by Roald Dahl
"I feel quite giddy," Dr Marshall said. "I can't bring myself to believe it."
"We have to believe it," I said. "He couldn't possibly have removed the dough from under the bandages. We never let him out of our sight. And as for unsealing his eyelids, that job would take him five minutes with cotton-wool and alcohol."
"Do you know what I think," Dr Marshall said. "I think we have witnessed a miracle."
We turned and walked slowly back into the hospital.
For the rest of the day, I was kept busy with patients in the hospital. At six in the evening, I came off duty and drove back to my flat for a shower and a change of clothes. It was the hottest time of year in Bombay, and even after sundown the heat was like an open furnace. If you sat still in a chair and did nothing, the sweat would come seeping out of your skin. Your face glistened with dampness all day long and your shirt stuck to your chest. I took a long cool shower. I drank a whisky and soda sitting on the veranda, with only a towel round my waist. Then I put on some clean clothes. At ten minutes to seven, I was outside the Royal Palace Hall in Acacia Street. It was not much of a place. It was one of those smallish seedy halls that can be hired inexpensively for meetings or dances. There was a fair-sized crowd of local Indians milling round outside the ticket office, and a large poster over the entrance proclaiming that THE INTERNATIONAL THEATRE COMPANY was performing every night that week. It said there would be jugglers and conjurers and acrobats and sword-swallowers and fire-eaters and snake-charmers and a one-act play entitled The Rajah and the Tiger Lady. But above all this and in far the largest letters, it said IMHRAT KHAN, THE MIRACLE MAN WHO SEES WITHOUT HIS EYES.
I bought a ticket and went in.
The show lasted two hours. To my surprise, I thoroughly enjoyed it. All the performers were excellent. I liked the man who juggled with cooking-utensils. He had a saucepan, a frying-pan, a baking tray, a huge plate and a casserole pot all flying through the air at the same time. The snake-charmer had a big green snake that stood almost on the tip of its tail and swayed to the music of his flute. The fire-eater ate fire and the sword-swallower pushed a thin pointed rapier at least four feet down his throat and into his stomach. Last of all, to a great fanfare of trumpets, our friend Imhrat Khan came on to do his act. The bandages we had put on him at the hospital had now been removed.
Members of the audience were called on to the stage to blindfold him with sheets and scarves and turbans, and in the end there was so much material wrapped around his head he could hardly keep his balance. He was then given a revolver. A small boy came out and stood at the left of the stage. I recognized him as the one who had held the bicycle outside the hospital that morning. The boy placed a tin can on the top of his head and stood quite still. The audience became deathly silent as Imhrat Khan took aim. He fired. The bang made us all jump. The tin can flew off the boy's head and clattered to the floor. The boy picked it up and showed the bullet-hole to the audience. Everyone clapped and cheered. The boy smiled.
Then the boy stood against a wooden screen and Imhrat Khan threw knives all around his body, most of them going very close indeed. This was a splendid act. Not many people could have thrown knives with such accuracy even with their eyes uncovered, but here he was, this extraordinary fellow, with his head so swathed in sheets it looked like a great snowball on a stick, and he was flicking the sharp knives into the screen within a hair's breadth of the boy's head. The boy smiled all the way through the act, and when it was over the audience stamped its feet and screamed with excitement.
Imhrat Khan's last act, though not so spectacular, was even more impressive. A metal barrel was brought on stage. The audience was invited to examine it, to make sure there were no holes. There were no holes. The barrel was then placed over Imhrat Khan's already bandaged head. It came down over his shoulders and as far as his elbows, pinning the upper part of his arms to his sides. But he could still hold out his forearms and his hands. Someone put a needle in one of his hands and a length of cotton thread in the other. With no false moves, he neatly threaded the cotton through the eye of the needle. I was flabbergasted.
As soon as the show was over, I made my way backstage. I found Mr Imhrat Khan in a small but clean dressing-room, sitting quietly on a wooden stool. The little Indian boy was unwinding the masses of scarves and sheets from around his head.
"Ah," he said. "It is my friend the doctor from the hospital. Come in, sir, come in."
"I saw the show," I said.
"And what did you think?"
"I liked it very much. I thought you were wonderful."
"Thank you," he said. "That is a high compliment."
"I must congratulate your assistant as well," I said, nodding to the small boy. "He is very brave."
"He cannot speak English," the Indian said. "But I will tell him what you said." He spoke rapidly to the boy in Hindustani and the boy nodded solemnly but said nothing.
"Look," I said. "I did you a small favour this morning. Would you do me one in return? Would you consent to come out and have supper with me?"
All the wrappings were off his head now. He smiled at me and said, "I think you are feeling curious, doctor. Am I not right?"
"Very curious," I said. "I'd like to talk to you."
Once again, I was struck by the peculiarly thick matting of black hair growing on the outsides of his ears. I had not seen anything quite like it on another person. "I have never been questioned by a doctor before," he said. "But I have no objection. It would be a pleasure to have supper with you."
"Shall I wait in the car?"
"Yes, please," he said. "I must wash myself and get out of these dirty clothes."
I told him what my car looked like and said I would be waiting outside.
He emerged fifteen minutes later, wearing a clean white cotton robe and the usual sandals on his bare feet. And soon the two of us were sitting comfortably in a small restaurant that I sometimes went to because it made the best curry in the city. I drank beer with my curry. Imhrat Khan drank lemonade.
"I am not a writer," I said to him. "I am a doctor. But if you will tell me your story from the beginning, if you will explain to me how you developed this magical power of being able to see without your eyes, I will write it down as faithfully as I can. And then, perhaps, I can get it published in the British Medical Journal or even in some famous magazine. And because I am a doctor and not just some writer trying to sell a story for money, people will be far more inclined to take seriously what I say. It would help you, wouldn't it, to become better known?"
"It would help me very much," he said. "But why should you want to do this?"
"Because I am madly curious," I answered. "That is the only reason."
Imhrat Khan took a mouthful of curried rice and chewed it slowly. Then he said, "Very well, my friend. I will do it."
"Splendid!" I cried. "Let's go back to my flat as soon as we've finished eating and then we can talk without anyone disturbing us."
We finished our meal. I paid the bill. Then I drove Imhrat Khan back to my flat.
In the living-room, I got out paper and pencils so that I could make notes. I have a sort of private shorthand of my own that I use for taking down the medical history of patients, and with it I am able to record most of what a person says if he doesn't speak too quickly. I think I got just about everything Imhrat Khan said to me that evening, word for word, and here it is. I give it to you exactly as he spoke it:
"I am an Indian, a Hindu," said Imhrat Khan, "and I was born in Akhnur, in Kashmir State, in 1905. My family is poor and my father worked as a ticket inspector on the railway. When I was a small boy of thirteen, an Indian conjurer comes to our school and gives a performance. His name, I remember, is Professor Moor -- all conjurers in India call themselves 'professor' -- and his tricks are very good. I am tremendously impressed. I think it is real magic. I feel -- how shall I call it -- I feel a powerful wish to learn about this magic myself, so two days later I run away from home, determined to find and t
o follow my new hero, Professor Moor. I take all my savings, fourteen rupees, and only the clothes I am wearing. I am wearing a white dhoti and sandals. This is in 1918 and I am thirteen years old.
"I find out that Professor Moor has gone to Lahore, two hundred miles away, so all alone, I take a ticket, third class, and I get on the train and follow him. In Lahore, I discover the Professor. He is working at his conjuring in a very cheap-type show. I tell him of my admiration and offer myself to him as assistant. He accepts me. My pay? Ah yes, my pay is eight annas a day.
"The Professor teaches me to do the linking-rings trick and my job is to stand in the street before the theatre doing this trick and calling to the people to come in and see the show.
"For six whole weeks this is very fine. It is much better than going to school. But then what a terrible bombshell I receive when suddenly it comes to me that there is no real magic in Professor Moor, that all is trickery and quickness of the hand. Immediately the Professor is no longer my hero. I lose every bit of interest in my job, but at the same time my whole mind becomes filled with a very strong longing. I long above all things to find out about the real magic and to discover something about the strange power which is called yoga.
"To do this, I must find a yogi who is willing to let me become his disciple. This is not going to be easy. True yogis do not grow on trees. There are very few of them in the whole of India. Also, they are fanatically religious people. Therefore, if I am to have success in finding a teacher, I too will have to pretend to be a very religious man.
"No, I am actually not religious. And because of that, I am what you would call a bit of a cheat. I wanted to acquire yoga powers purely for selfish reasons. I wanted to use these powers to get fame and fortune.
"Now this was something the true yogi would despise more than anything in the world. In fact, the true yogi believes that any yogi who misuses his powers will die an early and sudden death. A yogi must never perform in public. He must practise his art only in absolute privacy and as a religious service, otherwise he will be smitten to death. This I did not believe and I still don't.
"So now my search for a yogi instructor begins. I leave Professor Moor and go to a town called Amritsar in the Punjab, where I join a travelling theatre company. I have to make a living while I am searching for the secret, and already I have had success in amateur acting at my school. So for three years I travel with this theatre group all over the Punjab and by the end of it, when I am sixteen and a half years old, I am playing top of the bill. All the time I am saving money and now I have altogether a very great sum, two thousand rupees.
"It is at this moment that I hear news of a man called Banerjee. This Banerjee, it is said, is one of the truly great yogis of India, and he possesses extraordinary powers. Above all, people are telling of how he has acquired the rare power of levitation, so that when he prays his whole body leaves the ground and becomes suspended in the air eighteen inches from the soil.
"Ah-ha, I think. This surely is the man for me. This Banerjee is the one that I must seek. So at once, I take my savings and leave the theatre company and make my way to Rishikesh, on the banks of the Ganges, where rumour says that Banerjee is living.
"For six months I search for Banerjee. Where is he? Where? Where is Banerjee? Ah yes, they say in Rishikesh, Banerjee has certainly been in the town, but that is a while ago, and even then no one saw him. And now? Now Banerjee has gone to another place. What other place? Ah well, they say, how can one know that. How indeed? How can one know about the movements of such a one as Banerjee. Does he not live a life of absolute seclusion? Does he not? And I say yes. Yes, yes, yes. Of course. That is obvious. Even to me.
"I spend all my savings trying to find this Banerjee, all except thirty-five rupees. But it is no good. However, I stay in Rishikesh and make a living by doing ordinary conjuring tricks for small groups and for suchlike. These are the tricks I have learned from Professor Moor and by nature my sleight of hand is very good.
"Then one day, there I am sitting in the small hotel in Rishikesh and again I hear talk of the yogi Banerjee. A traveller is saying how he has heard that Banerjee is now living in the jungle, not so very far away, but in the dense jungle and all alone.
"But where?
"The traveller is not sure where. 'Possibly,' he says, 'it is over there, in that direction, north of the town,' and he points with his finger.
"Well, that is enough for me. I go to the market and begin to bargain for hiring a tonga, which is a horse and cart, and the transaction is just being completed with the driver when up comes a man who has been standing listening nearby and he says that he too is going in that direction. He says can he come part of the way with me and share the cost. Of course I am delighted, and off we go, the man and me sitting in the cart, and the driver driving the horse. Off we go along a very small path which leads right through the jungle.
"And then what truly fantastic luck should happen! I am talking to my companion and I find that he is a disciple of none other than the great Banerjee himself and that he is going now on a visit to his master. So straight out I tell him that I too would like to become a disciple of the yogi.
"He turns and looks at me long and slow, and for perhaps three minutes he does not speak. Then he says, quietly, 'No, that is impossible.'
"All right, I say to myself, we shall see. Then I ask if it is really true that Banerjee levitates when he prays.
" 'Yes,' he says. 'That is true. But no one is allowed to observe the thing happening. No one is ever allowed to come near Banerjee when he is praying.'
"So we go on a little further in the tonga, talking all the time about Banerjee, and I manage by very careful casual questioning, to find out a number of small things about him, such as what time of day he commences with his praying. Then soon the man says, 'I will leave you here. This is where I dismount.'
"I drop him off and I pretend to drive on along my journey, but around a corner I tell the driver to stop and wait. Quickly I jump down and I sneak back along the road, looking for this man, the disciple of Banerjee. He is not on the road. Already he has disappeared into the jungle. But which way? Which side of the road? I stand very still and listen.
"I hear a sort of rustling in the undergrowth. That must be him, I tell myself. If it is not him, then it is a tiger. But it is him. I see him ahead. He is going forward through thick jungle. There is not even a little path where he is walking, and he is having to push his way between tall bamboos and every kind of heavy vegetation. I creep after him. I keep about one hundred yards behind him because I am frightened he may hear me. I can certainly hear him. It is impossible to proceed in silence through very thick jungle, and when I lose sight of him, which is most of the time, I am able to follow his sound.
"For about half an hour this tense game of follow-the-leader goes on. Then suddenly, I can no longer hear the man in front of me. I stop and listen. The jungle is silent. I am terrified that I may have lost him. I creep on a little way, and all at once, through the thick undergrowth, I see before me a little clearing, and in the middle of the clearing are two huts. They are small huts built entirely of jungle leaves and branches. My heart jumps and I feel a great surging of excitement inside me because this, I know for certain, is the place of Banerjee, the yogi.
"The disciple has already disappeared. He must have gone into one of the huts. All is quiet. So now I proceed to make a most careful inspection of the trees and bushes and other things all around. There is a small water-hole beside the nearest hut, and I see a prayer-mat beside it, and that, I say to myself, is where Banerjee meditates and prays. Close to this water-hole, not thirty yards away, there is a large tree, a great spreading baobab tree with beautiful thick branches which spread in such a way you can put a bed on them and lie on the bed and still not be seen from underneath. That will be my tree, I say to myself. I shall hide in that tree, and wait until Banerjee comes out to pray. Then I will be able to see everything.
"But the disciple has to
ld me that the time of prayer is not until five or six in the evening, so I have several hours to wait. Therefore I at once walk back through the jungle to the road and I speak to the tonga driver. I tell him he too must wait. For this, I have to pay him extra money, but it doesn't matter because now I am so excited I don't care about anything for the moment, not even money.
"And all through the great noontime heat of the jungle I wait beside the tonga, and on through the heavy wet heat of the afternoon, and then, as five o'clock approaches, I make my way quietly back through the jungle to the hut, my heart beating so fast I can feel it shaking my whole body. I climb up my tree and I hide among the leaves in such a way that I can see but cannot be seen. And I wait. I wait for forty-five minutes.
"A watch? Yes, I have on a wristwatch. I remember it clearly. It was a watch I won in a raffle and I was proud to own it. On the face of my watch it said the maker's name. The Islamia Watch Co., Ludhiana. And so with my watch I am careful to be timing everything that goes on because I want to remember every single detail of this experience.
"I sit up in the tree, waiting.
"Then, all at once, a man is coming out of the hut. The man is tall and thin. He is dressed in an orange-coloured dhoti and he carries before him a tray with brass pots and incense-burners. He goes over and sits down cross-legged on the mat by the water-hole, putting the tray on the ground before him, and all the movements that he makes seem somehow very calm and gentle. He leans forward and scoops a handful of water from the pool and throws it over his shoulder. He takes the incense-burner and passes it back and forth across his chest, slowly, in a gentle, flowing manner. He puts his hands palm downward on his knees. He pauses. He takes a long breath through his nostrils. I can see him take a long breath and suddenly I can see his face is changing, there is a sort of brightness coming over all his face, a sort of. . . well, a sort of brightness on his skin and I can see his face is changing.