“I’m glad.”

Scull looked at him. “You already said that.”

“Said what?”

“Forget it. How’s your chicken yassa?”

“Good.”

“So why the long face?” Scull said. “Gunville couldn’t have steered us toward better eats. Doesn’t have a bad set of pipes, either. Though, you want me to be truthful, I’d still prefer he wasn’t singing in French so I could understand the words.”

Nimec didn’t answer.

Scull shrugged, dunked his spoon into his bowl, slurped. Nimec looked at him across the table, trying to decide whether his effusive praise of the food and song offered at Scintillements was authentic, a vaudeville routine intended to needle him, or perhaps a typically obnoxious Scullian mixture of the two. Regardless, Scull had succeeded in wearing his patience down to the thinnest of tatters. Or contributed to it, at least.

He turned toward the middle of the room, which neither sparkled, glittered, nor squirmed with crayon-colored lasers but instead fit the travel brochure description to its very letter. A sedate, softly lit, classic dinner club atmosphere. Around the stage were about thirty tables filled with well-dressed men and women, an appreciable percentage of whom were expatriates from the United States and elsewhere. On stage, Pierre Gunville, crew master of the Africana, sat on a stool beside the baby grand, vocalizing a sentimental ballad he’d introduced as being about love gained, betrayed, and forsaken—speaking French and English for the benefit of his multinational audience. Gunville was clad in a black tux, wing-collared white shirt, and black cravat that had been gradually undone over the course of his performance to reveal a thick, braided gold chain around his neck. It was the most ostentatious thing about the place.

Nimec ate his food, listened, and waited. When he and Scull had arrived at their reserved table earlier, Gunville had come over from the stage—where he was doing a sound check or something—proclaimed his great delight at making their acquaintance, and guided them through the menu, recommending his favorite house specialties. He had then explained that singing at the club was both his joy and sideline, a bit of diversionary moonlighting to compensate for the ennui and accumulated pressures of his hard, extended stints at sea. It was his wish, he’d said, that they enjoy the first of his two half-hour sets during dinner. He would promptly rejoin them for a drink at intermission and be pleased, indeed eager, to discuss whatever matters were on their minds relating to his primary vocation.

By that, Nimec assumed he had meant his captaining of the Africana.

Now Gunville’s sad serenade seemed to be concluding. Or crescendoing. Or whatever the hell love’s-loss songs did when they finally wrapped up. The pianist, whom Gunville had introduced only as “Maestro,” struck a resonating minor chord on the keyboard, added a blue trickle of melody. Then Gunville dramatically rose off his stool, lifted the microphone close to his mouth with his right hand, clenched his left hand into a trembling impassioned fist at his side, and ended his number with a sustained, sonorous note and a dashing full bow. Nimec noticed his lingering eye contact with a woman seated alone at a little table for two near the stage, her hands raised higher than the rest as patters of laid-back but appreciative applause spread throughout the room. She was blond, shapely and had on a sleeveless dress with a plunging back line.