Homicide - David Simon

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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.

      “Not you, Harry. We need someone who sounds like a black guy.”

      Edgerton’s detachment from the rest of the unit was furthered by his partnership with Ed Burns, with whom he had been detailed to the Drug Enforcement Administration for an investigation that consumed two years. That probe began because Burns had learned the name of a major narcotics trafficker who had ordered the slaying of his girlfriend. Unable to prove the murder, Burns and Edgerton instead spent months on electronic and telephone surveillance, then took the dealer down for drug distribution to the tune of thirty years, no parole. To Edgerton, a case like that was a statement of a kind, an answer to an organized drug trade that could otherwise engage in contract murder with impunity.

      It was a persuasive argument. Close to half of Baltimore’s murders were believed to be related to the use or sale of narcotics, though the solve rate for drug murders was consistently lower than that for nearly any other motive. Yet homicide’s methodology hadn’t changed with the trend: Detectives worked the drug-related murders independently, as they would any other homicide. Both Burns and Edgerton had argued that much of the violence was related and could only be reduced—or, better still, prevented—by attacking the city’s larger narcotics organizations. By that argument, the repetitive violence of the city’s drug markets betrayed the weakness in the homicide unit, namely, that the investigations were individual, haphazard and reactive. Two years after that initial DEA case, Edgerton and Burns again proved the point with a year-long probe of a drug ring linked to a dozen murders and attempted murders in the Murphy Homes housing project. Every one of those shootings had remained open after detectives followed the traditional approach, yet as a result of the prolonged investigation, four murders were cleared and the key defendants received double life sentences.

      It was precision law enforcement, but other detectives were quick to point out that those two probes consumed three years, leaving two of the unit’s squads short a man for much of that time. The phone still had to be answered and with Edgerton reporting to work at the DEA field office, the other members of his squad—Kincaid and Garvey, McAllister and Bowman—would each be handling more shootings, more questionable deaths, more suicides, more murders. The fallout from Edgerton’s prolonged absences had served to push him further from the other detectives.

      True to form, Ed Burns is at this very moment detailed to a sprawling FBI probe of a drug organization in the Lexington Terrace projects—an investigation that will eventually consume two years. Edgerton originally went with him, but two months ago he was shipped back to the homicide unit after a nasty budget dispute between federal and local supervisors. And the fact that Harry Edgerton is now back in the standard rotation, pecking away at a 24-hour report on something as menial and undramatic as a suicide, is a source of glee to the rest of the shift.

      “Harry, what’re you doing at the typewriter?”

      “Hey, Harry, you didn’t handle a call, did you?”

      “What is it, Harry, a big investigation?”

      “Are you gonna get detailed again, Harry?”

      Edgerton lights a cigarette and laughs. After all the special details, he knows he has this coming.

      “Pretty funny,” he says, still smiling. “You guys are a fucking riot.”

      Carrying paperwork of his own to the other admin office typewriter, Bob Bowman leans over and looks at the headings on Edgerton’s twenty-four.

      “A suicide? Harry, you went out on a suicide?”

      “Yeah,”

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