this. (She imitates the walk of an elderly man.)

ROTHBURY: Let's not argue. You can think of me as a young man, and I'll think of myself as old man. By the way, how's your young man doing? I don't listen to the radio anymore.

SELMA: He went oh for four again today. Daddy, I'm worried. I think there's something wrong with him.

ROTHBURY: Oh, nonsense. He's just in a slump.

SELMA: No daddy. This is serious. Ray's the best ballplayer there is. It can't just go all of a sudden, can it daddy?

ROTHBURY: Now that I think of it, yes it can. Look what happened to the Babe.

SELMA: It came on over some years for him. Four or five seasons, daddy. He didn't just suddenly fall out of the game the like a sick bird falls out the sky. Like Ray's doing.

ROTHBURY: Each person is different. Some just lose it. There's no knowing in advance.

SELMA: That's not what I'm trying to say, daddy. I'm trying to say, I think there's something wrong with him. Very wrong.

ROTHBURY: I don't think so, honey. You know, he always said he would retire when he couldn't be the best anymore. You'll just have to get ready for it.

SELMA: I hope you're right, daddy.

(RAY enters the room.)

SELMA (continuing): Here he is.

RAY: Hello, honey. Hello, sir. It's no use. I went for the collar again today.

SELMA: It's just a little slump honey. You'll play till you're forty, just like the Babe did. I'm sure of it.

RAY: I'm not so sure.

ROTHBURY: I think you two need to talk. I'm turning in soon anyway.

(ROTHBURY Exits.)

SELMA: You're late today. Did you stay in the city?

RAY: I stopped off in the Queens to see a couple of people in the old neighborhood.

SELMA: Did you see that old Dr. Willpeg again?

(Almost unconsciously, and unnoticed by Selma, he touches his right hand to his backsides.)

RAY: He just wants to talk baseball with me. He really understands the game now. It gives him a kick.

SELMA: What about the team doctors? Have you seen them yet?

RAY: No, the team wants me to take some tests, I think. Just to make sure.

SELMA: Honey, is that old German guy giving you anything? I'm beginning to wonder.

RAY: Oh, no. He's just a harmless old coot. It makes him happy to talk. It makes him think that the old days when he was doctor for all the Germans in the neighborhood aren't all over.

SELMA: Are you thinking about quitting baseball?

RAY: Not right now. But I might have to. The team can't keep me just for my name. They couldn't even keep the Babe just for his name. How could they keep me?

SELMA: You don't have to wait until you can't play anymore.

RAY: That time might be right now, whatever the reason is.

SELMA: Then you can leave the game. It's all right with me.

RAY: What would I do if I wasn't playing baseball? That's my problem.

SELMA: We've talked about all the things we want to do, after baseball is over.

RAY: I always said I would quit as soon as my numbers fell down. But I never thought it would happen like this.

SELMA: There are lots of things you can do. My daddy says he can buy a ball team for you.

RAY: I don't think Col. Ashport will ever sell the Clippers.

SELMA: How about commissioner? You'd be a great commissioner of baseball.

RAY: Let's wait till I'm grey. (He rubs his hands through his hair.) Then we'll talk about it.

SELMA: How about United States Senator. You'd win in a landslide.

RAY: How about another trip to the World Series? The doctors will figure this out. They'll find out I have a infection or a pinched nerve, or that I need a little operation. I'll play five more years and retire in glory like I deserve, and you do too. Not in shame like the Babe, bless him.

SELMA: Honey, I'm reconciled. Baseball it will be. Until you can play no more.

(Ray feigns a left-handed swing. Selma puts on a cap which happens to be laying on a nearby table or bureau top. She follow with a swing of her own from the right side.)

RAY: (aside) I hope.

(End of Scene 9)

Scene 10

AT RISE: Ray Bremer walks alone from the dugout into the Clipper's clubhouse. Waiting for him is the Babe. Ray is dressed in his baseball uniform, and is carrying a bat, ball and glove. The Babe is dressed in street clothes. His form is stout, and his posture somewhat stooped. As they talk, Ray hands the bat, ball and glove to the Babe.

RAY: Hiya Babe.

BABE: Not going so well, huh Ray.

RAY: It's all over Babe. I'm quitting the game.

BABE: No. That's can't be. You're only thirty-five years old.

RAY: I can't play anymore Babe.

BABE: Maybe you should take some rest. You ought to have three, four seasons, even five seasons left if you take care of yourself.

RAY: It's worse than that Babe.

BABE: How so?

RAY: The team doctors think I've got something. They don't even know what it is. They're sending me to a specialist.

BABE: Any idea what it is Ray? You don't have to tell me, of course.

RAY: I think it's the worst, Babe. I think I've got something really wrong.

BABE: Not you Ray. You're still a young man. I'm old already Ray. One way or the other, I don't think I've got so long left. But you, you've got a whole life ahead of you. I hope you do.

RAY: So do I. But I'm not so sure babe. I think it's not meant to be. I've had fame and glory Babe, just like you. Now you're paying the price for it, for being that boisterous, gargantuan guy who could drink all night and then come to the ballpark and whack three home runs.

BABE: I know that Ray.

RAY: I'm paying my price too Babe. You know what my father-in-law said when we told him we were getting married.

BABE: What? You never mentioned it.

RAY: He called me the model young man of a generation. That's a hell of thing to have said about you. Isn't it?

BABE: Ray, I think you are exactly that. No one could be a better example to America's boys and girls than you. I'm no example, I'll say that.

RAY: You've made miracles Babe. You've been things no other man has been. Or could have.

BABE: So have you Ray. Let's keep our spirits up and pray for the best. (He puts his arm around Ray's shoulder) If it's the worst Ray. If it's the worst, I'll be joining you again soon enough.

(End of Scene 10)

Scene 11

AT RISE: Dr. Willpeg is puttering in his office, apparently putting away laboratory equipment and packing belongings.

RAY walks into the office.

RAY: Hello, doctor.

WILLPEG: How are doing Ray?

RAY: Not so well. The doctors at the university say I have two years to live, at the most.

WILLPEG: You don't know how sorry I am to hear that.

RAY: They say I have something called cholangitis.

WILLPEG: I know what that is. A disease of the liver.

RAY: They say I have an adrenal failure also.

WILLPEG: Yes. Addison's disease.

RAY: They kept on asking me if I was taking any medications. I didn't know what to tell them.

WILLPEG: We must let those shots I gave you be our secret.

RAY: Why? It doesn't make any difference now.

WILLPEG: Yes it does. The young men of America need you as their hero. I implore you. Speak of this to no one. Tell your doctors if you must. And your family if you think you have to. Please. Do not let the world know your secret. You know the situation in the world and the part we must soon play.

RAY: Do you think the shots are the reason I'm sick?

(Now Willpeg, as he talks, begins to collect and pack away the last items in his office.)

WILLPEG: They could have been. But maybe they weren't. We have no way of knowing, do we?

RAY: Do you think maybe if I had more shots I could stop this, as long as I kept on taking them?

WILLPEG: Maybe that is possible. Anything is possible, but you see, I am all out. I have no more.

RAY: Can you get any more somewhere?

WILLPEG: No it is not possible. As I explained it comes from Germany.

RAY: If you need money, I have more than enough.

WILLPEG: No, it is not money. You know what is happening in Germany. My medical license is not valid there anymore. To have the rights of a doctor, I would have to swear allegiance to the Fuhrer. I am not going to do that.

RAY: Do you know of another doctor who can get it?

WILLPEG: I don't know if there is any more in the world.

RAY: Maybe another doctor in New York has it. Or something like it.

WILLPEG: You can ask around if you want. But Ray, I don't think it will help you. Nothing can stop what is happening to you. Only God.

RAY: It's all over isn't it. It's finished. It's done.

WILLPEG: Yes it is Ray. Now I must finish packing. I leave for Florida at eight o'clock tonight and arrive there tomorrow afternoon, where I will retire in the sunshine with my Jewish (he pronounces the word "Jewish" as "chewish") friends. Be brave Ray. We need men like you now, more than ever, as a example to our American boys. Goodnight Ray. It has been wonderful knowing you.

(Willpeg turns out the last light, and Exits, leaving Ray alone on the stage.)

(End of Scene 11)

Scene 12

AT RISE The BABE is standing in the Clipper's clubhouse. At the left is the door to dugout and field, which is brightly lit under a blue sky. The stands, what can be seen of them, are decorated with red, white, and blue bunting. With the Babe is SELMA. From the rear, RAY Bremer comes hobbling in, wearing his Clippers uniform.

RAY: I guess this is the last time I'll wear this uniform.

SELMA: You look great honey.

RAY: I don't feel so great.

BABE: Our sympathies are all with you.

RAY: I don't need any sympathy. I did this to myself.

BABE: How so?

RAY: Babe, I want to tell you something I've told no one but Selma and our parents.

BABE: What's that?

RAY: Can you keep a secret for us, Babe?

BABE: Whatever you say here will never pass my lips.

RAY: You know that old German doctor in my neighborhood. He was giving me some kind shots. Something he came back from Germany with. I don't even know what it was.

BABE: So you think his shots are the reason?

RAY: They're not sure. But they think so. They said they might know for sure when they cut me open, after I'm gone. I don't know what the stuff was, but it made me quicker and kept me wide awake. It was what made me great.

BABE: Don't say that Ray.

(A MAN in a suit appears in the clubhouse door.)

MAN: Ray, it's time.

(Ray kisses Selma. He shakes the Babe's hand and hugs him.)

RAY: Here I go.

(Ray walks out of the clubhouse onto the field. As he is announced over the public address system, a huge cheer rises.)

ANNOUNCER: Ladies and gentlemen, Beltin' Ray Bremer.

(As Ray walks onto the field, the crowd begin to roar. The noise rises until it becomes deafening as he mounts the speaker's stand.)

RAY: Folks. Folks. Quiet please. (He gestures and the din begins to fall.) Folks. I think you all know why I'm here today. What you have heard is true. The doctors say I won't be with you too much longer, and I will never play professional baseball again. Maybe some of you are wondering if playing baseball has anything to do with what has happened to me. Telling the truth, I wonder the same thing myself. In this game, we're always traveling. The doctors are giving us injections. The trainers are rubbing us with something or another and we don't even know what the stuff really is. Maybe all of this has to do with what has happened to me. Then let me say one thing. If baseball is the reason, I have no regrets about it whatsoever. Baseball has given me the opportunity to meet wonderful men from every corner of America. It has given me the opportunity to live a life which others only dream about. It has given me a famous name. It has given me the chance to meet my wife Selma. Above all, it has given me an opportunity to be an example to the kids of America.

We all know what the world situation is. We know there may be dangerous years ahead. The boys and girls who have seen me play, sent me letters of admiration, cheered for me, and collected my cards in years past are the young men and women of today and tomorrow. They will, I fear, face the greatest of challenges in the future. If my career in the game of baseball has helped prepare them for whatever lies ahead, then I know why I was made the man I was in this wonderful game.

I thank all of you for the cheers I have heard through my years in this stadium and for your sympathies today.

Thank you folks, and goodbye.

(He turns around and walks, in a unsure gate, back into the clubhouse. Inside the clubhouse, Selma hugs him.)

SELMA

You were wonderful honey. You were brave. You were courageous. You were eloquent. I'm so proud of you, and proud to be Mrs. Ray Bremer.

(Ray and Selma end their embrace. Ray looks at the Babe. The Babe stands next to him, and puts his arm around him.)

BABE: I think you hit a grand slammer.

SELMA: Yes you did, Ray.

RAY: Aw, no. I got myself into this pickle. I wish I could tell everyone the truth, Babe. I'm no hero, if everyone knew. To me, you're the hero. You're the one who had people following you everywhere. You're the one who everyone wanted at the party. I never dreamed of being what you are. In my wildest dreams I could never be the hero you were.

(From the side of the stage, a lone figure enters. It is Paul Mumson. Like the Babe, he is wearing street clothes.)

PAUL: I'm sorry to hear what's happened to you Ray. There was no greater ballplayer in your time than you, in any league.

RAY: No, not me. I was good ballplayer, but not the greatest. That honor belongs to Babe if you ask me.

PAUL: No, it belongs to you Ray. You can always argue who was the best on the field. But there's no argument who was greatest man in this game. It was you Ray.

RAY: No, not me.

SELMA: Yes dear. It was you.

PAUL: Babe, you tell him what you told me.

BABE: Ray. I talked to Paul just yesterday, and I told him, after you came back in here from that field today, I was going to put my arm around you (He puts his arm around Ray's shoulders), and I was going to tell you that whatever happens from now on, there's one thing I want you to know. Ray, those arguments by the fans and the sportswriters about who was the best ballplayer are never going to be settled. But there's one thing I know, and so does everyone else who has played this game in our time.

PAUL: Amen.

BABE: As far as I'm concerned, as long this game is played, you should be remembered ahead of me or anyone who ever will play for the New York Clippers as the greatest player who has ever worn our uniform. As far as I'm concerned, Ray, you are now and always to remain the greatest Clipper of them all.

PAUL: You were made a man not often seen who, being formed to play a game with grace and skill, is formed the same within a light of equal will.

Ray, we thank you for your noble thoughts.

SELMA: And you for yours. (To the Babe.) And you for yours as well. So now our final age begins, much too soon, I know. But we'll not live in pity, fear or rage. Instead we thank for every accolade, and leave to keep our promise made.

(End of the Drama)