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This is Retro Sports Radio. Visit RetroSeasons.com for more sports history.

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From day to de Rocher to Snider, it's double play with de Rocher and day.

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With our guest Duke Snider, here's another chapter of double play with de Rocher and day.

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Welcome to another visit with baseball's most exciting and controversial couple, Lorraine Day and Leo de Rocher, with their guest for today, Duke Snider.

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You know, you fans have heard a good deal about the signs that a manager gives to his players during a game.

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Later on in today's show, Leo, Lorraine, and their famous guest Duke Snider are going to delve into these signs and are going to try and give you a little inside information about them.

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But first, here's a little inside information just for you.

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And now back to double play with Leo de Rocher and Lorraine Day and their guest, Duke Snider.

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Hi there everyone. On this show you're going to meet that famous center fielder from the Brooklyn Dodgers, Mr. Duke Snider.

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And don't forget that I'm here to represent you fans.

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And today I'm representing particularly Juanita White from Oklahoma City who would like to know why manager Dressen cleared the Brooklyn bench so much this last season.

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And Charlie Hatch from Ogden, Utah who would like to know why did Leo choose Sheldon Jones to pitch the second game of the playoff.

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And Bonnie Young from Las Vegas who says that I'd like to know something about the signs that the manager gives to a pitcher and a hitter.

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Never can spot them. So let's find out about them, shall we?

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Leo. Leo.

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Come on Duke, let's go over here and sit down.

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Hi, Leo.

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Hi, Ed, Duke.

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Hello, Lorraine. How are you?

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Duke, what's your real name?

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Edwin.

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Edwin, why did they call you Duke?

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My father started that when I was very young and it stuck with me ever since.

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It has nothing to do with baseball?

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No, I don't believe so.

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Well, Duke, I think you should answer this question since you were on the Brooklyn team.

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Why did manager Dressen clear the Brooklyn bench so often last season?

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Charlie cleared the bench mainly because he didn't want any more players thrown out.

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We were known to have quite a loud bench and abating the umpires quite a bit.

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And Charlie thought it might be a good idea if they were all in the clubhouse so that if we needed someone in an important situation,

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well, he could get them rather than have them out of the game in the showers.

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Well, couldn't you have just said be quiet?

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That's pretty hard to do.

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It is.

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You know some of the umpires in our league.

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Yes, I'm acquainted with some of them.

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It seems to me, wasn't there a big rhubarb?

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That comes right here. She says there's a P.S. that says, who kicked the door down?

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Why, I don't know. There might be termites in that door up there or something because all of us were in the shower.

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Must have been very exciting though, just reading about it in the paper.

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It was. It made a good story even though it wasn't true.

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Well, Leo, we have a question here for you from Charlie Hatch who wants to know,

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why did you choose Sheldon Jones to pitch the second game of the playoff?

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Duke, weren't you tickled to death that I picked Jones?

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I sure was. I didn't get any hits that day but I was tickled to death about it.

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A lot of other people got a lot of hits.

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That's right.

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Well, I'll tell you, I remember very well that I had pitched Maggley and Jantz in the last two days of the season

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and that you had said to me, dear, who are you going to pitch today?

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And I told you I didn't know.

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And you told me that the good Lord hadn't taken us this far to cast us aside,

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to get down on my knees and say a prayer.

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And that he would tell us who, he would tell me who to pitch.

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And you know, Duke, I was afraid to leave the bedroom without doing it.

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So I did get down on my knees and I went to the ballpark and I pitched Sheldon Jones.

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And you know what happened. You beat me ten to nothing.

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And I remember coming out after the game and getting in the car and on the way home, Lorraine said,

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well, that's the way the good Lord wanted it. He wants you to win it the hard way.

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And of course my answer was, why couldn't he let us win today just so I could sleep tonight?

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Make it easy for once.

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Well, you know, Duke, that little story, when we were being beaten ten to nothing,

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and all I could remember, all during the game was, and I told you to get down on these knees

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and he would be told who to pitch. And so he pitches Jones.

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And I said, I'm really going to get it out in the car tonight, you know, going home,

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about the Lord told him to pitch Jones and he asked on my suggestion.

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But Leo was wonderful because when he came out in the car he said, you know,

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he wanted me to pitch Jones to save Magley for tomorrow because we couldn't get a hit off LeBine.

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And if we had put Magley in, I'd have lost a great pitcher for tomorrow

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because we just couldn't hit that wonderful pitcher.

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Oh, LeBine was great that day, Duke. That was the best pitch ball game, I think one of the best,

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that we had pitched against us all year. He had a great curve ball and I made the wrong guess.

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But of course, you know.

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No, but you didn't. That's the whole point. You didn't guess wrong.

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It was the right guess because you couldn't win that game anyway. We couldn't hit LeBine.

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I would have rather had a good night's sleep if we'd have gotten a few runs, you know.

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I will say if Magley came in or Jansen, just as you said, what good does it do to have them in?

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Not if Brooklyn gets ten runs. It doesn't make any difference who you pick.

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That's right. Thanks. So everything turned out right and I'm in the clear.

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You see, Duke, I'm telling you, you don't have to worry about who manages the club.

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You know who manages the club. Oh, yeah.

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That's what he keeps saying. So after all, an important decision. I never get to open my mouth.

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Bonnie Young wants to know something about the signs that the manager gives to the pitchers and the hitters.

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Well, first let's take the signs that a manager gives to the pitcher.

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He doesn't really give a sign to a pitcher, does he? Doesn't he give a catcher?

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No, the catcher controls the game. He gives all signs.

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Once in a while a manager may call for a certain pitch during a game.

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Well, what does the catcher tell him to pitch to Muziel?

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Well, whatever it is is wrong. We ought to pitch under the plate.

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It's a better thing if you just forget Muziel and Duke and those kind of hitters.

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And pitch underneath the plate or behind them a little bit.

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That's very dangerous. That's it. That's it.

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That's it, yes. Oh, yeah.

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That was a big blue barb about it as I remember.

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Oh, Duke, it's just what Duke knows. It's one of those things.

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You try to pitch a man high and tight and you just can't thread the eye of the needle all the time.

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And you get it a little farther in than you really want it to be.

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But now about this giving signs to the hitter.

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I've been trying to find out these signs for three years.

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Well, I'll tell you what we'll do. When I'm managing Brooklyn, Duke played for me.

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I and Duke, how about this? I'll give you some signs that we had.

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You mean Duke played for me.

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All right. Duke, I will give you some signs that we had in 1948.

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All right.

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And Duke will stand there and I'll give them. He'll take that bat right there, Duke,

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and we'll go through the signs and we'll see if you can get them. Okay?

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You've always wanted to know and we'll answer the question at the same time.

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All right. And then if I get them, is it a promise that I'll give them to you next season from the box?

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You've been doing it now for a couple of years. I don't see why you won't continue.

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Before Leo, Lorraine, and Duke give you the lowdown on baseball signs,

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here's the lowdown on something very special.

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And now back to Leo, Lorraine, and Duke Snider of the Brooklyn Dodgers.

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Leo is about to perform some of the signs which he gives his players on the playing field,

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and we're going to try and catch some of these and describe them to you.

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Okay. Now, you're going to give the signs to Duke. Duke is going to do what you call.

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Then you'll give them again and see if I can get them. Okay?

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All right. Are you ready?

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Ready.

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You're watching me? All right.

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All right. Here's the first signal now. We'll try and follow it along.

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Leo first touches his cap with his right hand. He brings the hand down to his chest.

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Then he adjusts his belt. His right hand goes back to his cap.

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Hit and run.

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That's the hit and run. Okay.

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All right.

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Yeah. Give the next one.

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This time Leo performs the signal with his left hand.

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He starts it with the hand resting on the letters on his chest.

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Now he goes down, adjusts his belt, brushes off his left knee, back to his belt again,

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and the left hand finally comes to rest on the letters on his chest.

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Fun.

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Okay.

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All right.

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Here's the next signal. He hitches up his pants, claps his hand, goes back to the visor of his cap,

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hitches up his pants again, and takes one step to the right.

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That's fake. Oh, I'm sorry.

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I do it.

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No, you can't do it. Don't tip her off, Duke.

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All right. Now we'll start again. I'll give you another one. Are you ready?

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I'm ready.

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Leo takes his right hand and touches his cap. He brings the hand down to his chest,

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Leo's left hand now adjusts his belt, claps his hands together, and takes one step to the left.

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And finally the hand goes back to his cap.

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Now that's the hit and run. Am I right or wrong?

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How did you know it was the hit and run?

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I'm guessing.

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Oh, all right. You can't guess. You've got to know what you're doing.

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You can't make a mistake at the play.

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You do the same thing every time.

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Oh, no I don't. All right. Here you are.

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Go ahead.

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Leo performs these signals very fast and it's rather difficult to catch them.

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The hand goes back to his chest, where the letters would be, next to his belt,

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and the hand comes back to his chest again.

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Now that's the hit and run.

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Duke will tell you what it is.

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That's the bun.

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That's the bun.

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All right. You want to see one more?

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Yes.

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All right.

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Yes, we have another one.

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Okay.

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All right.

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He brushes his right knee, the hand goes back to his belt, touches his chest again.

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What haven't we done? We've done the hit and run, we've done the bun. That must be the take.

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That's right. That is the take. What made you get the take?

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You know, honestly, I couldn't tell the difference. Now show me, actually, what you do for a hit and run.

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Well, for a hit and run, our hit and run sign happens to be, if I had a cap on, I was using my forehead for a cap.

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Yes.

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And say that I start and stop in the same position. Anything I do in between means nothing.

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In other words, I touch him with a cap. Boom, boom, boom, boom.

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Now you didn't give a sign.

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Yes, I did.

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Well, you said it meant nothing.

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I started and stopped on my cap, which is hit and run.

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But you said, whatever I do between the time I touch my cap and stop.

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Nothing.

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Why? Well, then when did you get the hit and run?

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I started and stopped on my cap, that's hit and run.

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I see.

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Now this is nothing. Boom, boom, boom, boom, boom.

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I started on my cap, but I never went back to my cap.

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So that means there's no sign. He's on his own. Duke could do anything he wanted.

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So that is called what we call a block sign. In other words, it's take, put it on, take it off.

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If I start, I must come back to that same place.

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All right, now I understand. If you wanted him to hit and run, you'd start with your cap,

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and whatever you did doesn't mean a thing, but coming back to your cap means that Duke must hit and run.

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On that ball, he must swing at it and try to protect the runner.

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Then I'm sending the runner and I want him to hit.

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No matter where the ball is, he must swing at it.

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All right, but if you didn't come back to your hat, he's on his own.

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He's on his own, doesn't he? Please, the player.

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You did that merely to confuse the manager or the pitcher or the other player.

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I may give the sign. That is what's called coming back, starting and coming back to it.

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I can confuse the opposing player or the coaches or the manager who may be watching.

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And the manager's wife.

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Oh, of course. Actually, the manager's wife, you can't run the game.

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It's always confusing.

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What does he mean to me like this, always on?

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You could also have a call-off sign. You could give the sign all the way through maybe and then clap.

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That's right.

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And that would call it off even though he gives the whole sign.

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Well, what was Dresden doing all the time he was whistling?

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Well, that is more or less a decoy, Lorraine. He doesn't give any signs when he does that.

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Well, you know, I was always under the impression that when he whistled,

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it meant that perhaps he'd caught a signal from the pitcher, you know, and was saying,

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here comes the fast one.

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I really shouldn't say anything about that, but he does give it.

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Yes, and how. I was going to cut right in there. He does catch him once in a while.

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He's the greatest in the business. He's the greatest third base coach I've ever seen.

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Well, tell me, what about a bunt? Now show me the bunt sign.

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Well, look, dear, I showed you the way the manager gives them.

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And let's do, why don't you show her the way when you played for me and I was to give you the bunt sign.

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Go ahead and show her exactly what the bunt sign is.

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Well, the bunt sign was the letters. We don't have any letters here, but you know,

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The giants and the dodges that crossed here.

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The bunt was with the letters, you had to start and stop there.

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You can do anything else you want, but you've got to go back to the letters and stop there.

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And that is the bunt sign.

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Well, now tell me, couldn't say, an opposing player, couldn't he just watch where you ended

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and know what the sign was the next time you did it?

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He'd see the sign and then he'd see the hitter bump. He saw that you ended with the letter.

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Well, wouldn't he say, well, the next time they end there, that's the bunt?

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Well, it could be changed, though. I mean, that's just one group of signs.

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I could do this and fool around with any part of my body and go back here

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and maybe then I'd take a step to the right or a step forward or clap my hands

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and holler, come on, or something. That could be a call-off sign.

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And then he would be hitting.

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Well, there is one sign that I want to know about particularly.

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Just what is the sign that means hit a home run?

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Why you?

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Oh, this is the sign.

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Listen, I'll see you next session, same time, same station, I hope.

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Now, let's honor it in the time we have.

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Why you knucklehead hop.

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What are you going to do?

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[♪upbeat music playing.

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You're listening to another chapter of Double Play with baseball's most exciting couple,

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Lorraine Day and Leo DeRoscher.

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Today, Lorraine and Leo had as their guest Duke Snider.

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Join us when again it's time for Double Play with Leo DeRoscher and Lorraine Day

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plus another big-time guest star.

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Double Play is produced by Marty Martin, directed by Ted Nealon,

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and is a MarTed production.