They asked himto sit in one of the chairs, with Melvin sitting opposite and Karenright next to Angelo. She took his hand, as if to lend support."Now, young lady, tell us who you are," Melvin said. He was a tall,trim boy, with a rich black complexion and closely trimmed hair. Hehad a gentle manner, but he also sounded firm, and with a no-nonsensedemeanor. Angelo said nothing. He had no idea what he should tell them. Howcould he tell them he was really a boy? "Come on, we won't bite," Karen said gently. It was obvious these twostreet workers were used to dealing with runaway children whose onlydefense often is to clam up and say nothing."We're not the police," Karen continued. "Your secrets are good withus." Yes, honey," added Melvin. "We know many children runaway because ofabuse at home, and we need to find out what your issues are."Angelo sat primly, as a proper young lady would, still refusing to sayanything, but soon he began sobbing, tears running down his cheeks,with. Her sobbing was virtually uncontrollable. In an act of sympathy, Peter took off Mona’s robe and undressed her. He set her down in bed and let her cry herself to sleep. Mona awoke very early in the morning. Peter had evidently slept elsewhere for his side of the bed was unruffled. Mona felt like a completely different woman. Rikard’s words hat cut deeply into her psyche. During the night when her tears had passed she reappraised Peter and realized that he was treating her as well as he possibly could. She could never be his queen but as a concubine she had certain rights and privileges. She did not like the idea that she might be shared with other men but as long as she was returned to Peter she supposed that she could tolerateeven that. In a way that the church pronouncement had not, Rikard’s words had caused her to consider her marriage over. For the first time she considered herself divorced. With that her new status it only made sense to draw closer to Peter. The ladies in waiting.
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