Page 65 of Pity Present

I approach her from behind so she can’t run from me. When I reach her side, I gently touch her shoulder to get her attention. As soon as we make eye contact, I can’t tell if she’s happy to see me or in a panic to get away.

“I’m sorry about this morning,” I tell her. “I know I said I was here for work, but it’s occurred to me there’s no reason I can’t be here for pleasure as well.”

“What are you saying?” she asks incredulously. “You want me to help you find a girlfriend?”

Shaking my head, I tell her, “I’d like you to dance with me.”

“Why?”

“Because I like you and I want to dance with you,” I tell her.

“Because you’re afraid I’m going to tell people why you’re really here and you want to keep watch on me?” Man, is she suspicious.

“Molly,” I tell her. “I like you and I want to dance with you. Why can’t that be enough?”

She looks down at her dress and says, “I’m not wearing the right thing.”

“You look beautiful,” I tell her sincerely. Then I take her hand and lead her out onto the dance floor. The band is playing an old Garth Brooks song that I’ve always loved. I open my arms to Molly and invite her in.

Once we’re moving to the music, I lean down and tell her, “You are stunning tonight.” She grumbles something about empty compliments, so I double down. “You are easily the most gorgeous woman in the room.”

“Quit trying to charm me, Blake. I’m not buying it.”

I surprise her by saying, “I don’t care if you tell people why I’m here.”

She pulls back so she can look me in the eye. “This morning you practically begged me not to.”

“That was before I realized I can do my jobandhave fun.”

“Are you sure your girlfriend won’t mind?”

“Molly,” I pull her closer, “Gillian is not my girlfriend. I don’t have a girlfriend.”

“And you’re not looking for one either,” she drawls disdainfully.

“I might be.” I let that statement dangle in the air for a moment before adding, “If I meet someone I like.”

I feel her body tense in my arms before she says, “You like me.”

“Very much.”

We dance for the rest of the song without saying another word and yet, I feel like we’ve communicated nonstop. Before another song starts, Trina steps up to the microphone and announces, “Are you all ready to learn some basic square-dancing moves?”

I’m surprised when the crowd lets out a loud cheer. I guess everyone likes to do-si-do. Before handing off the microphone to the band leader, Trina says, “All I know about square-dancing is that it’s time to grab your partner!”

We spend the next several minutes watching a couple up front show us the moves. We allemande left, right and left grand, and promenade. Then we learn how to sashay, pass through, and box the gnat. There’s thirty minutes of this before we’re deemed ready to roll.

Leaning down to Molly’s ear, I ask her, “Are you ready?”

“Oh, I’m ready,” she tells me.

The band starts to play an old-time classic called “Birdie in the Cage.” They start out slowly at first to give everyone a chance to warm up. Then they play the same number again at the regular pace. We laugh as we spin and twirl and practice all the steps we just learned. I can’t remember the last time I had so much fun.

By the time the song is over, the whole room is panting from exertion and laughter. I take Molly’s hand and lead her off the dance floor. When we’re safely out of the traffic flow, I tell her, “I’m really glad you’re here.”

“Why?”

“Because I’m having the time of my life and I’m having it withyou. Molly,” I start to say before pausing for a moment. “Things aren’t always what they seem, but that doesn’t mean they aren’t real.”

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