pay, Gwynn ended the negotiations with a long burst from the Ingram, a weapon capable of firing six rounds a second.
It was an impulsive, awkward performance, the sort of thing to be expected from a teenager. The attack was so clearly telegraphed that Carrington Brown was afforded more than enough time to grab Roy Johnson and use him as a shield. Before the scene in front of him registered in Stanley Gwynn’s brain, he had machine-gunned the man he was supposed to protect. The intended target, Carrington Brown, lay bleeding from four bullets that had somehow found their way past the dead man, and Stanley Gwynn—who will later take a second-degree plea and twenty-five years—ran in panic from the apartment building.
When the dayshift detectives bring early relief at 6:30, the Roy Johnson murder, case H88014, is tucked neatly inside a manila folder on the administrative lieutenant’s desk. An hour later, Dick Fahlteich is headed home for a quick shower before returning downtown to attend the autopsy. For his part, Landsman will be in his own bed by 8:00 A.M.
But as sunlight and the sounds of the morning rush hour seep through the sixth-floor windows, the flotsam and jetsam of H88013—the murder at Gold and Etting—are still scattered in front of Tom Pellegrini, a coffee-logged wraith who stares vacantly at the first officer’s report, at supplementals, evidence submission slips, body custody and fingerprint forms for the person of Rudolph Newsome. Fifteen minutes either way and Pellegrini could have been dispatched to the Gatehouse Drive shooting, where a living victim and living witnesses were waiting to give up a murder and add one more to the list of clearances. Instead, Pellegrini went to Gold and Etting, where a twenty-six-year-old dead man stared up at him with sudden, silent comprehension. Luck of the draw.
After Landsman’s departure, Pellegrini works the edges of his little disaster for another ten hours—pulling the paperwork together, calling an assistant state’s attorney about a grand jury summons for the Thompson woman and submitting the victim’s effects to the evidence control unit in the basement of headquarters. Later that morning, a Western District patrolman calls the homicide unit about some corner boy who got locked up for drugs by the midnight shift and claimed to know about the Gold Street shooting. Seems the kid is willing to talk if he can make a lower bail on the drug charge. Pellegrini finishes his fifth cup of coffee before going back out to the Western to take a brief statement from the boy, who claims to have seen three men running north off Gold Street after hearing shots. The kid says he knows one of the men, but only by the name Joe—a statement just specific enough to match the true scenario, just vague enough to be of no practical use to the detective. Pellegrini wonders whether the kid was even there or whether he picked up what he could about the Gold Street murder while sitting in the lockup overnight, then did his best to turn the information around and try to barter out from under the drug charge.
Back in homicide, the detective slips the notes from the interview inside the case file for H88013 and then slides the folder underneath the Roy Johnson file on the desk of the administrative lieutenant, who has come and gone on the eight-to-four shift. Good news before bad. Then Pellegrini gives a man on four-to-twelve the keys to his Cavalier and goes home. It is a little after 7:00 P.M.
Four hours later, he’s back for the midnight shift, hovering like a moth around the red pilot light of the coffee machine. Pellegrini takes a full cup into the squadroom, where Landsman begins playing with him.
“Hey, Phyllis,” says the sergeant.
“Hey, Sarge.”
“Your case is down, isn’t it?”
“My case?”
“Yeah.”
“Which case would that be?”
“The new one,” says Landsman. “From Gold Street.”
“Well,” says Pellegrini, the words rolling out slowly, “I am ready to get a warrant.”
“Oh yeah?”
“Yeah.”
“Hmmm,” says Landsman, blowing cigarette smoke at the television screen.
“Only one problem, though.”
“What’s that,” says the sergeant, now smiling.
“I don’t know who the warrant is for.”
Landsman laughs until the cigarette smoke makes him cough.
“Don’t worry, Tom,” he says finally. “It’ll go down.”
This is the job:
You sit behind a government-issue metal desk on the sixth of ten floors in a gleaming, steel-frame death trap with poor ventilation, dysfunctional air conditioning, and enough free-floating asbestos to pad the devil’s own jumpsuit. You eat $2.50 pizza specials and Italian cold cuts with extra hots from Marco’s on Exeter Street while watching reruns of Hawaii Five-O on the communal nineteen-inch set with insubordinate horizontal hold. You answer the phone on the second or third bleat because Baltimore abandoned its AT&T equipment as a cost-saving measure and the new phone system doesn’t ring so much as it emits metallic, sheeplike sounds. If a police dispatcher is on the other end of the call, you write down an address, the time, and the dispatcher’s unit number on a piece of scratch paper or the back of a used three-by-five pawn shop submission card.
Then you beg or barter the keys to one of a half-dozen unmarked Chevrolet Cavaliers, grab your gun, a notepad, a flashlight and a pair of white rubber gloves and drive to the correct address where, in all probability, a uniformed police officer will be standing over a cooling human body.
You look at that body. You look at that body as if it were some abstract work of art, stare at it from every conceivable point of view in search of deeper meanings and textures. Why, you ask yourself, is this body here? What did the artist leave out? What did he put in? What was the artist thinking of? What the hell is wrong with this picture?
You look for reasons. Overdose? Heart attack? Gunshot wounds? Cutting? Are those defense wounds on the left hand? Jewelry? Wallet? Pockets turned inside out? Rigor mortis? Lividity? Why is there a blood trail, with droplets spattering in a direction away from the body?
You walk around the edges of the scene looking for spent bullets, casings, blood droplets. You get a uniform to canvass the houses or businesses nearby, or if you want it done right, you go door-to-door yourself, asking questions that the uniforms might never think to ask.
Then you use everything in the arsenal in the hope that something—anything—will work. The crime lab technicians recover weapons, bullets and casings for ballistic comparisons. If you’re indoors, you have the techs take prints from doors and door handles, furniture and utensils. You examine the body and its immediate surroundings for loose hairs or fibers on the off chance that the trace evidence lab might actually put down a case now and then. You look for any other signs of disturbance, anything that doesn’t appear to conform to its surroundings. If something strikes you—a loose pillowcase, a discarded beer can—you have a technician take it down to evidence control as well. Then you have the techs measure key distances and photograph the entire scene from every conceivable angle. You sketch the death scene in your own notebook, using a crude stickman for the victim and marking the original location of every piece of furniture and every piece of evidence recovered.
Assuming that the uniforms, upon arriving at the scene, were sharp enough to grab anyone within sight and send them downtown, you then go back to your office and throw as much street-corner psychology as you can at the people who found the body. You do the same thing with a few others who knew the victim, who rented a room to the victim, who employed the victim, who fucked, fought or fired drugs with the victim. Are they lying? Of course they’re lying. Everyone lies. Are they lying more than they ordinarily would? Probably. Why are they lying? Do their half-truths conform to what you know from the crime scene or is it complete and unequivocal bullshit? Who should you yell at first? Who should you scream at loudest? Who gets threatened with an accessory to murder charge? Who gets the speech about leaving the interrogation room as either a witness or a suspect? Who gets offered the excuse—The Out—the suggestion that this poor bastard needed to be murdered, that anyone in their circumstance