Montpelier examiner. [volume] (Montpelier, Idaho) 1895-1937, 1906-11-30

not, tney invariably talk OF two things
dress and servants. But when the
light has waned, and the glow of the
fire fills the corners of the room with
dancing shadows, even dress and
servants are left, and the conversation
invariably turns--to the other great
stock subject: man.
"Of course, didn't do it to be
thanked; but think you might have
murmured one little word of gratitude
to me for asking Mr.. Carr down.
mean, ordinary politeness requires
some attention even from you"
Eva looked up at Mrs. Clutton from
a deep dell of hot coal which had been
formed between the bars. Thank
you." she said; and then, added, 'for
nothing"
Mrs. Clutton was one of those long,
slight, tired women who always dress
to perfection, are never ruffied, never
different, who are able to hurry while
appearing to dawdle, to be exceeding
ly annoyed without the least appar-
emit effort, to laugh heartily without
making a sound, and to talk with
great animation, without in any way
disturbing the undulating, velvety
-drawl with which they are born.
you might talk to me from now till
the middle of next week." she said,
"and then you couldn't convince ne
that you are not glad that he is here"
A laugh sprang across Evas face,
to be instantly hunted away by sigh.
my dear Enid, haven't the faihtest
desire to prove that l am not hope
lessly in love with him. Unfortunate
ly it is known to everybody in this
world except the man himself. And
the absurdity of the whole thing
the thing that makes me feel like half
just as much in love with me as
am with him, and that's very great
deal indeed"
Il don't see where the absurdity
comes in. If you are both in love as
much as all that, why don't you mar
ry him?"
Half-tragically, half-comically, wholly
in the manner-so far as we can guess
of petulant angel, Eva sprang to
her feet, and flinging her collection of
cushions far and wide, commenced
dashing about the room, greatly to It's
danger.
MARRY him! marry him! Don't 1
want to marry him? Isn't it my one
ambition in life to become the wife of
this silly, foolish, timid, wretch? It's
all fine for you to sit there and say
those easy, insane things; but l can't
run away with the man, can 1?
can't buy toy pistol, meet the poor
dear in dark passage and shrek,
Marry me, or you die!' can I? can't
chase him into a conservatory flop on
my knees, and cry, Teddy, love you
with a love that is almost indiscreet;
be. oh, be my husband can I, can /,
can II" Eva caught one of the cush-
ions a beautiful kick, and sent 1t fly.
ing against whatnot.
Not very WE'LL" said Mrs. Clutton.
"But shall tell you what you can
and will do?"
"What?" cried Eva, eagerly.
Smash my precious china II you
kick cushions about like that. :.
encouragement"
Eva laughed the laugh of theater
scorn. Encouragement? Why, my
dear Enid, / have done everything a
icely-brought-up girl ought to do,
and good deal that she oughtn't.
During that time, a matter of per-
haps minute and quarter-Mrs.
Clutton had been thinking hard, al
though 1t would have been impossible
to guess 1t from the placid state of
her features.
Eva she said finally, have you
ever noticed that picture painted on
the panel over the bookcase, of girl
sitting on an armchair with her eyes
cast down, and with her hands folded
meekly on her lap?"
"No" said Eva, land If had, what
on earth has she to do with my hor-
rid problem"
Mrs. Clutton undulated on: 1.-THE
figure of the girl works on a hinge,
and sometimes when my husband had
got into boyish scrape and wanted
to hear what his father said about 1t
sister 10 pull the picture back, and
sit in the girls place to report to
MIN whit went on. A dishonorable and
very fascinating proceeding. A chair
was PLACED behind the picture In the |
next room, the floor of which Is on a |
level with it, and In this kind Of light |
it was impossible to tell the difference
between the real and the unreal girl. |
Now, don't you think"
'Thinl! Think" cried Eva, Gov
ering the permanently quiet Mrs.
Clutton with kisses, Il should think
do think. Oh, Enid. you engineer!
You want me to get into the picture:
you want to bring Teddy here to see
my new portrait; you want to leave
him to say to me on a panel what |
he daren't say to me In the flesh: