So on 23 March, I, too, was in Number Six with a pistol in my pocket. Getting inside the farmhouse was child's play. I slipped in through the unlocked service gate wearing a fake beard and the red-and-black uniform of the waiters from Elite Tent House, who, I knew from an earlier intercept, were doing the catering at the party. I picked up a tray and hung around the garden, watching the guests laughing and the booze flowing. It was a typical Delhi party of the rich, with the usual air-kissing and pointless hugging, the ritual exchange of business cards and the predatory circling of women flaunting their bodies.
Just before midnight, a fireworks display began. Rockets screamed, crackers burst, bombs exploded in celebration of Vicky Rai's acquittal. At the stroke of midnight I moved from the lawn into the big hall. I saw Vicky Rai making a speech in front of a mike. Then he asked his father to speak and went to the bar on the far side of the hall. As he began mixing a drink, I edged closer to him. The room was chock-full of people, including the film star Shabnam Saxena, and it would have been impossible to shoot him and not be caught. My muscles tightened and a knot formed in the pit of my stomach. I waited for the lights to go out. At precisely 12.05 a.m. they did and I whipped out my gun. A shot rang out and Jagannath Rai screamed. Thinking that Mukhtar had done his job, in that very instant I shot Vicky Rai at point-blank range. He was standing directly in front of the open window and my bullet must have passed clean through him. Coincidentally, another loud cracker bomb burst at that very second and camouflaged the sound of my gunshot.
Shooting a man is the easy part. The tough part is keeping your nerves in control after the act. My hands began shaking and my heart started hammering so violently I thought I was going to have a coronary. The gun almost slipped out of my grasp. With trembling fingers I took off my left shoe, lifted the insole and deposited the pistol in the hollow compartment. I had just about managed to retie my shoelace when the lights came back on and the police rushed in. They asked for my name and address. I showed them a fake ID identifying me as a waiter. They frisked me from neck to ankle and didn't find anything. They let me go.
Would I have done things differently if I had known that Mukhtar Ansari was not going to keep his appointment? I don't know. It was only when the lights came on and I saw Jagannath Rai very much alive that I realized something had gone wrong. Now, of course, it is clear that it was Ashok Rajput who fired the first bullet, also a.32 calibre from a locally made improvised revolver. It narrowly missed Vicky and got lodged in the wooden bar. Vicky Rai was actually killed by the second bullet – my bullet. If the police had searched the premises thoroughly they would have discovered a spent.32 cartridge in the garden outside.
I hope you see the irony – Vicky Rai was acquitted in the Ruby Gill murder case because the police said the two bullets were fired from two different guns, but Ashok Rajput has been arrested because this time the police are loath to accept the two-gun theory! If only he had not confessed, a smart lawyer might have been able to get him off.
Many years ago I saw a film – I forget its name. It was one of those arty movies in which people don't speak much and the camera pans slowly, settling on minute details of everyday life, such as an empty swing creaking back and forth for two minutes. The film was about a village full of poor people being exploited by a feudal landlord. Most of the film is a blur to me now, but I still remember its last scene. It showed a small boy throwing a stone at the zamindar's mansion, breaking a window. I was too young then to understand what that stone meant. Now I do. Great revolutions begin with a tiny spark.
I have lit that spark. A revolution is now underway. Youths like Munna Mobile are the foot soldiers of this revolution. They are vociferously demanding their rights. They will no longer tolerate injustice silently.
Just as every revolution has a hero, it also has some collateral damage. I feel a tinge of regret for Ashok Rajput. I genuinely mourn Eketi's death. I did try to help him, but it was a case of too little, too late. His death will forever remain on my conscience, a cross that I have to bear. But his sacrifice was not in vain. Vicky Rai is dead. Jagannath Rai is as good as dead. Justice has been done. Henceforth the criminal rich will no longer be able to sleep easily. They know now that retribution can return to haunt them at any time.
I suppose I can take some pride in carrying out the perfect murder. No one has any inkling about what I have done – neither my wife, nor my colleagues at the newspaper. I still go to the office at the usual time and stay late. I share a meal with the other reporters during the lunch hour, laugh at their corny jokes, join in their silly discussions on politics and promotions. Their petty gossiping and shallow concerns nauseate me. Their smugness and complacency amaze me. Am I the only one with a sense of what it means to be a committed investigative journalist? Am I the only man with a mission?
I know I plough a lonely furrow. But I shall soldier on. Because there is still a lot of filth out there. I am still listening to phone conversations which make my blood boil and start a buzzing in my brain.
And even murder can become addictive.
Acknowledgements
This was a difficult book to write, and not just because it was my second one. The very ambition of the novel – to tell the interlocking stories of six disparate lives in a tightly schematic space – made it a daunting enterprise. That I was able to reach this page owes a lot to the generous support of my friends and colleagues and the patience of my family – my wife Aparna, to whom this book is dedicated, and my sons Aditya and Varun.
Jane Lawson, my editor on Q & A, and Peter Buckman, my agent, were early and enthusiastic supporters of the concept and encouraged me to go on. Thereafter it was my new editor Rochelle Venables (Jane having happily pushed off on maternity leave) and the team at Transworld who shepherded the project with admirable vigour and commitment. I must thank Kate Samano, in particular, for her meticulous copyediting.
Even though Eketi is an entirely fictional character, my research on the Onge tribe was aided greatly by Madhusree Mukerjee's lucid book The Land of the Naked People: Encounters with Stone Age Islanders (Penguin India, 2003). Vishvajit Pandya's ethnographical inquiry into Andamanese rituals and customs (Above the Forest, OUP, 1993) and Badal Kumar Basu's study The Onge (Seagull Books, 1990) were also useful sources of information. For those wishing to explore this subject further, I would wholeheartedly recommend George Weber's website (www.andaman.org), a veritable treasure trove of information on the tribes of the Andaman.
I am indebted to my colleagues Navdeep Suri and J. S. Parmar for many valuable suggestions. I also wish to place on record my thanks to Damon Galgut, Chris Copass, Avinash Mohnany, Manoj Malaviya, Sarvagya Ram Mishra, Captain Subhash Gouniyal, R. K. Rathi, Lopa Banerjee, Uma Dhyani, Rati Bhan Tripathi, Vakil Ramdas and Roland Galahargue. Google, as always, was an invaluable tool.
Finally, I must record my gratitude to the wonderful people of South Africa, the fertile ground where this novel took shape on weekends and holidays.
Vikas Swarup
Vikas Swarup is a member of the Indian Foreign Service. His bestselling first novel, Q & A, has been translated into thirty-four languages, and is being made into a film under the title Slumdog Millionaire.
