Homicide Page 11
The crime scene provides the greater share of physical evidence, the first part of a detective’s Holy Trinity, which states that three things solve crimes:
Physical evidence.
Witnesses.
Confessions.
Without one of the first two elements, there is little chance that a detective will find a suspect capable of providing the third. A murder investigation, after all, is an endeavor limited by the very fact that the victim—unlike those who are robbed, raped or seriously assaulted—is no longer in a position to provide much information.
The detective’s trinity ignores motivation, which matters little to most investigations. The best work of Dashiell Hammett and Agatha Christie argues that to track a murderer, the motive must first be established; in Baltimore, if not on the Orient Express, a known motive can be interesting, even helpful, yet it is often beside the point. Fuck the why, a detective will tell you; find out the how, and nine times out of ten it’ll give you the who.
It’s a truth that goes against the accepted grain and court juries always have a hard time when a detective takes the stand and declares he has no idea why Tater shot Pee Wee in the back five times, and frankly, he could care less. Pee Wee isn’t around to discuss it, and our man Tater doesn’t want to say. But, hey, here’s the gun and the bullets and the ballistics report and two reluctant witnesses who saw Tater pull the trigger and then picked the ignorant, murdering bastard from a photo array. So what the hell else you want me to do, interview the goddamn butler?
Physical evidence. Witnesses. Confessions.
Physical evidence can be anything from a usable latent print on a water glass to a spent bullet pulled from the drywall. It can be something as obvious as the fact that a house has been ransacked, something as subtle as a number on the victim’s telephone pager. It can be the victim’s clothes, or the victim himself, when the small, dark specks of stipplin against fabric or skin show that the wound was inflicted at close range. Or a blood trail that shows the victim was attacked first in the bathroom, then pursued into the bedroom. Or the what’s-wrong-with-this-picture game, in which a witness is claiming that no one else was home, but there are four used plates on the kitchen counter. Physical evidence from a crime scene can also be measured by what is not present: the absence of any forced entry to a house; the lack of blood from a gaping neck wound, suggesting that the victim was killed elsewhere; a dead man in an alley with the trouser pockets pulled inside-out, indicating that robbery was the motive.
There are, of course, those sacred occasions when physical evidence itself identifies a suspect. A spent bullet is recovered intact and with little apparent mutilation, so that it can be matched ballistically against a recovered weapon or against same-caliber projectiles from another shooting in which a suspect has been identified; a semen sample recovered in a vaginal swab is DNA-matched to a possible assailant; a footprint found near a body in the dirt of a railroad bed is paired with a sneaker worn by a suspect into the interrogation room. Such moments offer clear evidence that the Creator has not yet shelved his master plan and that, for one fleeting moment, a homicide detective is being used as an instrument of divine will.
More often, however, the physical evidence gathered at the crime scene provides the detective with information that is less absolute, but nonetheless essential. Even if the evidence doesn’t lead directly to a suspect, the raw facts provide a rough outline of the crime itself. The more information that a detective brings away from the scene, the more he knows what is possible and what is not. And in the interrogation rooms, that counts for a great deal.
In the soundproof cubicles used by the homicide unit, a witness will readily claim he was asleep in bed when the shooting started in the next room, and he will maintain the deceit up to the point when a detective confronts him with the fact that the sheets were not disturbed. He will tell the detectives that the shooting could not have been over drugs, that he knows nothing about drugs, until the detective tells him they’ve already found 150 caps of heroin under his mattress. He will claim that only the lone assailant was armed and there was no shootout until the detective makes it clear that .32 and 9mm casings were both recovered in the living room.
Denied the knowledge provided by physical evidence, a detective walks into the interrogation room without leverage, without any tool to pry truth from suspects or reluctant witnesses. The bastards can lie themselves blind and the detectives, disbelieving and frustrated, can scream at them for lying themselves blind. Without physical evidence, there is only stalemate.
Beyond those who don’t want to talk, the physical evidence keeps honest those who willingly volunteer information. Seeking to cut deals on their own charges, inmates at the city jail routinely claim to have heard fellow prisoners boast about or confess to murders, but detectives seriously pursue only those statements that include details from the crime scene that only a perpetrator could know. Likewise, a confession obtained from a suspect that includes details of the crime known only to the killer is inherently more believable in court. For these reasons, a detective returns from every crime scene with a mental list of essential details that he plans to withhold from newspaper and television reporters who will be calling the homicide office half an hour after the body hits the ground. Typically, a detective will hold back the caliber of the weapon used, or the exact location of the wounds, or the presence of an unusual object at the scene. If the murder occurred inside a house rather than on a street where a crowd can gather, the investigator may try to withhold a description of the clothes worn by the victim or the exact location of the victim’s body in the house. In the Latonya Wallace case, Landsman and Pellegrini were careful not to mention the ligature marks on the victim’s neck or that a cord or rope was used in the strangulation. They also kept the evidence of sexual molestation, or at least they tried to keep it—a week after the murder, a colonel felt the need to reveal the motive for the slaying to concerned parents at a Reservoir Hill community meeting.
From a detective’s point of view, no crime scene is better than a body in a house. Not only does a murder indoors mean that details can be kept from gathering crowds or prying reporters, but the house itself offers immediate questions. Who owns or rents the house? Who’s living there? Who was inside at the time? Why is my victim inside this house? Does he live here? Who brought him here? Who was he visiting? And call for a wagon, because everyone in the place is going downtown.
To murder someone in a house, a killer has first got to gain entry, either at the invitation of the victim or by forcing a door or window. Either way, something is gained by the investigator. The absence of forced entry suggests that the victim and assailant were probably known to each other; forced entry allows for the possibility that the killer has left fingerprints on a windowpane or door frame. Once inside a house, the killer may well touch a variety of utensils and smooth surfaces, leaving more latent prints. If the killer sprays some bullets around, most of the stray shots will appear as holes in the walls, in the ceiling, in the furniture. If the victim struggles and the assailant is injured, blood spatter or pulled hairs will be more easily discovered in the limited confines of a living room. The same thinking applies to loose fibers and other trace evidence. A lab tech can take a vacuum to a three-bedroom house in under an hour, then turn the vacuum bag’s contents over to the whitecoats for sifting in the fifth-floor labs.
But a body in the street offers less. Kill a man while he’s walking to the liquor store and you can rest assured that no civil servant is going to suck the lint from the 2500 block of Division Street. Shoot a man outside and there’s a good chance that most of the projectiles will not be recovered. Kill someone in the street and often the crime scene will provide a detective with little more than some blood spatter and a couple of spent casings. Not only are the opportunities for recovering physical evidence fewer, but the spatial relationship between the killer, the victim and the scene is obscured. With an indoor murder, the killer and victim can both ha
ve discernible connections to the location; out in the street, a detective can’t check utility bills or rental agreements to learn the names of people associated with his crime scene. He can’t collect the photographs and loose paper, telephone messages and notes scrawled on pieces of newspaper that would be waiting for him at an indoor murder.
Of course, a detective knows that a street murder carries its own advantages, notably the possibility of witnesses, the second element of the investigative triad. For this reason, one alternative has long held a special place in the catalogue of urban violence, particularly in a rowhouse city such as Baltimore, where every block has a rear promenade. Kill someone in an alley and you minimize the risks of both physical evidence and witnesses. In Baltimore, the report of a body in an alley is bound to bring groans and other guttural noises from the throat of a responding homicide detective.
Only one scenario, in fact, offers less hope than a body in an alley. When a Baltimore homicide detective is called to the woods and brambles along the far western edge of the city, it can only mean that one of the city’s inhabitants has done a very bad thing and done it very, very well. For two generations, Leakin Park has been Baltimore’s favored dumping ground for those who depart this vale by bullet or blade. A sprawling, thickly wooded wilderness surrounding a small stream known as the Gywnns Falls, the park has been the scene of so many unlicensed interments as to warrant consideration as a city cemetery. In New York, they use the Jersey marshes or the city’s rivers; in Miami, the Everglades; in New Orleans, the bayou. In Baltimore, the odd, inconvenient corpse is often planted along the winding shoulders of Franklintown Road. Police department legend includes one story, apocryphal perhaps, in which a class of trainees searching one quadrant of the park for a missing person was reminded by a Southwestern District shift commander, with tongue planted in cheek, that they were looking for one body in particular: “If you go grabbing at every one you find, we’ll be here all day.”
Veteran detectives declare that even the most unremarkable crime scenes offer some information about the crime. After all, even a body in an alley leaves a detective with questions: What was the dead man doing in that alley? Where did he come from? Who was he with? But a dump job, in Leakin Park or in an alley, in a vacant house or a car trunk, offers nothing. It stands mute to the relationship between the killer, the victim and the scene itself. By definition, a dump job strips a murder of any meaningful chronology and—with the exception of whatever items are abandoned with the body—of physical evidence.
Whatever and wherever the scene, its value as the baseline of a murder investigation depends entirely on the detective—his ability to keep out the rabble and maintain the scene itself; his capacity for observation, for contemplating the scene in its totality, in its parts, and from every conceivable angle; his willingness to perform every task that could possibly yield evidence from a particular scene; his common sense in avoiding those procedures that would be meaningless or futile.
The process is subjective. Even the best investigators will admit that no matter how much evidence is pulled from a scene, a detective will invariably return to the homicide office with the discomforting knowledge that something was missed. It is a truth that veterans impress upon new detectives, a truth that emphasizes the elusive quality of the crime scene itself.
Whatever happens before the scene is secured can’t be controlled and in the wake of a shooting or stabbing, no one objects to the behavior of uniformed officers, paramedics or bystanders who alter a scene in an effort to disarm the participants or administer aid to the victim. But apart from such necessary actions, the first uniform at the site of a murder is supposed to preserve the scene from being trampled, not only by the locals, but by his fellow officers as well. For the first officer and those who arrive after him, good police work also means grabbing hold of any potential witnesses who happen to be standing around.
The first officer’s duties end upon the arrival of a downtown detective, who, if he knows his business, will start by slowing everything down to a crawl, making it much more difficult for anyone to express stupidity in any truly meaningful way. The more complex the scene, the slower the process, giving the detective some semblance of control over the uniforms, the civilian witnesses, the bystanders, the crime lab technicians, the ME’s attendants, the secondary detectives, the shift commanders and every other human being in the vicinity. With the exception of the civilians, most of this crowd will know the drill and can be trusted to do their jobs, but as in everything else, assumption is mother and midwife to the most egregious mistakes.
Before this year is out, a detective on Stanton’s shift will arrive at a scene to find that a novice team of paramedics has taken a dead person—a very dead person—for a last ride to a nearby emergency room. There they will be told that it is hospital policy to accept only those patients who are at least clinging to life. The flustered paramedics will mull this over and then decide to take the body back to the street. Upon their return to the death scene, this plan will be given tentative approval by the uniforms, who assume that the ambulance crew must know its business. No doubt the officers would then have done their best to place the cadaver in its original position had not the detective arrived to say thank you, but no thank you. Let’s just say the hell with it and take the poor guy down to the autopsy room.
Likewise, Robert McAllister, a seasoned detective and a veteran of several hundred crime scenes, will soon find himself standing in a Pimlico kitchen above the blood-soaked body of an eighty-one-year-old man, stabbed forty or fifty times in a brutal housebreaking. On a dresser in a back bedroom is the bent-blade murder weapon, caked with dried blood. So preposterous is it that anyone would disturb such a glaring evidentiary item that McAllister will think it unnecessary to warn against doing so. This crime of omission ensures that a young officer, fresh to the street, will wander into the bedroom, pick up the knife by its hilt and carry it into the kitchen.
“I found this in the bedroom,” she will say. “Is it important?”
Assuming that such calamities are avoided and the scene preserved, what remains for the detective is to find and extract the available evidence. This is not done by vacuuming every room, fingerprinting every flat surface, and taking every beer can, ashtray, shred of paper and photo album down to evidence control. Discretion and common sense are valued as much as diligence, and a detective unable to discern the differences among probabilities, possibilities and the weakest kind of long shots soon finds that he risks overloading the evidence recovery process.
Remember, for instance, that the overworked examiners in the ballistics lab are weeks behind on projectile comparisons. Do you want them to compare your .32 slug with other .32-caliber shootings this year, or should they go back another year? Likewise for the fingerprint examiners, who in addition to the open murders are handling latents from burglaries, robberies and half a dozen other types of crime. Do you tell the lab techs to dust surfaces in rooms that seem to be undisturbed and apart from the scene, or do you have them concentrate on objects that appear to be moved and that are close to the death scene? When an elderly woman is strangled in bed, do you vacuum every room in the house, knowing how long it will take the trace lab to go through one room’s worth of dirt and lint, hair and fiber? Or, knowing that there wasn’t any far-flung, room-by-room struggle, do you instead have the ME’s people carefully wrap the body in the sheets, preserving any hairs or fibers that came loose during the action near the bed?
With only a few available on each shift to process evidence, the lab techs themselves are a limited resource. The tech working your scene may have been pulled off a commercial robbery to work this homicide or may be needed a half hour later to work another shooting on the opposite side of town. And your own time is equally precious. On a jumping midnight shift, the hours you could spend at one scene might be divided between two homicides and a police shooting. And even with a single murder, hours spent at a scene have to be measured against time that could
be spent interviewing witnesses who are waiting downtown.
Every scene is different, and the same detective who requires twenty minutes at a street shooting may spend twelve hours to process a double stabbing inside a two-story rowhouse. A sense of balance is required at both scenes, an understanding of what has to be done and what can reasonably be done to produce evidence. Also required is the persistence to oversee the essentials, to make sure that what’s being done is done correctly. On every shift, there are those lab techs who arrive at complex crime scenes and provoke sighs of relief from detectives, just as there are others who can’t lift a usable print if a suspect’s hand is attached to it. And if you want the photos to show the location of critical pieces of evidence, you better say as much, or the five-by-eight glossies will come back with every angle but the one you need.
These are the basic requirements. But there is something else about crime scenes, an intangible on the continuum between honed experience and pure instinct. An ordinary person, even an observant person, looks at a scene, takes in many of the details and manages a general assessment. A good detective looks at the same scene and comprehends the pieces as part of a greater whole. He somehow manages to isolate the important details, to see those items that conform to the scene, those that conflict, and those that are inexplicably absent. He who speaks of Zen and the Art of Death Investigation to a Baltimore homicide detective is handed a Miller Lite and told to stop talking communist hippie bullshit. But some of what happens at a crime scene, if not exactly antirational, is decidedly intuitive.
There is little else to explain Terry McLarney staring at the seminude body of an elderly woman, rigored in her bed with no apparent trauma, and deciding correctly—on the basis of an open window and a single stray pubic hair on the sheet—that he is working a rape-murder.
Or Donald Worden, walking down an empty East Baltimore street minutes after a fatal shooting, putting his hand on the hood of one parked car out of twenty and feeling the heat of an engine—a sure sign that the car was recently occupied by persons who fled rather than be identified as witnesses. “There was some condensation on the back window,” he says later, shrugging. “And it was a little ways from the curb, like the driver parked it in a hurry.”