To Hate and To Hold
A different one, older, that must have lived in this room and been uncovered along with everything else.
She looked back at him.
He was watching her with his hands at his sides now, his weight slightly forward, the posture of a man waiting to begin something he'd decided to begin.
"The waltz at Harrington's is traditional," he said. "Three-four time. Slower than you'd think, but the hold is formal and the footwork is visible. If we're not — if it looks rehearsed in the wrong way, they'll see it."
"So we need to look natural."