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Content Warning: This section includes sexual content and substance use.
Hallie is bartending at a wedding reception—one of her side jobs. She finds the man ordering drinks attractive: “[E]ven though she’d sworn off dating, Hallie couldn’t help but appreciate the dimples and the Hollywood bone structure” (1). She realizes that she sold him an engagement ring that morning at the jewelry store, her second part-time job. His girlfriend, Vanessa, chides Jack for flirting with the bartender. Vanessa throws a glass of wine in Hallie’s face, and Hallie jokes that the chardonnay tastes bitter.
Hallie’s friend from high school, Allison, comes to the bar. She remarks that Hallie used to be a responsible, buttoned-up person, and now she’s a “hot mess shit show” (7). Hallie reflects that, after her breakup with Ben, she entered a period she is calling the winter of her twenties. When Jack returns, telling her boss he needs Hallie, Hallie protests, saying that Jack should talk to her and not ignore her just because she has breasts. As he pulls her aside, claiming he is the brother of the bride, Jack reveals that Vanessa also threw a drink in his face and broke up with him. He invites Hallie to have a drink with him. Jack thinks Hallie is cute and funny. He’s glad she agrees to get drunk with him and calls her “Tiny Bartender.”
Hallie wakes up in Jack’s bed in his hotel room. She recalls that they had sex several times the night before, including in the service elevator. Believing Jack is sleeping, Hallie crawls around the floor looking for her clothes. She can’t find her bra, so she leaves without it, as she doesn’t want him to wake up. As she makes her walk of shame through the hotel lobby, where employees recognize her, Hallie realizes that “she had just woken up in the hotel room of a guy whose full name she didn’t know” (16).
Jack arrives at the family wedding breakfast with a hangover. His older brother, Will, teases him, along with Colin, his best friend and now brother-in-law. Olivia tells Jack not to rush into another relationship just because he’s sad and doesn’t want to be alone. Olivia knows Jack was forcing his relationship with Vanessa. Olivia has enrolled him in a dating app and wants Jack to try it.
A week later, Hallie talks with her friend Chuck over dinner. She tells him that waking up in a stranger’s bed was the impetus she needed to turn over a new leaf and start living like an adult. Chuck, who is in a committed relationship with Jamie, encourages Hallie to try the dating app Looking4TheReal, and Hallie admits to herself that she wants love. Chuck describes the dating app as “shopping for the one person in the universe who will make you blissfully happy for the rest of your life” (23). Hallie says she’ll try it.
Ruthie, Hallie’s eccentric, impulsive roommate, serves Hallie banana bread. Hallie doesn’t know how to tell Ruthie she wants to move into her own apartment. Ruthie, who is a member of a secret fight club and rides a motorcycle, is unpredictable and lively. Hallie discusses profiles she’s finding on the dating app with Chuck, noting how all the men seem to be holding a beer or a dead animal. She runs across Jack’s profile and is surprised, as “[h]e’d seemed too confident and dashing to be single” (29). Then she recalls that a week ago, he was ready to be engaged, and now it seems he’s ready to date again.
Hallie teases Jack with a message asking why he hasn’t called. When he hesitantly responds, Hallie assures him she does not want to date him; privately, she thinks of their time as a throwaway one-nighter. She assures Jack she had a fine time but assumes the night only seemed red-hot because she was drunk. Jack teases her back, saying he still has her bra, and he was awake when she made her getaway. She asks what he is looking for, and he admits he wants someone important in his life. Hallie wants the same thing, but she suspects Jack is just in desperate need of a relationship and assures him she’s not interested in him. Jack enjoys their exchange; Hallie has “reminded him that fun was a thing” (33). Jack feeds his newly adopted cat, Meowgi.
Hallie cuts her hair, buys new clothes, and quits her part-time jobs to focus on her full-time one. She puts a deposit on her dream apartment and feels things “falling into place” (35). She gets ready for her date with Kyle, though she isn’t sure he’s the type to banter. She chats via text with Jack, who teases her for settling for someone “nice,” and she teases him for using the expression “getting railed” (37). Jack also has a date and is worried there won’t be chemistry. He teases Hallie about being his tiny bartender, or TB.
Jack tells Colin that he’s been chatting with the wedding bartender. Colin and Olivia had to delay their honeymoon trip because their driver ran over Olivia’s foot the morning they were supposed to leave. Jack reflects on his time with Vanessa as a lapse in judgment and wonders if he’ll make the same mistake again. He isn’t sure what he’s rushing toward.
Hallie approaches her date ready for magic, but Kyle is disappointing. He’s stingy and is insulted when Hallie, a tax accountant, won’t agree to do his taxes for him. She and Jack text about their failed dates, and Hallie asks how he can feel ready to date again; she thinks, “He clearly had I-can’t-be-single issues” (46). Jack admits he and Vanessa were going through the motions but weren’t close, and Hallie sees a parallel in her relationship with Ben. She shares that she is looking for “[s]omeone who likes [her] more than everyone else in the world” (48).
Jack proposes a bet on who will find their dream person first. Since he canceled his honeymoon, he offers Hallie his airline points. Hallie wants to travel to Paris. Hallie offers him a baseball signed by the Chicago Cubs after they won the World Series, which she took from Ben. They start calling each other Piper and Marshall. Hallie gives Jack her phone number, and he calls to invite her to go with him to a speed dating event.
Hallie meets Jack for the speed dating event, and he is even more handsome than she remembered. She likes his mischievous, teasing manner but tells him she finds him unattractive. Jack backs Hallie up when she argues with the speed date moderator about the logistics of who sits and who moves. He realizes, “he was having a great time just watching Hallie be Hallie” (60-1). Hallie’s first date, Blayne, is into yoga, and Jack’s tells him up front she just wants to be married. As they confer after, Hallie approves Jack’s Pretty in Pink reference. Hallie provokes her second date, Thomas, into walking away, while Jack’s date is scrolling on her phone. Hallie and Jack agree that if their next dates aren’t interesting, they’ll leave. Hallie’s next date, Nick, lives off a trust fund and plays video games all day. Hallie grabs Jack to make their getaway.
Hallie and Jack share tacos at the Taco Hut, where Hallie instructs Jack that cheese should go on the bottom of a taco, where it can melt, rather than remaining on top, where it stays cold and hard. Hallie finds Jack much easier to be around than her ex, Ben. Hallie explains how she took several months after her breakup to enjoy her “winter” and improve herself “so [she’d] be ready to take on the world when [her] spring arrived” (72).
When Hallie is curious about Jack’s old apartment building, he takes her inside to meet Olivia and Colin. Jack admits to himself that Hallie is hot, but he doesn’t want to confuse their partnership with sexual attraction. Olivia takes Hallie aside to talk. Olivia explains that Jack felt abandoned when Olivia and Colin fell in love, then was shaken when their Uncle Mack died. Jack is eager to find someone special, and Olivia worries he will jump into another relationship too fast. Hallie calls it going for “low-hanging fruit.” She recalls Ben saying he was in love with the idea of Hallie, but not Hallie herself. Hallie teases Jack about his family’s allegiance to Chicago sports teams, then points out her new apartment building and thinks, “it was nice to have someone to dream with” (80).
The setting of the novel isn’t confirmed, but their environment, a mid-sized city in the US, provides Hallie and Jack plenty of opportunities to move around and meet people. As romantic leads, Jack and Halle have several things in common: They are both young professionals from solid, middle-class families, and though they have dating troubles, their lives are generally good. They have close friends and people in their lives they can confide in and who provide important sounding boards, foils, and patterns as their relationship develops. All this contributes to the light-hearted tone and atmosphere of the book. Their general wellness, combined with a lack of major external obstacles, signals that the novel’s focus will be on emotional growth and relational development—an ideal backdrop for the exploration of themes like The Value of Strong Friendships and Personal Growth and Maturity.
Painter’s voice is humorous, and her style is fast-paced and direct. Her characters are witty, and Jack and Hallie’s banter is, in this section especially, key to their early attraction and mutual appeal. Painter occasionally introduces elements of the absurd, like Ruthie and her secret fight club, a mention that seems there for no other reason than to illustrate that Hallie is a tolerant, well-adjusted person who likes and can get along with quirky people. This sense of absurdity also reinforces the romantic comedy mode of the novel—where chaos often nudges characters toward deeper realizations about themselves and each other.
Adding to the contemporary tone are the frequent allusions to popular culture, like the ubiquitous coffee franchise, Starbucks, and self-aware references to other romantic comedies, like cult classic Pretty in Pink, a 1986 romantic comedy about the dramatic love life of a high school-age protagonist. In that movie, the protagonist, Andie Walsh, daughter of a working-class family, falls in love with a rich young man named Blane, not knowing that her best friend, Duckie, is also in love with her. The film’s love triangle obliquely comments on the dynamic developing between Jack and Hallie, in which he professes to be her wingman while developing feelings for her that he isn’t yet able to acknowledge. These allusions serve a double function—immersing the reader in a recognizable cultural lexicon while foreshadowing the inevitable romantic tension between Hallie and Jack.
In the conventional romance pattern, the protagonists meet in a scene referred to as the “meet cute,” usually a situation that is in some way silly, absurd, out of the ordinary, or shows one or both characters at a disadvantage. Hallie’s meet cute with Jack entails her contributing to the breakup with the woman he had intended to propose to, Vanessa. In commiseration, Hallie and Jack drink to excess, then have sex. Hallie doesn’t object to casual sex, but she does feel irresponsible about not knowing the man’s last name. This embarrassment leads her to avoid talking with him the next morning, and the “walk of shame” through the hotel where she works confirms her feelings that this was a reckless choice. Hallie describes this moment as her rock bottom, and it becomes the motivation she needs to make changes in her life, finally moving from the “winter” of the twenties—the phrase of dormancy and self-exploration following her breakup with her long-time boyfriend, Ben—into what she hopes will be the “spring,” the opportunities offered by the dating app. Hallie shows herself ready for love, but by removing Jack from Hallie’s list of potential candidates, Painter has subverted the meet cute and turned it into what appears to be the beginning of an enjoyable friendship but not the beginning of a romance, which comes burdened with the Expectations around Romantic Love. Painter plays with this trope by letting the “meet cute” catalyze Hallie’s self-reinvention rather than her romantic awakening, aligning with the theme of Personal Growth and Maturity.
It will be necessary to the progression of the romance to show that Jack is available for love, but the obstacle in Jack’s arc is that he might be too ready. He is self-aware enough to realize that he pursued Vanessa for a relationship, not for the person she was. His sister specifically warns him not to rush, and he wonders what it is he is rushing toward, marking his issues as partly existential. Hallie immediately presents herself as a preferable partner by the fact that Jack has fun with her. He enjoys her humor as well as her personality, and this furthers the novel’s exploration of The Value of Strong Friendships through the alliance Jack and Hallie develop as dating competitors. Their playful dynamic and early emotional transparency provide the foundation for a friendship that begins to satisfy the very romantic needs they claim to be pursuing elsewhere, intensifying the novel’s dramatic irony.
This friends-to-lovers progression is a popular trope of the romance genre, particularly romantic comedy, but Painter adds the element of competition. The titular love wager is a humorous device that helps reveal more of each protagonist by showing a deeper want; Hallie would love to travel to Paris, and Jack would love to gift a baseball signed by the Cubs to his family. Their wagers serve as emotional proxies—each prize representing not just a tangible reward, but a vision of an ideal life. In this way, Painter bridges Expectations around Romantic Love with Personal Growth and Maturity, revealing how romantic desire and self-fulfillment are intertwined. While Ruthie, the independent but eccentric single, and Vanessa, the jealous girlfriend, both provide foils and examples of what Hallie doesn’t want to become, the happy couples in this section offer a pattern for what both protagonists are seeking. Jack wants someone he adores the way his best friend Colin adores Jack’s sister, Olivia, and Hallie wants a companion of her own—someone to dream with. The motif of “dreaming with someone” recurs in key emotional beats, underlining Hallie’s quiet yearning for intimacy beyond performance. This supports the idea that emotional safety becomes the groundwork for transformative romantic connection. The fact that they’ve already found each other, but don’t yet realize it, creates a dramatic irony while the relationship unfolds.



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