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"Now come and see my own room," says Mona, going up to Rodney, and, slipping her hand into his in a little trustful fashion that is one of her many, loving ways, she leads him along the hall to a door opposite the kitchen. This she opens, and with conscious pride draws him after her across its threshold. So holding him, she might at this moment have drawn him to the world's end,—wherever that may be! Mona has no time to hear more; pale, but collected, she walks deliberately into the room and up to Lady Rodney. "Yes, very glad," returns he, hardly knowing what he says. He has gone back again to his first thoughts,—his mother's boudoir, with its old china, and its choice water-colors that line the walls, and its delicate Italian statuettes. In his own home—which is situated about fourteen miles from the Towers, and which is rather out of repair through years of disuse—there are many rooms. He is busy now trying to remember them, and to decide which of them would look best decked out in crimson and gray, or blue and silver: he hardly knows which would suit her best. Perhaps, after all——.
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This is a thunderbolt. They all start guiltily, and regard Mona with wonder. What is she going to say next? "Well, well, wait for one moment," says Mona, showing the white feather at last, and holding out to him one slim little hand. He seizes it with avidity, and then, placing his arm round her waist with audacious boldness, gives her an honest kiss, which she returns with equal honesty. "Then get a chair for yourself, at least, as you will not permit me to go to your aid," he entreats. "I am your prisoner,—perhaps," in a low tone, "the most willing captive that ever yet was made." This last remark, being in a degree ungenerous, causes a sensation. A young man, stepping out from the confusion, says, very earnestly,—.
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