Apply Example 26 to a ii-V-I in C, and you might come up with this.

This is another approach to resolving borrowed tones. In the first bar, the E and C sharp are borrowed from the diminished 7th chord of the F major 6 diminished scale; they resolve down to the Fm6. The progression continues in a similar manner until the last bar, where something interesting occurs: What seems at first glance to be a straight-ahead major 9th voicing actually contains three notes borrowed from the A flat major 6 diminished scale (G and B flat). Rather than being static, these notes are unstable in the context of a major 6 diminished scale and can resolve down to the chord tones of an A flat 6.