The lane had opened out into a large paved courtyard. Just ahead I saw a house. Somehow, in my gut, I knew Bobby Callahan lived here, not in one of those homey little snuggeries up front. Those were probably servants' quarters. This was the real thing.

The house was the size of the junior high school I'd attended and had probably been designed by the same architect, a man named Dwight Costigan, dead now, who had revitalized Santa Teresa single-handedly during the forty-odd years he worked. The style, if I'm not mistaken, is Spanish Revival. I have tended, I confess, to sneer at white stucco walls and red tile roofs. I've been contemptuous of arches and bougainvillea, distressed beams and balconies, but I had never seen them put together quite like this.

The central portion of the house was two stories high, flanked by two cloistered arcades. Arch after arch after arch, supported by graceful columns. There were clusters of airy palms, sculptured portals, tracery windows. There was even a bell tower, like an old mission church. Hadn't Kim Novak been pushed out of something similar? The place looked like a cross between a monastery and a movie set. Four Mercedes were parked in the courtyard like a glossy ad campaign, and a fountain in the center shot a stream of water fifteen feet high.

I pulled in as far to the right as I could get and parked, then looked down at what I had on. The pants, I saw now, had a stain on one knee that I could only conceal if I held myself in a continual crouch so the tunic would hang down that far. The tunic itself wasn't bad: black gauzy stuff with a low square neck, long sleeves, and a matching tie belt.