Homicide: A Year On The Killing Streets Read online

  Homicide: A Year On The Killing Streets

  David Simon

  Baltimore Sun reporter Simon spent a year tracking the homicide unit of his city's police, following the officers from crime scenes to interrogations to hospital emergency rooms. With empathy, psychological nuance, racy verbatim dialogue and razor-sharp prose, he offers a rare insider's look at the detective's tension-wracked world. Presiding over a score of sleuths is commander Gary D'Addario, "connoisseur of survival" who grapples with political intrigue, massive red tape and "red balls" (major, difficult cases). His detectives include Tom Pelligrini, obsessed with solving the rape-murder of an 11-year-old girl; Rich Garvey, whose "perfect year" is upset by a murder case that collapses in court; and black, cosmopolitan Harry Edgerton, a lone wolf, son of a jazz pianist. This hectic daily log reveals the detective's beat on Baltimore 's mean streets (234 murders in 1988) to be brutal, bureaucratic and, occasionally, mundane.

  David Simon

  Homicide: A Year On The Killing Streets

  Copyright © David Simon, 1991

  For Linda

  If a man is found slain, lying in a field in the land the Lord your God is giving you to possess, and it is not known who killed him, your elders and judges shall go out and measure the distance from the body to the neighboring towns.

  Then the elders of the town nearest the body shall take a heifer that has never been worked and has never worn a yoke and lead her down to a valley that has not been plowed or planted and where there is a flowing stream.

  There in the valley they are to break the heifer’s neck.

  The priests, the sons of Levi, shall step forward, for the Lord your God has chosen them to minister and to pronounce blessings in the name of the Lord and to decide all cases of dispute and assault.

  Then all the elders of the town nearest the body shall wash their hands over the heifer whose neck was broken in the valley and they shall declare:

  “Our hands did not shed this blood, nor did our eyes see it done. Accept this atonement for your people Israel, whom you have redeemed, O Lord, and do not hold your people guilty of the blood of an innocent man.”

  Deuteronomy 21: 1-9

  In contact wounds, the muzzle of the weapon is held against the surface of the body… the immediate edges of the entrance are seared by hot gases and blackened by the soot. This is embedded in the seared skin and cannot be completely removed either by washing or vigorous scrubbing of the wound.

  VINCENT J.M. DIMAIO M.D.,

  Gunshot Wounds: Practical Aspects of Firearms, Ballistics and Forensic Technique

  ANTE MORTEM

  by Richard Price

  Jimmy Breslin once wrote of Damon Runyon, “He did what all good journalists do-he hung out.” But in Homicide, his year-in-the-life chronicle of the Baltimore Police Department’s Homicide Unit, David Simon didn’t just hang out; he pitched a tent. As both a reporter and a dramatist Simon has always held the conviction that God is a first-rate novelist and to be there when He’s strutting his stuff is not only legitimate but honorable, part and parcel of fighting the good fight. Simon is a great collector and interpreter of facts, but he’s also junkie and his addiction is to bearing witness.

  I say this with authority (it takes one to know one), and the addiction plays itself out like this: whatever we see out on the street-with the police, with the corner boys, with people who are just trying to survive with their families intact in a world sewn with every kind of land mine-only whets our desire to see more, to hang and to hang and to hang with whoever will have us in an endless quest for some kind of urban Ur-Truth. Our bedside prayer: Please, Lord, just one more day, one more night, let me see something, hear something that will be the key, the golden metaphor for all of it, which, as any degenerate gambler knows, is in the very next roll of the dice. Truth is right around the next corner, in the next bit of throwaway street commentary, the next radio call, the next hand-to-hand drug transaction, the next unfurling of crime scene tape, as the beast that is Baltimore, is New York, is urban America, like some insatiable Sphinx whose riddles aren’t even intelligible, continues to gobble up one benighted soul after another.

  Or maybe it’s just our inability to meet deadlines…

  I first met Simon on April 29, 1992, the night of the Rodney King riots. We had both just published Big Books: Simon’s was the book in your hands; mine was a novel, Clockers. We were brought together by our mutual editor, John Sterling. The moment was almost comical: “David this is Richard; Richard, David. You guys should be friends-you have so much in common.” And so of course the first thing we did was make a beeline over the river to Jersey City, one of the hot spots that night, where we were met by Larry Mullane, a Hudson County Homicide detective and my ace Virgil for the previous three years of my writing life. David’s father had grown up in JC, the Mullanes and Simons had likely crossed paths over the generations, and so it went. The JC riots themselves proved elusive, perpetually around the corner but offstage, and my main recollection of that night is Simon’s compulsion to be there, which for me was like running into my long-lost Siamese twin.

  Our second encounter was a few years later when, in the aftermath of the Susan Smith horror in South Carolina, I was on something of a Medea tour laying the groundwork for my novel Freedomland. There had been a vaguely similar tragedy in Baltimore: the white mother of two biracial girls had torched her rowhouse while her young daughters were asleep. Her alleged motive was to clear any obstacles from the path of true love with her new boyfriend, who she said was less than thrilled about her two kids (a suggestion he later denied).

  Working the phones, David hooked me up with whatever principals were available to be interviewed-the arresting detectives, the mother’s boyfriend, the thrice-bereaved grandmother, the Arab who owned the corner store across the street where the mother had fled, ostensibly to call 911. (Her first call, the store owner said, was to her mother, her c to report the fire.) Journalistically, the story was past its expiration date, but Simon, in his willingness to get me the story, reverted to work mode. It was the first time I ever had to keep pace with a street reporter both mentally and physically; in addition to securing all the interviews, this also involved unsuccessfully trying to jive and con our way past the uniform still guarding the crime scene; shrugging off the straight-arm and working an end run; circling around and scaling backyard fences until we found ourselves inside the blackened rowhouse; and climbing what was left of the stairs to enter the small bedroom where the two girls died of smoke inhalation. At last we were there, and it was like standing inside the gut of a translucent tiger, the two of us staring everywhere-walls, ceiling, floor-at the charred striations left by the flames. A devastating little chip of hell.

  But let’s go back to that first night in Jersey City. At one point during the evening there were rumors that the rioters were stringing piano wire across the streets to decapitate motorcycle cops, and Larry Mullane, an ex-motorcycle cop himself, abruptly had to leave us. We found ourselves alone in an unmarked police car (an oxymoron if there ever was one), with me behind the wheel and Simon in the passenger seat. Mullane’s advice to us was, “Keep it moving-and if anybody comes up on you, just try to look pissed off and floor it.” That’s basically what we did, which brings me to a question that has always plagued me: Are writers like us, writers who are obsessed with chronicling in fact and fiction the minutiae of life in the urban trenches of America, writers who are dependent in large part on the noblesse of the cops to see what we have to see, are we (oh shit…) police buffs?

  And the answer I’ve come to believe is: No more than we are criminal buffs or civilian buffs. But for whoever allows us to walk
a mile in their shoes, on either side of the law, we do feel an unavoidable empathy-in essence we become “embedded.” But it’s not as sinister as it sounds as long as your Thank You mantra goes something like this: As a chronicler I will honor you with the faithful reporting of what I see and hear while a guest in the house of your life. As for how you come off, you dig your own grave or build your own monument by being who you are, so good luck and thanks for your time.

  Simon writes with great thoroughness and clarity about the impossibility of the job of homicide investigator. For the murder police in the field, it’s not only the body lying before them that has to be dealt with but also what they carry on their backs, which is the entire hierarchy of bosses who answer to bosses-the weight of bureaucratic self-preservation. Despite the overpopularization of CSI-style forensic advances, at times it must seem like the only reliable science for these investigators at the bottom of the food chain is the physics of careerism, which simply and reliably states that once a murder hits the papers or touches any kind of political nerve, the shit will always roll downhill. The best of them-those who more often than not, under great if superfluous pressure, turn the red names on the board to black-are left with an air of world-weariness and well-earned elitist pride.

  Homicide is a day-in, day-out journal, an intermingling of the mundane and the biblically heinous, and Simon’s eagerness and avidity to absorb, to digest, to be there and convey the world before his eyes to the universe beyond, runs through every page. There is a love for everything he witnesses, an implicit belief in the beauty of simply stating that whatever he sees playing itself out in real time is “The Truth” of a world-this is how it is, this is how it works, this is what people say, how they act, act out, dissociate, justify, where they come up short, transcend themselves, survive, go under.

  Simon also exhibits a knack for keying in on the enormity of little things: the quality of mild surprise in the half-closed eyes of the freshly dead, the ineffable poetry of a throwaway non sequitur, the physical ballet of aimlessness on the corners, the unconscious dance of rage and boredom and joy. He documents the gestures, the rueful misnomers, the way the eyes cut, the mouth tightens. He records the unexpected civilities between adversaries, the gallows humor that allegedly saves one’s sanity or humanity or whatever the excuse is for making jokes at the expense of the recently murdered, the breathtaking stupidity that propels most homicidal actions, the survival strategies adopted by people living in the most dire circumstances in order simply to make it through one more day. He captures how the streets themselves are a narcotic for the cops as well as the street soldiers (and the occasional writer), everyone jacked for the next predictable yet unexpected bit of drama that will put both sides in motion and send the innocents caught in the middle dropping for cover beneath the bedroom window or huddling in the supposedly bulletproof bathtub-the family that ducks together stays together. And time after time he hammers home the fact that there’s very little Black and White out there, and a hell of a lot of Gray.

  Homicide is a war story, and the theater of engagement stretches from the devastated rowhouses of East and West Baltimore to the halls of the state legislature in Annapolis. It reveals with no small irony how survival games on the streets mirror survival games in city hall, how all who engage in the drug war live and die by the numbers-kilos, ounces, grams, pills, profits for one side; crimes, arrests, solve rates, and budget cuts for the other. The book is a realpolitik examination of a municipality in the midst of a slow-motion riot, but through the steadfastness of Simon’s presence Homicide offers us the patterns hidden within the chaos. Baltimore, in fact, is Chaos Theory incarnate.

  With the success of the television adaptation of this book, Simon has been able to branch out into drama-the brilliant six-part miniseries based on his follow-up book, The Corner (co-written with Ed Burns), and the Russian novel of an HBO series, The Wire. With these later projects he gets to kick out the jams a little, to nudge and mastermind the truth into a slightly artificial shapeliness to heighten the big-ticket social issues. But even with the creative freedom of fiction, his work remains an exaltation of nuance, a continuing exploration of how the smallest external act can create the greatest internal revolution-in the life of a single marginalized person or in the spiritual and political biorhythm of a major American city.

  All of which is to say that if Edith Wharton came back from the dead, developed a bent for municipal power brokers, cops, crackheads and reportage, and didn’t really care what she wore to the office, she’d probably look a little something like David Simon.

  The Players

  Lieutenant Gary D’Addario

  Shift Commander

  Detective Sergeant Terrence McLarney

  Squad Supervisor

  Detective Donald Worden

  Detective Rick James

  Detective Edward Brown

  Detective Donald Waltemeyer

  Detective David John Brown

  Detective Sergeant Roger Nolan

  Squad Supervisor

  Detective Harry Edgerton

  Detective Richard Garvey

  Detective Robert Bowman

  Detective Donald Kincaid

  Detective Robert McAllister

  Detective Sergeant Jay Landsman

  Squad Supervisor

  Detective Tom Pellegrini

  Detective Oscar Requer

  Detective Gary Dunnigan

  Detective Richard Fahlteich

  Detective Fred Ceruti

  ONE

  TUESDAY, JANUARY 19

  Pulling one hand from the warmth of a pocket, Jay Landsman squats down to grab the dead man’s chin, pushing the head to one side until the wound becomes visible as a small, ovate hole, oozing red and white.

  “Here’s your problem,” he said. “He’s got a slow leak.”

  “A leak?” says Pellegrini, picking up on it.

  “A slow one.”

  “You can fix those.”

  “Sure you can,” Landsman agrees. “They got these home repair kits now…”

  “Like with tires.”

  “Just like with tires,” Landsman says. “Comes with a patch and everything else you need. Now a bigger wound, like from a thirty-eight, you’re gonna have to get a new head. This one you could fix.”

  Landsman looks up, his face the very picture of earnest concern.

  Sweet Jesus, thinks Tom Pellegrini, nothing like working murders with a mental case. One in the morning, heart of the ghetto, half a dozen uniforms watching their breath freeze over another dead man-what better time and place for some vintage Landsman, delivered in perfect deadpan until even the shift commander is laughing hard in the blue strobe of the emergency lights. Not that a Western District midnight shift is the world’s toughest audience; you don’t ride a radio car for any length of time in Sector 1 or 2 without cultivating a diseased sense of humor.

  “Anyone know this guy?” asks Landsman. “Anyone get to talk to him?”

  “Fuck no,” says a uniform. “He was ten-seven when we got here.”

  Ten-seven. The police communication code for “out of service” artlessly applied to a human life. Beautiful. Pellegrini smiles, content in the knowledge that nothing in this world can come between a cop and his attitude.

  “Anyone go through his pockets?” asks Landsman.

  “Not yet.”

  “Where the fuck are his pockets?”

  “He’s wearing pants underneath the sweatsuit.”

  Pellegrini watches Landsman straddle the body, one foot on either side of the dead man’s waist, and begin tugging violently at the sweatpants. The awkward effort jerks the body a few inches across the sidewalk, leaving a thin film of matted blood and brain matter where the head wound scrapes the pavement. Landsman forces a meaty hand inside a front pocket.

  “Watch for needles,” says a uniform.

  “Hey,” says Landsman. “Anyone in this crowd gets AIDS, no one’s gonna believe it came from a fucking needle.” />
  The sergeant pulls his hand from the dead man’s right front pocket, causing perhaps a dollar in change to fall to the sidewalk.

  “No wallet in front. I’m gonna wait and let the ME roll him. Somebody’s called the ME, right?”

  “Should be on the way,” says a second uniform, taking notes for the top sheet of an incident report. “How many times is he hit?”

  Landsman points to the head wound, then lifts a shoulder blade to reveal a ragged hole in the upper back of the dead man’s leather jacket.

  “Once in the head, once in the back.” Landsman pauses, and Pellegrini watches him go deadpan once again. “It could be more.”

  The uniform puts pen to paper.

  “There is a possibility,” says Landsman, doing his best to look professorial, “a good possibility, he was shot twice through the same bullethole.”

  “No shit,” says the uniform, believing.

  A mental case. They give him a gun, a badge and sergeant’s stripes, and deal him out into the streets of Baltimore, a city with more than its share of violence, filth and despair. Then they surround him with a chorus of blue-jacketed straight men and let him play the role of the lone, wayward joker that somehow slipped into the deck. Jay Landsman, of the sidelong smile and pockmarked face, who tells the mothers of wanted men that all the commotion is nothing to be upset about, just a routine murder warrant. Landsman, who leaves empty liquor bottles in the other sergeants’ desks and never fails to turn out the men’s room light when a ranking officer is indisposed. Landsman, who rides a headquarters elevator with the police commissioner and leaves complaining that some sonofabitch stole his wallet. Jay Landsman, who as a Southwestern patrolman parked his radio car at Edmondson and Hilton, then used a Quaker Oatmeal box covered in aluminum foil as a radar gun.