by David Simon
Neither, for that matter, do the bullets themselves. Once loosed upon the innards of a human being, these little lead bits also tend toward the unpredictable. For one thing, bullets often lose their shape. Hollow-point and wadcutter rounds tend to flatten out against tissue, and all ammunition can shatter against bone. Likewise, most projectiles do a lot less spinning and drilling after encountering resistance inside the body; instead, they yaw and tumble, battering tissue and organs along the way. As bullets enter a body, they also become less directional, glancing off bone and sinew and following the altered trajectories of their own changing shape. This is as true for the smallest slugs as for the larger ones. Out on the street, the big guns-the.38s,.44s and.45s-still get the greatest respect, but the lowly.22 pistol has acquired a reputation all its own. Any West Baltimore homeboy can tell you that when a.22 roundnose gets under a man’s skin, it bounces around like a pinball. And every pathologist seems to have a story about a.22 slug that entered the lower left back, clipped both lungs, the aorta and the liver, then cracked an upper rib or two before finding its way out the upper right shoulder. It’s true that a man who gets hit with a.45 bullet has to worry about a larger piece of lead cleaving through him, but with a good.22 round, he has to worry that the little bugger is in there for the grand tour.
Most big-city medical examiners employ a fluoroscope or X-ray to hunt down the tiny shards of metal alloy that travel to all sorts of unexpected destinations. In Baltimore, that technology is readily available and is occasionally used by a cutter in situations where multiple gunshot wounds or shattered bullets have complicated the recovery effort. For the most part, however, the veterans on Penn Street take pride in being able to locate most of the bullets and fragments without resorting to the scope, relying instead on a careful examination of the wound track and an understanding of a bullet’s dynamics inside the body. For example, a bullet fired into the skull of a victim might not leave the head but instead ricochet off the inside of the skull at a point roughly opposite from the entrance wound; that much would be obvious from the absence of any exit wound. But an experienced pathologist begins his search knowing that projectiles bouncing off the interior skull rarely ricochet at acute angles. On the contrary, such a slug is more apt to strike the bone and then skate along the inside of the skull in a long arc, often coming to rest just inside the bone and a good distance from any point along the original trajectory. It’s esoteric stuff and, in a perfect world, nothing that a human being should ever need to know. Such is the cumulative knowledge of the autopsy room.
The process continues with the removal of the breastplate and the examination of the internal organs. Linked together in the body’s central cavity, the organ tree is lifted out as a single entity and placed on the steel sinks at the other end of the room. A careful vivisection of the heart, lungs, liver and other organs is then conducted, with the pathologist checking for any signs of disease or deformity while continuing to follow wound paths through the affected organs. With the organs removed, the remaining wound tracks can be followed into the posterior tissue of the body, and projectiles that have lodged in those muscles can also be removed. Bullets and bullet fragments, a critical category of physical evidence, are of course handled with great care, and they are removed by hand or with soft implements that cannot scratch the outer surface and thereby interfere with later ballistic comparisons of rifling marks.
In the final phase of the internal exam, the pathologist uses the electric saw to cut the circumference of the skull, the top of which is then popped upward with a lever-like tool. Pulling from behind the ears, the skin of the victim’s scalp is then folded forward across the face so that any head wound can be tracked and the brain itself can be removed, weighed and examined for disease. For observers, the detectives included, this last stage of the autopsy is perhaps the hardest. The sound of the saw, the cranial pop from the lever, the image of the facial skin being covered by scalp-nothing makes the dead seem quite so anonymous as when the visage of every individual is folded in upon itself in a rubbery contortion, as if we’ve all been wandering this earth wearing dimestore Halloween masks, so easily and indifferently removed.
The examination concludes with a sampling of bodily fluids-blood from the heart, bile from the liver, urine from the bladder-to be used for toxicology tests that can identify poisons or measure alcohol and drug consumption. More often than not, a detective will request a second blood sample as well in order to identify blood at the crime scene or any bloodstained items that are seized in a later search warrant. Toxicology results take several weeks, as does neutron activation testing for gunshot residue, which is analyzed at the FBI lab in Washington. DNA testing, another aid to identification that was introduced in the late 1980s, can credibly match samples of the human genetic code using blood, skin or hair samples and has therefore become the new frontier for trace forensics. But the process is beyond the lab capabilities of both the medical examiner’s office and the Baltimore department. When relevant to a case and requested by a detective, samples are instead sent to one of a handful of private labs used by Maryland authorities, but the backlog can be as bad as six months-a long time to wait for critical evidence.
A single autopsy can take less than an hour, depending on the complexity of the case and the extent of the wounds or injuries. When it is finished, an assistant returns the internal organs to the chest cavity, replaces the brain and skull top and closes the incisions. The body is then returned to the freezer to await a funeral home’s hearse. The gathered evidence-blood samples, swabs, nail clippings, bullets, bullet fragments-is then marked and bagged for the detective, who will take it to the evidence control unit or the ballistics lab, ensuring a clear chain of custody.
By its very efficiency, the process manages somehow to become less and less extraordinary. But what still has emotional force for even veteran detectives is the autopsy room as a panoramic vision, a sort of Grand Central Station of lifelessness in which human bodies are at varying stops along the disassembly line. On a busy Sunday morning, the hallway outside the cutting room might be filled with eight or nine metal tables and the freezer may hold a half dozen more. To stand amid the overnight accumulation of homicides and auto accidents, drownings and burnings, electrocutions and suicides, overdoses and seizures-that is always a little overwhelming. White and black, male and female, old and young, all come to Penn Street with no common denominator save that their deaths are officially unexplained occurrences within the geographic confines of the Old Line State. More than any other visual image, the weekend display in the tiled room reminds a homicide detective that he deals in a wholesale market.
Every visit to the autopsy room reaffirms a detective’s need for a psychological buffer between life and death, between the horizontal forms on the gurneys and the vertical forms moving between the metal. The detectives’ strategy is simple and it can be presented as an argument: We are alive; you are not.
It is a philosophy unto itself, a religion worthy of its own rites and rituals. Yea, though we walk through the valley of the shadow of death, we are breathing and laughing and sipping coffee from a Styrofoam cup, while you are stripped bare and emptied of vital pieces. We are wearing blue and brown and arguing with the attendant about last night’s Orioles game, insisting that the Birds can’t win without another RBI man in the lineup. Your clothes are torn and soaked with blood and you are refreshingly free of all opinion. We are contemplating a late breakfast on company time; you are having the contents of your stomach examined.
By that logic alone, we are entitled to a little arrogance, a little distance, even within the close confines of the autopsy room. We are entitled to walk among the dead with a false confidence, with a deceitful wit, with the self-sustaining assurance that it’s still the greatest of chasms that separates us from them. We will not mock the shells of the dead, sprawled on their wheeled alloy cots; but neither will we humanize them, growing solemn and mortal at the very sight. We can laugh and joke and bear wi
tness in this place only because we will live forever, and if we don’t live forever, we will at least manage to avoid leaving this vale as an unattended death in the state of Maryland. In the safety of our imagination, we will only depart in wrinkled skin and a soft bed, with a signed death certificate from a licensed physician. We will not be bagged and weighed and photographed from above so that Kim or Linda or some other secretary in the Crimes Against Persons section can glance at the 8-by-10 glossy and remark that Landsman looked better with his clothes on. We will not be split and spliced and sampled only to have a civil servant note on a government-issue clipboard that our heart was moderately enlarged, our gastrointestinal system, unremarkable.
“Table for one,” says an attendant, sliding a cadaver into an empty slot in the autopsy room. An old joke, but he, too, is alive and therefore entitled to an old joke or two.
Likewise for Rich Garvey, taking note of a rather well-endowed male cadaver: “Oh, my goodness, I’d hate to see that thing angry.”
Or Roger Nolan, noticing a random racial configuration: “Hey Doc, how is that the white guys got their tables right away and the black guys are all waiting in the hall?”
“I think this is one time,” muses an attendant, “when the black guys would rather see the white guys go first.”
Only on rare occasions is the veil lifted, with the living compelled to acknowledge the dead honestly. It happened to McAllister five years back, when the body on the metal table was Marty Ward, a narcotics detective killed in a Frederick Street drug front when a hand-to-hand sale went bad. Ward was Gary Childs’s partner back then and one of the most popular detectives on the sixth floor. McAllister was chosen to work that autopsy because someone in the unit had to do it, and the other homicide detectives had been closer to Ward. None of that made it easier, of course.
For the detectives, the rule of thumb is that if you think about it, if you allow the imagery to be about human beings rather than evidence, you will be led to some strange and depressing places. Insisting on this distance is an acquired skill, and for new detectives, an established rite of passage. New men are measured by their willingness to watch a body disassembled and then adjourn to the Penn Restaurant, on the other side of Pratt Street, for the three-egg special and a beer.
“The real test of a man,” says Donald Worden, reading the menu one morning, “is whether or not he’s willing to substitute that nasty pork roll for the bacon.”
Even Terry McLarney, the closest thing to a philosopher in the homicide unit, has trouble finding anything more than black comedy in the autopsy room. When it is his turn to walk in that small space between the living and the dead, his empathy for the forms on the metal tables is largely limited to his ongoing and thoroughly unscientific survey of livers.
“I like to look for the more derelict-looking guys, the ones who look like they’ve had a hard life,” explains McLarney, deadpan. “If they open ’em up and the liver is all hard and gray, I get depressed. But if it’s pink and puffy, hey, I’m happy all day.”
On one discomfiting occasion, McLarney was in the autopsy room when one case appeared on the rounds sheet with the explanation that although the victim had no medical history, he was known to drink beer every day. “I read that and figured, What the fuck,” McLarney mused. “I might as well just find an empty table, lie down and unbutton my shirt.”
Of course, McLarney knows better than to think it can all be laughed off. The line between life and death isn’t so thick and straight that a man can stand on it every morning, cracking jokes with impunity as the doctors wield scalpel and knife. Once, in a rare moment, McLarney even tries to find words for something deeper.
“I don’t know about anyone else,” he says, serving up a platitude to the others in the homicide office one afternoon, “but whenever I’m down there for an autopsy, I can pretty much convince myself that there is a God and there is a heaven.”
“The morgue makes you believe in God?” asks Nolan, incredulous.
“Yeah, well, if not heaven, then someplace where your mind or your soul goes after you die.”
“Ain’t no heaven,” says Nolan to the rest of the group. “You look around that room down there and you know we’re all just meat.”
“No,” says McLarney, shaking his head. “I believe we go somewhere.”
“Why’s that?” asks Nolan.
“Because when the bodies are all laid out like that, all the life is just gone and you know that there’s nothing left. They’re so empty. You can look at their faces and know they’re completely empty…”
“So?”
“So, it’s got to go somewhere, right? It doesn’t just disappear. They’ve all got to have somewhere else to go.”
“So their souls go to heaven?”
“Hey,” says McLarney, laughing, “why not?”
And Nolan smiles and shakes his head, giving McLarney time to wander off with his seminal theologies intact. After all, only the living can argue for the dead, and McLarney is alive; they are not. By virtue of that one undeniable fact, he is entitled to win with the weakest argument.
FRIDAY, AUGUST 19
Dave Brown pilots the Cavalier to within a block of the blue emergency lights, close enough to observe the general outline of the scene.
“I’ll take this one,” he says.
“You really are a piece of shit,” says Worden from the passenger seat. “Why don’t you just drive up and take a look at it first before deciding?”
“Hey, I’m deciding now.”
“Maybe you want to see if there’s a lockup first?”
“Hey,” says Brown again, “I’m deciding now.”
Worden shakes his head. Protocol demands that when two detectives are in a car and heading for a scene, one detective signs on as the primary before anything about the murder is known. By this unspoken agreement, those unseemly arguments in which one detective accuses another of grabbing dunkers and dumping whodunits are kept to a minimum. By waiting until the scene is within sight, Dave Brown is trampling around the edges of the rule, and Worden, true to form, is letting him know it.
“Whatever happens,” Worden says, “I’m not helping you with this case.”
“Did I ask for your fucking help?”
Worden shrugs.
“It’s not like I got a look at the body.”
“Good luck,” says Worden.
Brown wants this murder for no other reason than the location of the crime scene, but as reasons go, it’s pretty good. For one thing, the Cavalier is now parked in the 1900 block of Johnson Street in South Baltimore’s bottom, and South Baltimore’s bottom is deep in the bowels of Billyland. Stretching from Curtis Bay to Brooklyn and from South Baltimore on through Pigtown and Morrell Park, Billyland is a recognized geographic entity among Baltimore cops, a subculture that serves as the natural habitat for the descendants of West Virginians and Virginians who left the coal mines and the mountains to man Baltimore’s factories during the Second World War. To the chagrin of the established white ethnic groups, the billies swarmed into the red brick and Formstone rowhouses in the southern reaches of the city-an exodus that defined Baltimore as much as the northern movement of blacks from Virginia and the Carolinas during the same era. Billyland has its own language and logic, its own social framework. Billies don’t reside in Baltimore, they live in Bawlmer; it is the Appalachian influence that gives the language in the white sections of the city much of its twang. And although the advent of fluoride has allowed even the truest of billies to retain more of their teeth with each passing generation, nothing prevents their allowing their bodies to be treated like virgin canvas by the East Baltimore Street tattoo artists. Similarly, a billy girl might feel compelled to call police when her boyfriend throws a National Premium bottle at her head, but she will just as surely leap with claws bared on a Southern District uniform’s back the moment he arrives to take her man away.
For Baltimore’s cops, hard-core billyness is generally regarded with as muc
h disdain and humor as the hard-core ghetto culture. If nothing else, this attitude provides some proof that it is class consciousness, more than racism, that propels a cop toward a contempt for the huddled masses. And in the homicide unit in particular, the working coalition of black and white detectives tends to drive home the point. Just as Bert Silver is excepted from the general dislike of female officers, so are Eddie Brown and Harry Edgerton and Roger Nolan regarded as special cases by white detectives. If you are poor and black and your name is floating around somewhere in the BPI computer, then you are a yo and a toad and-depending on how unreconstructed the mind of the cop-maybe even a brain-dead nigger. If, however, you are Eddie Brown at the next desk over, or Greg Gaskins down at the state’s attorney’s office, or Cliff Gordy on the circuit court bench, or any other member of the taxpaying classes, then you are a black man.