The Luminaries

For he had struck the gull across the back with his stick.

‘You don’t happen to know what Carver was booked for—do you, lad?’

‘Trafficking,’ the stevedore said immediately.

‘Trafficking what?’

‘Opium.’

‘What—into China? Or out?’

‘Couldn’t tell you.’

‘Who booked him, though? Not the Crown.’

The stevedore thought about this, and then shrugged. ‘I don’t really know,’ he said. ‘I thought it was something to do with opium. But maybe that was just something I heard.’

Presently Balfour bid them both goodbye, and moved on along the spit. As soon as he was well alone, he planted his feet apart, thrust his hands into his pockets, and looked out over the white roar of the ocean—past the screw jacks and greased rollers, past the wooden lighthouse at the spit’s far end, past the dark hulks of the ships that had foundered on the bar.

‘See, now!’ he muttered to himself. ‘That’s something—that’s something, all right! Carver must be the man’s real name! He can’t be using an alias—not in Hokitika, under the gaoler’s own nose—when he served time beneath the man, in a penitentiary!’ Balfour slicked his moustache with his finger and thumb. ‘Here’s the rub, though. What in heaven’s name provoked him to make the claim—with proof in writing, to boot—that his name was Francis Wells?’

SATURN IN LIBRA

In which Joseph Pritchard outlines his theory of conspiracy; George Shepard makes a calculated offer; and Harald Nilssen agrees, in a tone of remonstration, to pay a call upon Ah Quee.

It was at this point that Balfour’s role as narrator was usurped—a transferral that was marked, on the shipping agent’s part, by the lighting of a new cigar, the filling of a fresh glass, and an enthusiastic ‘Now, correct me if I’m wrong, boys!’

This exhortation was apparently directed at two persons: Joseph Pritchard, the dark-haired man on Moody’s left, whose stifled intensity of silence was matched, as Moody soon discovered, by the stifled intensity of his unhurried speech, and another man whose physical presence we have not yet had cause to remark. This second man had been playing at billiards when Moody first made his entrance; Balfour now introduced him, with an admiring thrust of his cigar, as Harald Nilssen, born in Oslo, late of Bath, undefeated master of the three-card brag, and a d—ned fine shot—to which Nilssen added, springing forward to augment his own commendation, that he carried a muzzle-loading Enfield musket, the British Empire’s finest, and the only firearm he had ever deigned to touch. These two men were more than willing to take Balfour’s exhortation at face value—Nilssen for reasons of vanity, for he could not bear to be the leading role in a sensational tale, and not the leading actor, too; and Pritchard for reasons of precision.

We shall therefore leave Thomas Balfour standing on the wharf with his hands in his pockets, squinting into the rain. We shall turn our gaze some two hundred yards to the north, and alight at the Auction Yards on Gibson Quay—where, behind the rostrum, an unpainted door leading to a private office bears the legend Nilssen & Co., Commission Merchants.

In deference to the harmony of the turning spheres of time we shall resume our tale exactly at the moment Balfour left off—in Hokitika, on Saturday, the 27th of January, at five minutes before one in the afternoon.

At midday on a Saturday Harald Nilssen could usually be found in his office, sitting before a stack of contracts, wills, and bills of lading, patting his breast every ten minutes or so to check again the silver pocket watch that would release him to his luncheon—which he took with medical regularity each day at the Nonpareil. Nilssen recommended this routine to any who would listen, believing very stoutly in the curative properties of dark gravy, pastry, and ale; he did much recommendation, in fact, and often made an example of his own customs for the profit of other, less visionary men. He derived an especial pleasure from argument, so long as it was of the preposterous, hypothetical variety, and so loved to fashion absurd theories of abstraction from the small but dedicated circle of his own tastes. This attitude was affectionately reinforced by his friends, who thought him vivacious and amusing, and scorned by his detractors, who thought him affected and self-absorbed—but these latter voices were subdued in Nilssen’s ears, and he spent no effort to better make them out.

Harald Nilssen was famous in Hokitika for the high style of his dress. That afternoon he was wearing a knee-length frock coat with silk-faced lapels of a charcoal hue, a dark red vest, a grey bow tie, and cashmere striped morning trousers. His silk hat, which was hanging on a hatstand behind his desk, was of the same charcoal hue as his coat; beneath it was propped a silver-tipped stick with a curved handle. To complete this costume (for so he perceived of his daily dress: as a costume that could be completed, to effect) he smoked a pipe, a fat calabash with a bitten-down stem—though his affection for the instrument had less to do with the pleasures of the habit than for the opportunity for emphasis it provided. He often held it in his teeth unlit, and spoke out of the corner of his mouth like a comic player delivering an aside—a comparison which suited him, for if Nilssen was vain of the impressions he created, it was because he knew that he created them very well. Today, however, the mahogany bowl was warm, and he was pulling on the stem with considerable agitation. The hour of his luncheon was past, but he was not thinking of his stomach, and nor of the ruddy-cheeked barmaid at the Nonpareil, who called him Harry and always saved the choicest edges of the piecrust for his plate. He was frowning down at a yellow bill upon his desktop, and he was not alone.

At length he pulled his pipe from his teeth and lifted his eyes to meet the gaze of the man sitting opposite him. He said, in a low voice, ‘I’ve done no wrong. I’ve done nothing below the law.’

He spoke with only a very slight Norwegian accent: thirty years in Bath had made him all but British in his inflexions.

‘It’s who stands to profit,’ said Joseph Pritchard. ‘That’s what a justice will be looking for. Seems you made a very tidy profit by this man’s death.’

‘By the legal sale of his estate! Which I took on after he was already in the ground!’

‘In the ground—but warm, I think.’

‘Crosbie Wells drank himself to death,’ said Nilssen. ‘There was no cause for an inquest, nothing untoward. He was a drunk and a hermit, and when I received these papers I believed his estate would be small. I had no idea about the ’bounder.’

‘You’re saying this was just a lucky piece of business.’

‘I’m saying I’ve done nothing below the law.’

‘But someone has,’ Pritchard said. ‘Someone is behind this. Who knew about the ’bounder? Who waited till Crosbie Wells was six feet deep, then sold off his land so quiet and so quick, without ever going to auction—who put the papers in? And who planted my laudanum under his cot?’

‘You say planted—’

‘It was planted,’ Pritchard said. ‘I’ll take my oath on that. I never sold that man a dram. I know my faces, Harald. I never sold a single dram to Crosbie Wells.’

‘Well then, there you are! You can prove that! Show your records, and receipts—’

‘We have to look beyond our own part in this design!’ Pritchard said. When he spoke vehemently he did not raise his voice, but lowered it. ‘We’re associated. Trace it back far enough, and you’ll find an author. It’s all of a piece.’

‘Do you suggest this was planned—in advance?’

Pritchard shrugged. ‘Looks like murder to me,’ he said.

‘Conspiracy to murder,’ Nilssen corrected him.