This story begins two days before To the Altar and follows the actions, thoughts and feelings of our leading lady, Shane McInerney throughout the rest of the week.

In thinking about the character of Shane especially in To the Altar, I don't think she spent the week lost in contemplation or filled with angst. I was struck by how patient and understanding she was throughout the movie with Oliver. Shane seemed very happy and at peace. I wondered how she matured in faith and came to this point. I begin two days before the movie to provide a bit of a backstory. I also create a character not in the movie, Jewell Moorefield. Still the primary characters and inspiration for the story are the gift to us from Martha Williamson and I Corinthians 13. I hope you enjoy it.

Chapter One - Saturday: Love Is Patient

Shane bounces out of bed Saturday morning ready to take on the day. She is going shopping – shopping for Rita. She has her day all planned. She will shower, dress, go to the coffee shop around the corner for their Saturday morning special – blueberry lemon miniature scones and a large cup of organic Kona coffee heavy on the sugar. After treating herself to breakfast she is going to buy that little something for Rita.

A month ago she scheduled an afternoon at the spa just for the two of them and reserved a special table at Montaldo's for this Thursday. But today is for purchasing a special gift. She is going to buy something that she knows no one in Rita's life is buying for her. It is something Rita will not buy for herself. It is something to curl Norman's cummerbund.

There is a boutique in Denver in which Shane has always wanted to shop – at least peruse. But even considering buying something for herself in this exclusive store seems foolish. She has never entered its doors. Rita's gift gives her an excuse. The shop is Mon Amour, Denver's finest lingerie boutique. It is the type of shop where brides add to their trousseau and married men purchase something extraordinary for an anniversary. The two women could go to a very different lingerie store. There is one located by Rita's apartment. Rita passes it every day. Mon Amour is not that store.

As soon as Shane enters the boutique smells of lavender scented candles. Its fragrance isn't overwhelming. It is just that hint of something that differentiates this spot from anywhere else you may go today. Everything about the store is beautiful from the pale blush walls to the white trim to every lovely feminine garment. Ladies all wearing black pencil skirts and black jewel-neck blouses offer to help when you enter. This day they are short-staffed. Shane crosses the threshold and begins to browse without being intercepted.

A chandelier hangs in the middle of the room over a round mahogany table that displays an antique lace bed jacket and a sterling silver brush and mirror set. On the table is a sign in script that reads Maintenant et Pour Toujours, Now and For Always. Partitions throughout the store create little alcoves each featuring a different color or particular style lingerie. At each alcove is an easel with its own sign naming the area: Mon Chéri, Mon Amie, Mademoiselle, Madame. Shane walks past hues of blue, pale pinks, and shades of yellow. Across the way she catches a glimpse of red and a corner for black. But in the back is a semicircle of white. She is drawn there. This area is the store's namesake: Mon Amour.

On a faceless manikin perched on a round pedestal 18 inches off the floor is a white silk full-length robe with bell sleeves. A border of lace follows every edge of the robe as if the entire robe is magically a seamless garment. It is the definition of loveliness. The robe drapes open in the front with the sash hanging loosely from the loops at the waist. Peaking out from the front is the matching gown. The gown is a completely sheer sheath of silk chiffon. The lace that trims the robe is minimally appliqued by hand on the sheath. Matching silk creates the edge of the neckline and only the thinnest of straps that crisscross the plugging back. A slender silk border traces the hem and the side slits of the gown. The translucent gown reveals a pair of lace trimmed bikini briefs underneath. Suddenly Shane isn't thinking about Rita. She is thinking about herself.

"You would be quite alluring in that. It's from Belgium. May I get one boxed for you?"

"Oh, Oh no. I'm not."

"I'm sorry I startled you. My name is Georgina. How may I help you dear?"

"I came to buy a wedding gift. I'm just the maid of honor not the bride."

"Then what may I show the lovely maid of honor?"

"Something short and in red – or maybe black – for the bride. Preferably without owls," says Shane, mumbling the last sentence.

"We have several lovely things. Come right this way," replies the very professional clerk, ignoring the last comment. She learns in her twenty-two years of working at Mon Amour to ignore some things and not to ask about others. A reference to owls seems best ignored.

Shane explains that the bride is gorgeous and completely innocent of how beautiful she is. Most importantly, the bride's mother passed recently and so she wants to be the one to buy her that little something extra, something flirty and fun.

After forty-five minutes of finding multiple items that she likes for herself, she thinks better of actually making the purchase for Rita. She recalls the time she dressed Rita for the Miss Special Delivery pageant. Rita looked amazing and felt horrible. It is Rita who should feel beautiful.

"Would it be possible for me to purchase a gift card and then bring Rita into the store this Thursday afternoon to choose something for herself?"

"Certainly, we have a special gift card designed for brides," said Georgina.

Shane purchased the gift card making certain that it would cover whatever Rita might choose. The card would insure that Rita left with something for herself, but something in which she was still herself.

"Allow me also to give you my business card. Call and I will gladly take care of anything for you. I could even have some things pulled for you when you arrive on Thursday."

"Thank you," Shane replied. "You have been very helpful."

As she walks out the door she cannot resist looking back over her shoulder perchance to glimpse the white ensemble at the back of the store. She knows why women and men love this shop. The assistants are as smooth as the silk they sell. Georgina is welcoming, delightful, and very knowledgeable. Maybe one day she will return – without Rita.

The gift card she purchased is a generous sum, especially for Shane's income, but it is for Rita and she wants her to have something special. Shane loves Rita, admires Rita, respects Rita. In some ways she feels a little like a protective older sister toward her. "Uh oh, my younger sort of sister is getting married. What does that make me? The old maid?"

Shane wonders what the white robe and gown cost. It probably comes under the heading of "if you have to ask you can't afford it." She could probably Google it. Before she realizes she walks two blocks in the wrong direction lost in thoughts of lingerie. She laughs at herself. Looking around she notices the tearoom across the street. Hot tea seems perfect on a chilly but sunny Saturday. She crosses the street, enters, and asks for a table for one.

As she sits stirring her tea she cannot help but think of the diaphanous white gown. She wonders what Oliver would think. What would he find alluring? Isn't that the word Georgina used – alluring? She taps the spoon on the rim of the cup allowing the droplets of tea to fall. She better think of other things. The man has not even told her that he loves her. A marriage proposal is nowhere in sight and married would be the only way Oliver O'Toole would ever see her in anything from Mon Amour.

Regardless, the thoughts of honeymoons and lace put her in mind of something in a box back at the DLO. That is a purchase she hopes to make Monday – a purchase she can afford and no one will discover. She can't bare the thought of it going up for public auction – someone buying it, for almost nothing – throwing it in a pile somewhere and forgetting it - turning it into something tacky. She really has no use for the item she tells herself. She doesn't even know if it will fit. Things can be altered! But the material is so beautiful. She will transform it into a cocktail dress at least. There is something about the lace that reminds her of the exquisite robe and gown at the back of the store. Maybe she can turn the veil into a sheath like the….

"Oh, I've got to stop this. McInerney, get a hold of yourself."

Of one thing she is certain. She has to get the package before it goes public. There is no way she can bid on it in front of the Denver Main Branch of The United States Post Office! Everyone will make assumptions and she will be the laughing stock of the place. Oliver will join a monastery and spend the rest of his life in humiliated seclusion. She can see it now – Oliver sans suit – monks robe and a Bible.

"May I bring you another pot of tea?" the server asked.

That was the second time today a request to serve snaps her out of her musings.

"Oh, no thank you. Just the check."

The rest of the day Shane manages to keep her mind on whatever tasks are at hand. She has a coat at the dry cleaners that she has to get before it closes at 2:00 p.m. and her bridesmaid dress is ready as well. All in all it is pretty as bridesmaids' dresses go. Rita allowed her to choose – as long as it was red.

She wants to be home by 3:30. Oliver is coming at 5:00. They are going to eat at Donatello's then go to the movies to see Rear Window. It is playing at The Classic– a small cinema complete with an organ player and heavy burgundy draperies that open and close before each showing. Tickets for showings at this niche theatre cost $20.00 per person. You could see the latest box office blockbuster for less at the mall theatre. Here you pay for the experience of stepping back in time.

Shane likes horror movies and Oliver likes suspense. Shane says Oliver just likes anything filmed more than fifty years ago. He is a particular fan of Hitchcock.

"I saw The Birds. I wasn't impressed. And it was in black and white," said Shane.

"Have you seen North by Northwest?"

"No,"

"Vertigo?"

"No."

"Rear Window?"

"No"

"Then you haven't seen Hitchcock," he says with a smug grin.

Oliver convinces her that suspense is far more terrifying than gore. At least after he kisses her she is in full agreement. The movie date is set.

As a fan of old movies Oliver follows the coming attractions at The Classic. He notices that Rear Window is to play this particular weekend. He asks her to join him for this special date three weeks in advance. Oliver never waits to the last minute to ask her out but three weeks in advance says that even for Oliver this is special. That however is before his new distracted disposition begins to manifest.

Shane returns home from her productive errand running in plenty of time to get ready for their night out. She can't decide what to wear. Oliver has been in quite the mood as of late – distant – preoccupied. The mood seems to be increasing in intensity. At times he is even ill tempered. If he orders clams tonight she will know something is terribly wrong. She tries to think if there is something she has done or not done and she really can't think of anything – well nothing out of the ordinary. She still saves the really bad stuff for Fridays but she hasn't even needed a Friday as of late. Here she is daydreaming about dresses and lingerie and her date may not be aware she is even in the room. That's a depressing thought.

Classic Italian restaurant, classic movie – let's go with a classic little black dress - hair down, no hair up, heels high, lipstick red. Ready to go. No wait – perfume! Now ready to go.

She knows when he arrives wearing charcoal slacks, navy blazer, white shirt and no tie that it is a good sign. The evening is off to a good start; Oliver does not order clams. However, he is rather quiet. As the evening progresses, he relaxes more and more.. Dinner is delicious. He even offers her a bite of his manicotti from his plate. They share a decadent chocolate dessert. They laugh. She flirts. He likes it. Even the weather is cooperating – no rain.

Going to The Classic really is an experience going back in time. Oliver is in his element and he loves sharing this with Shane. She is drawn to the light in his eyes more than the antique candy counter but his delight is her pleasure.

"Would you care for popcorn? Fountain beverage? Raisinettes?" he asks.

"Raisinettes? I don't think so," she chuckles. "I'll have whatever you are having."

They decide that neither is hungry after their delicious dinner and leave the counter empty handed. Well, not exactly – holding onto only each other's hand.

They enter the movie theatre to the sound of the Wurlitzer organ and the feel of velvet covered theatre seats. She isn't sure about Hitchcock yet but coming here is certainly an experience. She does think it is nice to be in a theatre where your shoes do not stick to the spilled soda on the floor.

Oliver is right. Suspense is better than gore. She is totally engrossed in the story. But when Grace Kelly pulls her lingerie out of her handbag, Shane's mind flashes back to the white gown. "Way to go girl," she thinks to herself. "Your boyfriend is trapped in a cast and you come with a nightie from Paris." She steals a glimpse at Oliver and realizes that his eyebrows are raised and he may be a little uncomfortable. But he is smiling.

The two leave the theatre laughing and talking arm in arm. Oliver is a virtual expert on Jimmy Stewart films. Leaving the theater he talks of a plethora of films they should see together some day.

Shane likes that he speaks of things they might do together in the future. She likes holding his arm as they walk to the car. She likes that he laughs easily and seems more himself. The truth is she likes – no she loves – everything about him.

She starts to suggest that next time they take in an action movie at the mall but she thinks better of it. She doesn't want to say anything to remind him of their time apart. This evening is going too well to risk doing anything to ruin it.

As he parks the car in front of her house and walks around to open the door for her, she realizes that her heart is beating a little faster. "Why am I nervous? Could this be the night he says those three words?" She so wants to tell him. She is ready to say it. She has told him in a 1000 different ways but not in the way that overflows her heart – I love you. I love you so much. She could have told him when he arrived and told her that she looked beautiful tonight. She could have told him when he shared his manicotti. She could have told him when he offered his arm and walked her to the car. She could have told him….. "Get a hold of yourself McInerney," she thinks to herself.

As soon as he opens the door she begins nervous chatter to stop herself from saying what she knows she should not. "I can't believe I've lived my whole life without ever seeing Rear Window before tonight. Oh my goodness when she is in his apartment and you know he is coming and the lights go out and then the police come and she is pointing to the wedding ring and he notices. That entire scene was so suspenseful."

"Both my right hand and I are aware of that," said Oliver with a grin.

"Oh, sorry about that. Did I hurt you?"

"It is fine," says Oliver with a teasing chuckle as they bump shoulders. "I will see my physician on Monday."

They both laugh.

"Come in for a cup of coffee?" says Shane a bit hesitantly.

"Please don't go yet. Please don't let this night end," she thinks to herself.

Oliver does not answer. He simply follows her inside. Shane stops in the small entrance to remove her coat. Oliver, always the gentleman, helps her and lays the coat on a small chair. As she turns she is within inches of him. Neither move. Her high heels put them almost face-to-face. He seems to search her eyes for something. He gently takes her in his arms and begins slowly to kiss her. She feels his hand move to the back of her neck while the finger tips of his other hand find the small area of her exposed back made bare by the design of the dress. She can feel her own heart pound. He holds her closer. She thinks he has to notice her pounding heart.

She loses all sense of time and place. She could be anywhere. But she can be with no one else but him. Oliver seems to be searching for something in this kiss and it isn't physical. He is longing for something – something emotional – some answer – some truth.

His arms relax his hold on her as he ceases the kiss and leans his forehead against hers. With eyes closed he whispers, "It's late. I need to go."

"Thank you for a lovely evening," she quietly responds. She cannot think. She can barely breathe.

He turns his face away from her, says goodnight, and walks out the door.

Shane does not question his sudden departure. She makes no effort to stop him. No "what about coffee." The moment is both thrilling and troubling. Whatever is going on with Oliver O'Toole, she will have faith. She will trust in something far greater than the two of them. She will trust the timing. She will at least try.

Shane has every intention of handing over her worries and getting a good night's sleep. Instead she is a little more restless than she intends. She knows exactly whom she needs to see for advice.