He did Human Figure Drawings, which were judged impoverished.

The psychologist found him to be in the upper range of Bright Normal Intelligence.

The social worker wrote, "Questioning elicited the information that he feels almost as if there is a veil between him and other people through which they cannot reach him, but he prefers this veil to remain intact."

The schoolteacher reported that he sailed paper planes around the room.

He returned to the seventh grade until classes ended. In summer dusk the girls lingered near the benches on Bronx Park South. Jewish girls, Italian girls in tight skirts, girls with ankle bracelets, their voices murmurous with the sound of boys' names, with song lyrics, little remarks he didn't always understand. They talked to him when he walked by, making him smile in his secret way.

Oh a woman with beer on her breath, on the bus coming home from the beach. He feels the tired salty sting in his eyes of a day in the sun and water.

"The trouble leaving you with my sister," Marguerite said, "she had too many children of her own. Plus the normal disputes of family. That meant I had to employ Mrs. Roach, on Pauline Street, when you were two. But I came home one day and saw she whipped you, raising welts on your legs, and we moved to Sherwood Forest Drive."

Heat entered the flat through the walls and windows, seeped down from the tar roof. Men on Sundays carried pastry in white boxes. An Italian was murdered in a candy store, shot five times, his brains dashing the wall near the comic-book rack. Kids trooped to the store from all around to see the traces of grayish spatter. His mother sold stockings in Manhattan.

A woman on the street, completely ordinary, maybe fifty years old, wearing glasses and a dark dress, handed him a leaflet at the foot of the El steps. Save the Rosenbergs, it said. He tried to give it back, thinking he would have to pay for it, but she'd already turned away. He walked home, hearing a lazy radio voice doing a ballgame. Plenty of room, folks. Come on out for the rest of this game and all of the second. It was a Sunday, Mother's Day, and he folded the leaflet neatly and put it in his pocket to save for later.

There is a world inside the world.

He rode the subway up to Inwood, out to Sheepshead Bay. There were serious men down there, rocking in the copper light. He saw chinamen, beggars, men who talked to God, men who lived on the trains, day and night, bruised, with matted hair, asleep in patient bundles on the wicker seats. He jumped the turnstiles once. He rode between cars, gripping the heavy chain. He felt the friction of the ride in his teeth. They went so fast sometimes. He liked the feeling they were on the edge. How do we know the motorman's not insane? It gave him a funny thrill. The wheels touched off showers of blue-white sparks, tremendous hissing bursts, on the edge of no-control. People crowded in, every shape face in the book of faces. They pushed through the doors, they hung from the porcelain straps. He was riding just to ride. The noise had a power and a human force. The dark had a power. He stood at the front of the first car, hands flat against the glass. The view down the tracks was a form of power. It was a secret and a power. The beams picked out secret things. The noise was pitched to a fury he located in the mind, a satisfying wave of rage and pain.

Never again in his short life, never in the world, would he feel this inner power, rising to a shriek, this secret force of the soul in the tunnels under New York.

17 April

Nicholas Branch sits in the book-filled room, the room of documents, the room of theories and dreams. He is in the fifteenth year of his labor and sometimes wonders if he is becoming bodiless. He knows he is getting old. There are times when he can't concentrate on the facts at hand and has to come back again and again to the page, the line, the fine-grained detail of a particular afternoon. He wanders in and out of these afternoons, the bright hot skies that give tone and depth to narrow data. He falls asleep sometimes, slumped in the chair, a hand curled on the broadloom rug. This is the room of growing old, the fireproof room, paper everywhere.

But he knows where everything is. From a stack of folders that reaches halfway up a wall, he smartly plucks the one he wants. The stacks are everywhere. The legal pads and cassette tapes are everywhere. The books fill tall shelves along three walls and cover the desk, a table and much of the floor. There is a massive file cabinet stuffed with documents so old and densely packed they may be ready to ignite spontaneously. Heat and light. There is no formal system to help him track the material in the room. He uses hand and eye, color and shape and memory, the configuration of suggestive things that link an object to its contents. He wakes up suddenly, wondering where he is.

Sometimes he looks around him, horrified by the weight of it all, the career of paper. He sits in the data-spew of hundreds of lives. There's no end in sight. When he needs something, a report or transcript, anything, any level of difficulty, he simply has to ask. The Curator is quick to respond, firm in his insistence on forwarding precisely the right document in an area of research marked by ambiguity and error, by political bias, systematic fantasy. But not just the right document, not just an obscure footnote from an open source. The Curator sends him material not seen by anyone outside the headquarters complex at Langley, material that includes the results of internal investigations, confidential files from the Agency's own Office of Security. Branch hasn't met the current Curator and doubts if he ever will. They talk on the telephone, terse as snowbirds but unfailingly polite, fellow bookmen after all.

Nicholas Branch in his glove-leather armchair is a retired senior analyst of the Central Intelligence Agency, hired on contract to write the secret history of the assassination of President Kennedy. Six point nine seconds of heat and light. Let's call a meeting to analyze the blur. Let's devote our lives to understanding this moment, separating the elements of each crowded second. We will build theories that gleam like jade idols, intriguing systems of assumption, four-faced, graceful. We will follow the bullet trajectories backwards to the lives that occupy the shadows, actual men who moan in their dreams. Elm Street. A woman wonders why she is sitting on the grass, bloodspray all around. Tenth Street. A witness leaves her shoes on the hood of a bleeding policeman's car. A strangeness, Branch feels, that is almost holy. There is much here that is holy, an aberration in the heartland of the real. Let's regain our grip on things.

He enters a date on the home computer the Agency has provided for the sake of convenient tracking. April 17, 1963. The names appear at once, with backgrounds, connections, locations. The bright hot skies. The shady street of handsome old homes framed in native oak.

American kitchens. This one has a breakfast nook, where a man named Walter Everett Jr. was sitting, thinking-Win, as he was called-lost to the morning noises collecting around him, a stir of the all-familiar, the heartbeat mosaic of every happy home, toast springing up, radio voices with their intimate and busy timbre, an optimistic buzz living in the ear. The Record-Chronicle was at his elbow, still fresh in its newsboy fold. Images wavered in the sunlit trim of appliances, something always moving, a brightness flying, so much to know in the world. He stirred the coffee, thought, stirred, sat in the wide light, spoon dangling now, a gentle and tentative man, it would be fair to say, based solely on appearance.

He was thinking about secrets. Why do we need them and what do they mean? His wife was reaching for the sugar.