By contrast the Mother Superior, Maria Immaculata, was femininity and charm itself. She had a round, almost childish face, like a three-quarters moon, smiling, slanting brown eyes and a cherished olive complexion set off by a very white linen wimple. As she moved forward with a rustle of black silk, the pale hand she held out to Rupert and Taggie was soft and slightly greasy from a recent application of hand cream. Mother Maria Immaculata believed you brought more comfort to the poor and suffering if you looked attractive.

It was the same in her office. Crimson bougainvillaea rioted round the windows outside. Frescoes and wood carvings decorated the white walls of her office. On her shiny dark desk, which seemed to breathe beeswax, beside a silver vase of blue hibiscus flowers, lay the report of Rupert’s and Taggie’s marriage drawn up by English social workers.

But Maria Immaculata did not set much store by gringo gobbledygook. More importantly, Rupert and Taggie had come with an excellent recommendation from the Cardinal, who was a friend of Declan O’Hara, Rupert’s partner, whose television interviews were transmitted world-wide. Even the Pope, who was evidently writing a book, and might want to promote it on Declan’s programme one day, had put in a good word. Anyway, Maria Immaculata preferred to make up her own mind.

And then Sister Mercedes, who acted as the convent Rottweiler, had helped matters greatly by bringing in this beautiful couple — the man as blond, tall, handsome and proud as El Dorado himself, and his wife as deathly pale, slender and quivering as a eucalyptus tree in an earthquake, and whose eyes were as silver-grey as the eucalyptus leaves themselves.