Homicide. David Simon

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СКАЧАТЬ large GSW to right side head. Warm to touch. No rigor.”

      Both uniforms watch as Edgerton pulls on his overcoat and deposits the notepad in an outside pocket.

      “You’re not staying for the crime lab?”

      “Well, I’d love to but …”

      “We’re boring you, aren’t we?”

      “What can I say?” says Edgerton, his voice dropping to something approximating a matinee idol baritone. “My work here is done.”

      The red-faced officer laughs.

      “When the guy gets here, tell him I just need photos of this room, and tell him to get a good shot of the guy with the gun between his legs. We’re going to want to take the gun and that green sheet.”

      “The discharge papers?”

      “Yeah, that goes downtown. What about securing this place? Is the wife coming back?”

      “She was pretty messed up when they took her out of here. I guess we’ll find a way to lock the place up.”

      “Yeah, good.”

      “Is that it?”

      “Yeah, thanks.”

      “No problem.”

      Edgerton looks over at the female uniform, still seated at the dining room table.

      “How’s your report coming?”

      “It’s done,” she says, holding up the face sheet. “Do you want to see it?”

      “No, I’m sure it’s fine,” says Edgerton, knowing a sector sergeant will review it. “How do you like the job so far?”

      The woman looks first at the dead man, then at the detective. “It’s okay.”

      Edgerton nods, waves to the red-faced officer and walks out, this time carefully sidestepping the ear.

      Fifteen minutes later, he is at a typewriter in the homicide unit’s administrative office, converting the contents of three notepad pages into a single-page 24-hour crime report, Criminal Investigation Division form 78/151. Even with Edgerton’s hunt-and-peck typing skills, the details of Robert William Smith’s terminus are condensed to a manageable memorandum in little more than a quarter hour. Case folders are the essential documentation for homicides, but the 24-hour reports become the paper trail for the activities of the entire Crimes Against Persons section. By checking the log containing the twenty-fours, a detective can quickly familiarize himself with every ongoing case. For each incident, there is a corresponding one-or two-page missive with a brief, declarative heading, and a detective flipping through the log can look at those headings for a complete chronological account of Baltimore’s violence:

      “… shooting, shooting, questionable death, cutting, arrest/homicide, serious shooting, homicide, homicide/serious shooting, suicide, rape/cutting, questionable death/poss overdose, commercial robbery, shooting …”

      Dead, dying or merely wounded, there is a form 78/151 for every victim in the city of Baltimore. In little more than a year in homicide, Tom Pellegrini has probably filled in the blanks on more than a hundred twenty-fours. By that same estimate, Harry Edgerton has gone through five hundred forms since transferring to homicide in February 1981. And Donald Kincaid, the senior detective in Edgerton’s squad and a homicide man since 1975, has probably typed well over a thousand.

      More than the board, which tallies only homicides and their clearances, the 24-hour log is the basic measure of a detective’s workload. If your name is on the bottom of a twenty-four, it means you were picking up phones when the call came in or, better still, you volunteered yourself when another detective held up a green pawn shop card with an address scrawled on it and asked a question older than the headquarters building itself: “Who’s up?”

      Harry Edgerton didn’t volunteer often and among the other members of his squad, that simple fact had turned into an open wound.

      No one in the squad doubted Edgerton’s abilities as an investigator and most would admit that, personally, they kind of liked the guy. But in a five-man unit where the detectives all worked one another’s cases and handled every kind of call, Harry Edgerton was something of a lone wolf, a man who regularly wandered off on his own extended adventures. In a unit where most murders were won or lost in the first twenty-four hours of investigation, Edgerton would pursue a case for days or even weeks, running down witnesses or conducting surveillance on a time clock all his own. Perennially late for roll calls and shift relief on nightwork, Edgerton might just as easily be discovered putting together a case file at 3:00 A.M. when his shift had ended at midnight. For the most part, he worked his cases without a secondary detective, taking his own statements and conducting his own interrogations, oblivious of whatever storms were buffeting the rest of the squad. They regarded Edgerton as more of a finesse pitcher than a bullpen workhorse, and in an environment where quantity seemed to matter more than quality, his work ethic was a constant source of tension.

      Edgerton’s background only added to the isolation. The son of a respected New York jazz pianist, he was a child of Manhattan who joined the Baltimore department on a whim after glancing at an ad in the classifieds. Whereas many of those in homicide had spent their childhood on the same streets they were now policing, Edgerton’s frame of reference was Upper Manhattan, tinged with memories of visits to the Metropolitan Museum after school and nightclub engagements where his mother would accompany the likes of Lena Horne or Sammy Davis, Jr. His youth was as far removed from police work as a life could conceivably be: Edgerton could claim to have seen Dylan in the early Greenwich Village years, and he later sang lead for his own rock ’n’ roll group, an ensemble with the flower child name of Aphrodite.

      A conversation with Harry Edgerton was apt to wander from foreign art films to jazz fusion to the relative quality of imported Greek wines—an expertise acquired through his marriage into the Brooklyn family of a Greek merchant who had brought his family to New York after several successful years of trading in the Sudan. All of which made Harry Edgerton, even at the settled age of forty, an enigma to his colleagues. On midnight shift, when the rest of his squad might be sitting together, watching Clint Eastwood fondling the largest and most powerful handgun in the world, Edgerton could be found writing out an office report in the coffee room, listening to a tape of Emmylou Harris singing Woody Guthrie. And during the dinner hour, Edgerton was likely to disappear into the back of an East Baltimore Street carryout, where he would park in front of a bank of video games and lose himself in a fevered effort to blast apart multicolored space critters with a laser death ray. In an environment where a willingness to wear a pink necktie is held suspect, Edgerton was a certified flake. One of Jay Landsman’s throwaway lines pretty much summed things up for the entire unit: “For a communist, Harry’s a helluva detective.”

      And though Edgerton was black, his cosmopolitan background, his coffeehouse leanings, even his New York accent so completely confounded expectations that he was regarded as inauthentic by white detectives accustomed to viewing blacks through the limited prism of their own experience in the Baltimore slums. Edgerton crossed up stereotypes and blurred the unit’s preconceived racial lines: Even black detectives with local roots, like Eddie Brown, would routinely suggest that while Edgerton was black, he certainly wasn’t “po’ and black,” a distinction that Brown, who drove a Cadillac Brougham the size of a small container ship, reserved for himself. And on those occasions when white detectives needed someone to anonymously call some West Baltimore address to see if a wanted suspect happened to be at home, Edgerton would be quickly discouraged.

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