Loose Ends | Episode 11 | TBN

Loose Ends | Episode 11

Watch Loose Ends | Episode 11
July 9, 2018
27:02

Restoring the Shack

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Loose Ends | Episode 11

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  • [UPLIFTING MUSIC]
  • 00:00:00.170 --> 00:00:02.250
  • - MY NAME IS PAUL YOUNG,
  • 00:00:02.270 --> 00:00:05.030
  • AND I'M THE AUTHOR OF "THE SHACK".
  • 00:00:05.050 --> 00:00:07.100
  • I WANT TO INVITE YOU ON AN ADVENTURE WITH ME
  • 00:00:07.120 --> 00:00:10.200
  • AND WITH THE BOOK.
  • 00:00:10.220 --> 00:00:12.040
  • A LOT OF YOU HAVE READ IT. YOU HAVE QUESTIONS.
  • 00:00:12.060 --> 00:00:15.000
  • SOME OF YOU HAVE JUST HEARD ABOUT IT,
  • 00:00:15.020 --> 00:00:16.110
  • AND YOU HAVE QUESTIONS.
  • 00:00:16.130 --> 00:00:18.160
  • THIS IS A BOOK THAT ALLOWS US TO EXPLORE RELATIONSHIP
  • 00:00:18.180 --> 00:00:21.280
  • WITH THE FATHER, SON, AND HOLY SPIRIT;
  • 00:00:22.000 --> 00:00:24.150
  • QUESTIONS THAT WE HAVE ABOUT HURT AND LOSS AND GRIEF;
  • 00:00:24.170 --> 00:00:29.220
  • QUESTIONS ABOUT WONDER AND BEAUTY AND JOY.
  • 00:00:29.240 --> 00:00:34.010
  • WHAT DOES IT MEAN TO LIVE A LIFE OF FAITH?
  • 00:00:34.030 --> 00:00:37.240
  • WHAT DO WE DO ABOUT DEATH?
  • 00:00:37.260 --> 00:00:39.250
  • WHY DO TRAGIC THINGS HAPPEN TO US?
  • 00:00:39.270 --> 00:00:43.240
  • THESE ARE THE QUESTIONS THAT WE WANT TO EXPLORE.
  • 00:00:43.260 --> 00:00:47.160
  • I WOULD LOVE YOU TO COME WITH ME.
  • 00:00:47.180 --> 00:00:49.220
  • THIS IS AN INVITATION.
  • 00:00:49.240 --> 00:00:51.080
  • [UPLIFTING MUSIC]
  • 00:00:51.100 --> 00:01:01.140
  • [UPLIFTING MUSIC]
  • 00:01:01.140 --> 00:01:08.280
  • - IF THERE IS A GOD, AND GOD IS GOOD,
  • 00:01:13.090 --> 00:01:19.290
  • NOTHING IS ORDINARY.
  • 00:01:20.010 --> 00:01:23.230
  • IF THERE IS NO GOD, THEN NOTHING, ULTIMATELY,
  • 00:01:23.250 --> 00:01:27.230
  • HAS ANY MEANING.
  • 00:01:27.250 --> 00:01:30.110
  • WE ARE SURROUNDED BY THE GOODNESS OF GOD.
  • 00:01:30.130 --> 00:01:34.140
  • THERE'S ALWAYS SOMETHING MORE GOING ON,
  • 00:01:34.160 --> 00:01:37.260
  • MORE THAN WE CAN IMAGINE.
  • 00:01:37.280 --> 00:01:39.150
  • THERE'S A POEM RIGHT AT THE END OF "THE SHACK",
  • 00:01:39.170 --> 00:01:43.050
  • AND I WANT TO READ IT TO YOU.
  • 00:01:43.070 --> 00:01:45.120
  • IT'S BY ELIZABETH BARRETT BROWNING.
  • 00:01:45.140 --> 00:01:49.000
  • "EARTH'S CRAMMED WITH HEAVEN AND EVERY COMMON BUSH OF
  • 00:01:49.020 --> 00:01:54.090
  • FIRE WITH GOD, BUT ONLY HE WHO SEES
  • 00:01:54.110 --> 00:01:58.290
  • TAKES OFF HIS SHOES.
  • 00:01:59.010 --> 00:02:01.220
  • THE REST SIT 'ROUND AND PLUCK BLACKBERRIES."
  • 00:02:01.240 --> 00:02:07.120
  • IF THERE IS NO GOD, AND GOD IS NOT GOOD, THEN FIRE
  • 00:02:07.140 --> 00:02:11.200
  • IS JUST FIRE, AND EVERY COMMON BUSH IS
  • 00:02:11.220 --> 00:02:15.090
  • JUST A COMMON BUSH.
  • 00:02:15.110 --> 00:02:17.280
  • NO REASON TO TAKE OFF OUR SHOES.
  • 00:02:18.000 --> 00:02:20.220
  • BUT IF THERE IS A GOD WHO IS GOOD, THEN THAT TELLS US
  • 00:02:20.240 --> 00:02:24.140
  • WHY WE'RE BORN BAREFOOT.
  • 00:02:24.160 --> 00:02:27.100
  • IT'S TO WALK ON HOLY GROUND, AND EVERY BUSH IS A FIRE
  • 00:02:27.120 --> 00:02:32.080
  • WITH THE PRESENCE OF GOD.
  • 00:02:32.100 --> 00:02:34.010
  • THERE IS NOTHING ORDINARY.
  • 00:02:34.030 --> 00:02:36.160
  • [UPLIFTING MUSIC]
  • 00:02:37.170 --> 00:02:47.030
  • [UPLIFTING MUSIC]
  • 00:02:47.030 --> 00:02:54.170
  • SO THIS EPISODE IS ABOUT LOOSE ENDS.
  • 00:02:56.100 --> 00:03:00.060
  • I'M GOING TO TELL YOU FOUR STORIES THAT INVOLVE
  • 00:03:00.080 --> 00:03:03.140
  • SITUATIONS THAT WE'VE ALREADY TALKED ABOUT, SORT
  • 00:03:03.160 --> 00:03:06.030
  • OF TYING UP LOOSE ENDS; THE ACTIVITY OF A GOD WHO IS
  • 00:03:06.050 --> 00:03:09.190
  • GOOD INVOLVED IN THE DETAILS OF OUR LIVES.
  • 00:03:09.210 --> 00:03:13.160
  • I THINK THAT THOSE KINDS OF THINGS HAPPEN TO US
  • 00:03:13.180 --> 00:03:16.200
  • ALL THE TIME, BUT WE ARE JUST NOT EVEN PRESENT
  • 00:03:16.220 --> 00:03:20.140
  • TO PAY ATTENTION.
  • 00:03:20.160 --> 00:03:22.180
  • SO WHEN WE STEP BACK, AND WE ACTUALLY GET TO
  • 00:03:22.200 --> 00:03:24.130
  • SEE THESE THINGS, IT'S PRETTY REMARKABLE.
  • 00:03:24.150 --> 00:03:29.250
  • THE FIRST STORY INVOLVES SCOTT MITCHELL, MY THERAPIST.
  • 00:03:29.270 --> 00:03:33.120
  • HE HAD WARNED ME THAT RIGHT BEFORE THE REALLY HARD
  • 00:03:33.140 --> 00:03:38.000
  • STUFF, PEOPLE TEND TO BAIL OUT OF THE COUNSELING
  • 00:03:38.020 --> 00:03:40.040
  • PROCESS, AND HE WAS RIGHT.
  • 00:03:40.060 --> 00:03:42.180
  • I RAN RIGHT SMACK INTO THIS THING.
  • 00:03:42.200 --> 00:03:46.140
  • THERE WAS A POINT WHERE I LOST ALL MY HOPE.
  • 00:03:46.160 --> 00:03:52.050
  • KIM WAS RELENTLESS.
  • 00:03:52.070 --> 00:03:55.070
  • SHE WAS POUNDING ON ME, RIGHTFULLY SO, EVERY DAY.
  • 00:03:55.090 --> 00:03:58.140
  • HOW COULD A HUMAN BEING DO THIS TO ANOTHER HUMAN BEING?
  • 00:03:58.160 --> 00:04:01.210
  • HOW COULD YOU DO THIS TO YOUR CHILDREN?
  • 00:04:01.230 --> 00:04:03.180
  • HOW COULD YOU DO THIS TO THEIR CHILDREN?
  • 00:04:03.200 --> 00:04:07.250
  • IT FELT LIKE, AND I DESCRIBED IT THIS WAY,
  • 00:04:07.270 --> 00:04:10.100
  • OF BEING JUST POPPED IN THE CHEST, BAM, BAM, BAM,
  • 00:04:10.120 --> 00:04:13.280
  • UNTIL SHE SPUN ME AROUND, AND I WAS LOOKING AT
  • 00:04:14.000 --> 00:04:15.270
  • THE EDGE OF THIS CLIFF DOWN INTO THE ABYSS.
  • 00:04:15.290 --> 00:04:20.160
  • AND I THOUGHT I DON'T KNOW IF THERE IS ONE THING ABOUT
  • 00:04:20.180 --> 00:04:25.190
  • ME THAT'S ACTUALLY TRUE.
  • 00:04:25.210 --> 00:04:28.180
  • I DON'T KNOW WHAT'S NOT A SURVIVAL MECHANISM, A SAFETY
  • 00:04:28.200 --> 00:04:32.290
  • SKILL, AND IN THAT MOMENT, I LOST ALL OF MY HOPE.
  • 00:04:33.010 --> 00:04:38.270
  • IT IS THE SINGLE WORST MOMENT OF MY LIFE.
  • 00:04:38.290 --> 00:04:43.240
  • AND THEN I DECIDED IT WAS OVER, AND I BEGAN PLANNING
  • 00:04:43.260 --> 00:04:49.180
  • A TRIP TO MEXICO CITY.
  • 00:04:49.200 --> 00:04:52.290
  • THE LAST GOOD THING THAT PAUL YOUNG COULD DO, OR
  • 00:04:53.010 --> 00:04:55.250
  • MAYBE THE ONLY GOOD THING THAT PAUL YOUNG COULD DO,
  • 00:04:55.270 --> 00:04:58.200
  • WAS TO KILL HIMSELF FAR ENOUGH AWAY FROM HIS FAMILY
  • 00:04:58.220 --> 00:05:02.210
  • THAT IT WOULD ASSURE THAT HIS CHILDREN WOULD NOT BE
  • 00:05:02.230 --> 00:05:05.180
  • THE ONES WHO FOUND HIS BODY.
  • 00:05:05.200 --> 00:05:08.190
  • THAT WAS MY INTENT.
  • 00:05:08.210 --> 00:05:11.220
  • RIGHT AT THAT TIME, TWO FRIENDS SHOWED UP, DIFFERENT
  • 00:05:11.240 --> 00:05:14.070
  • TIMES, BUT WITHIN THE COURSE OF ABOUT 24 HOURS.
  • 00:05:14.090 --> 00:05:18.190
  • ONE OF THEM CAME TO KIM, KENNY, AND KENNY IS A BROKEN
  • 00:05:18.210 --> 00:05:23.050
  • BOY LIKE ME; HORRENDOUS CHILDHOOD, MUCH WORSE,
  • 00:05:23.070 --> 00:05:26.230
  • IN CERTAIN RESPECTS, THAN I EVER FACED.
  • 00:05:26.250 --> 00:05:29.150
  • AND HE SAID TO KIM, I'M NOT HERE TO TELL YOU THAT YOU
  • 00:05:29.170 --> 00:05:33.250
  • NEED TO FORGIVE PAUL.
  • 00:05:33.270 --> 00:05:36.060
  • I'M NOT HERE TO TELL YOU TO GET OVER THIS, BUT I WANT
  • 00:05:36.080 --> 00:05:39.210
  • YOU TO KNOW SOMETHING.
  • 00:05:39.230 --> 00:05:43.000
  • I THINK PAUL IS DOING THE BEST HE KNOWS HOW RIGHT NOW,
  • 00:05:43.020 --> 00:05:46.150
  • AND I THINK THAT IF YOU HIT HIM ONE MORE TIME,
  • 00:05:46.170 --> 00:05:49.290
  • METAPHORICALLY, YOU'RE GOING TO KILL HIM.
  • 00:05:50.010 --> 00:05:54.260
  • AND KIM LISTENED TO KENNY AND JUST BACKED OFF A LITTLE
  • 00:05:54.280 --> 00:05:58.150
  • BIT RIGHT AT THIS POINT.
  • 00:05:58.170 --> 00:06:02.250
  • WITHIN 24 HOURS, KITTY COMES TO TALK TO ME.
  • 00:06:02.270 --> 00:06:06.080
  • UNBEKNOWNST TO HER THAT KENNY HAD SHOWN UP
  • 00:06:06.100 --> 00:06:08.220
  • AND TALKED TO KIM.
  • 00:06:08.240 --> 00:06:10.170
  • AND KITTY SAYS TO ME, WHERE ARE YOU RIGHT NOW?
  • 00:06:10.190 --> 00:06:13.000
  • AND I DESCRIBED WHAT I TOLD YOU, BEING PUMMELED TO THE
  • 00:06:13.020 --> 00:06:15.120
  • EDGE OF THIS CLIFF.
  • 00:06:15.140 --> 00:06:16.240
  • BEING SPUN AROUND AND LOOKING DOWN TO THE ABYSS.
  • 00:06:16.260 --> 00:06:19.080
  • AND I SAID TO HER, YOU KNOW WHAT I AM, KITTY?
  • 00:06:19.100 --> 00:06:24.090
  • I'M TERRIFIED THAT WHEN THE WIND IS DONE BLOWING,
  • 00:06:24.110 --> 00:06:29.060
  • THERE'S NOT GOING TO BE ANYTHING LEFT.
  • 00:06:29.080 --> 00:06:33.150
  • AND KITTY SAYS TO ME, PAUL, THERE IS A SEED.
  • 00:06:33.170 --> 00:06:40.050
  • I'M THINKING, A SEED?
  • 00:06:40.070 --> 00:06:44.140
  • AND THEN I THINK, YOU KNOW, EVEN IF THERE WAS ONE
  • 00:06:44.160 --> 00:06:49.080
  • LITTLE, TINY SEED, SOMETHING LIVING COULD GROW.
  • 00:06:49.100 --> 00:06:55.120
  • I DON'T KNOW WHAT IT IS, BUT SOMETHING LIVING COULD GROW.
  • 00:06:56.040 --> 00:07:01.260
  • AND THEN I THINK, YOU KNOW, SEEDS, THEY GROW GOOD IN
  • 00:07:01.280 --> 00:07:05.070
  • THIS KIND OF STUFF, RIGHT?
  • 00:07:05.090 --> 00:07:09.020
  • ALL MY HOPE CAME BACK IN A LITTLE, TINY
  • 00:07:09.040 --> 00:07:13.230
  • ALMOST-INVISIBLE SEED.
  • 00:07:13.250 --> 00:07:18.060
  • AND I CANCELED MY TRIP TO MEXICO CITY, AND I WENT BACK
  • 00:07:18.080 --> 00:07:21.250
  • TO WORK WITH SCOTT, AND I TOLD HIM WHAT I HAD GONE
  • 00:07:21.270 --> 00:07:24.120
  • THROUGH, AND WE WORKED HARD.
  • 00:07:24.140 --> 00:07:28.100
  • [UPLIFTING MUSIC]
  • 00:07:28.120 --> 00:07:37.180
  • [UPLIFTING MUSIC]
  • 00:07:37.180 --> 00:07:45.030
  • YEARS LATER, I GET AN INVITATION TO ENID,
  • 00:07:45.220 --> 00:07:48.030
  • OKLAHOMA, AND THERE'S A BIG CHURCH DOWN THERE, EMMANUEL
  • 00:07:48.050 --> 00:07:54.020
  • BAPTIST -- WADE BURLESON AND HIS FAMILY, HE'S THE PASTOR,
  • 00:07:54.040 --> 00:07:59.170
  • WONDERFUL, INCREDIBLE HUMAN BEING, SUPER COOL COMMUNITY,
  • 00:07:59.190 --> 00:08:04.270
  • AND I GO DOWN THERE TO TALK ABOUT "THE SHACK",
  • 00:08:04.290 --> 00:08:08.170
  • AND LATER I GO DOWN TO TALK ABOUT CROSSROADS.
  • 00:08:08.190 --> 00:08:12.050
  • WHEN I GO DOWN TO TALK ABOUT "THE SHACK", SOMETHING
  • 00:08:12.070 --> 00:08:14.200
  • UNUSUAL HAPPENS, AND THAT IS I GET A CALL FROM THESE TWO
  • 00:08:14.220 --> 00:08:19.000
  • GUYS THAT ARE TRAVELING THE WORLD FROM NEW ZEALAND,
  • 00:08:19.020 --> 00:08:22.250
  • AND THEY'VE BEEN TRYING TO CONNECT WITH ME BACK IN
  • 00:08:22.270 --> 00:08:24.150
  • OREGON IN ORDER TO DO AN INTERVIEW.
  • 00:08:24.170 --> 00:08:26.130
  • THEY DRIVE THEIR HARLEY DAVIDSON'S AROUND THE WORLD,
  • 00:08:26.150 --> 00:08:28.250
  • AND THEY DO THESE POD CASTS THAT ARE THEN DISTRIBUTED
  • 00:08:28.270 --> 00:08:31.250
  • OUT OF NEW ZEALAND, KIWIS.
  • 00:08:31.270 --> 00:08:35.200
  • AND THEY WERE TRYING TO CONNECT WITH ME, BUT IT
  • 00:08:35.220 --> 00:08:37.010
  • NEVER WORKED OUT, BUT IT HAPPENED THAT THEY WERE
  • 00:08:37.030 --> 00:08:40.070
  • RIDING UP THROUGH TEXAS, AND THE PERSON THAT THEY WERE
  • 00:08:40.090 --> 00:08:44.090
  • THERE TO INTERVIEW CANCELED ON THEM.
  • 00:08:44.110 --> 00:08:47.040
  • AT THE SAME TIME, I WAS IN ENID, OKLAHOMA AND THEY SAW
  • 00:08:47.060 --> 00:08:50.060
  • IT ON MY CALENDAR OF EVENTS OR SOMETHING.
  • 00:08:50.080 --> 00:08:53.250
  • SO THEY GAVE ME A CALL AND SAID, IS THERE ANY WAY THAT
  • 00:08:53.270 --> 00:08:56.080
  • WE CAN COME TO ENID AND DO OUR INTERVIEW?
  • 00:08:56.100 --> 00:08:59.130
  • I SAID, I DON'T KNOW. SO I ASKED WADE.
  • 00:08:59.150 --> 00:09:01.210
  • WADE SAID, ABSOLUTELY, BRING THEM IN.
  • 00:09:01.230 --> 00:09:03.270
  • SO THEY ARRIVED FRIDAY, THE DAY THAT I ARRIVED,
  • 00:09:03.290 --> 00:09:07.010
  • AND THEY SPENT FRIDAY. I SPOKE ON SATURDAY.
  • 00:09:07.030 --> 00:09:10.050
  • I DID TWO MORNING SERVICES AND AN EVENING
  • 00:09:10.070 --> 00:09:12.290
  • SERVICE ON SUNDAY.
  • 00:09:13.010 --> 00:09:15.070
  • AND ON SUNDAY NIGHT, I WENT INTO THIS STORY OF MY NINE
  • 00:09:15.090 --> 00:09:21.060
  • MONTHS, AND I TALKED ABOUT MY TRIP TO MEXICO CITY, AND
  • 00:09:21.080 --> 00:09:26.000
  • I WENT INTO REALLY DEEP PLACES WITH REGARD TO IT.
  • 00:09:26.020 --> 00:09:30.240
  • IT'S JUST WHERE THE HOLY SPIRIT TOOK ME THAT EVENING.
  • 00:09:30.260 --> 00:09:34.110
  • THE NEXT MORNING, THE FOUR OF US, WADE AND I AND THE
  • 00:09:34.130 --> 00:09:37.140
  • TWO KIWIS WENT TO BREAKFAST, AND THEN WE CAME BACK
  • 00:09:37.160 --> 00:09:41.210
  • WITH THE INTENTION OF DOING THE INTERVIEW.
  • 00:09:41.230 --> 00:09:44.140
  • WADE HAD SET ASIDE AN ENTIRE SPACE FOR THEM, AND THEY HAD
  • 00:09:44.160 --> 00:09:47.270
  • FILMED THE NIGHT BEFORE.
  • 00:09:47.290 --> 00:09:50.100
  • WHEN WE GOT BACK TO THE CHURCH, ONE OF THE KIWIS, IN
  • 00:09:50.120 --> 00:09:53.270
  • HIS 30s, GOT A WIFE AND A COUPLE OF CHILDREN BACK IN
  • 00:09:53.290 --> 00:09:57.000
  • NEW ZEALAND, BIG GUY, HE COMES OVER, AND HE HANDS ME
  • 00:09:57.020 --> 00:10:01.260
  • HIS I-PHONE, AND HE SAYS, "WOULD YOU PLEASE READ THIS?"
  • 00:10:01.280 --> 00:10:06.080
  • AND HE WALKED AROUND THE CORNER.
  • 00:10:06.100 --> 00:10:08.230
  • AND I LOOK AT IT, AND THE FIRST SENTENCE IS, "THIS
  • 00:10:08.250 --> 00:10:13.220
  • TRIP TO THE UNITED STATES WAS SUPPOSED TO BE MY TRIP
  • 00:10:13.240 --> 00:10:17.230
  • TO MEXICO CITY."
  • 00:10:17.250 --> 00:10:21.090
  • HE HAD COME TO THE U.S. TO DIE.
  • 00:10:21.110 --> 00:10:25.110
  • AND HE COMES BACK AROUND THE CORNER, AND HE WRAPS HIS
  • 00:10:25.130 --> 00:10:27.100
  • ARMS AROUND ME, AND HE KISSES ME ON THE CHEEK, AND
  • 00:10:27.120 --> 00:10:30.050
  • HE WHISPERS IN MY EAR, I'M A MISSIONARY KID
  • 00:10:30.070 --> 00:10:35.010
  • FROM JAKARTA, INDONESIA. I HAD NO CLUE.
  • 00:10:35.030 --> 00:10:42.130
  • AGAIN, THESE LITTLE CIRCLES AND THESE LITTLE WEAVINGS
  • 00:10:42.150 --> 00:10:46.070
  • THAT TAKE PLACE.
  • 00:10:46.090 --> 00:10:48.280
  • [UPLIFTING MUSIC]
  • 00:10:49.000 --> 00:10:57.250
  • [UPLIFTING MUSIC]
  • 00:10:57.250 --> 00:11:05.110
  • HERE'S THE THIRD STORY.
  • 00:11:07.200 --> 00:11:10.200
  • I'M A CLIENT/PATIENT.
  • 00:11:10.220 --> 00:11:15.020
  • SCOTT'S MY THERAPIST, SO I DIDN'T KNOW ANYTHING
  • 00:11:15.040 --> 00:11:17.020
  • ABOUT HIS FAMILY.
  • 00:11:17.040 --> 00:11:19.080
  • HIS FAMILY DIDN'T KNOW ANYTHING ABOUT ME.
  • 00:11:19.100 --> 00:11:22.110
  • I DIDN'T FIND OUT UNTIL YEARS LATER THAT HIS OLDEST
  • 00:11:22.130 --> 00:11:24.110
  • SON WAS STRUGGLING WITH METHAMPHETAMINE ADDICTION,
  • 00:11:24.130 --> 00:11:27.200
  • AND IF YOU KNOW ANYTHING ABOUT METH, IT'S THE
  • 00:11:27.220 --> 00:11:29.170
  • DISASTER DRUG OF THE DECADE.
  • 00:11:29.190 --> 00:11:33.090
  • WELL, SCOTT AND HIS SON LOVE EACH OTHER, AND HIS SON WAS
  • 00:11:33.110 --> 00:11:37.040
  • LIVING AT HOME STILL IN HIS EARLY 20s, AND SCOTT WAS
  • 00:11:37.060 --> 00:11:41.290
  • TRYING TO HELP HIS SON OUT OF THE ADDICTION.
  • 00:11:42.010 --> 00:11:45.220
  • ONE NIGHT, SCOTT IS SO DISTRESSED ABOUT THIS THAT
  • 00:11:45.240 --> 00:11:49.030
  • HE SAYS TO THE GUYS IN HIS BIBLE STUDY GROUP, I WOULD
  • 00:11:49.050 --> 00:11:53.230
  • DIE IF IT WOULD FREE MY SON FROM HIS ADDICTION.
  • 00:11:53.250 --> 00:12:00.100
  • EVERY PARENT UNDERSTANDS THAT.
  • 00:12:00.120 --> 00:12:02.270
  • EVERY PARENT WHO HAS A CHILD WHO SUFFERS WITH MENTAL
  • 00:12:02.290 --> 00:12:06.030
  • ILLNESS OR ADDICTION OR ANYTHING, WE WOULD DO ANYTHING.
  • 00:12:06.050 --> 00:12:10.040
  • WE WOULD MOVE HEAVEN AND EARTH TO TAKE AWAY PAIN AND
  • 00:12:10.060 --> 00:12:13.050
  • LOSS AND SUFFERING.
  • 00:12:13.070 --> 00:12:15.220
  • WELL, SCOTT GOES HOME THAT NIGHT NOT KNOWING THAT HIS
  • 00:12:15.240 --> 00:12:17.210
  • SON, A COUPLE DAYS BEFORE THIS, HAD BOUGHT A 22 PISTOL
  • 00:12:17.230 --> 00:12:21.020
  • LOADED, NOT TO HURT ANYBODY.
  • 00:12:21.040 --> 00:12:23.230
  • HE'S NOT THAT KIND OF BOY.
  • 00:12:23.250 --> 00:12:26.070
  • MAYBE TO STICK SOMETHING UP SO HE COULD GET SOME MONEY
  • 00:12:26.090 --> 00:12:28.060
  • FOR HIS ADDICTION.
  • 00:12:28.080 --> 00:12:30.190
  • AND HE HAD IT WITH HIM WHEN THIS WOMAN SHOWS UP AT THEIR
  • 00:12:30.210 --> 00:12:33.240
  • HOUSE, A WOMAN WHO HAD A RESTRAINING ORDER AGAINST
  • 00:12:33.260 --> 00:12:36.170
  • HER BECAUSE SHE WAS THE CONDUIT FOR THE ADDICTION,
  • 00:12:36.190 --> 00:12:38.260
  • FOR THE METH.
  • 00:12:38.280 --> 00:12:41.100
  • HIS SON GOES OUT TO TALK TO HER.
  • 00:12:41.120 --> 00:12:42.260
  • SCOTT GOES OUT TO TALK TO BOTH OF THEM.
  • 00:12:42.280 --> 00:12:45.180
  • SON, YOU NEED TO MAKE A DECISION, YOU KNOW?
  • 00:12:45.200 --> 00:12:48.120
  • YOU'RE AN ADULT.
  • 00:12:48.140 --> 00:12:49.210
  • I'M NOT GOING TO STOP YOU.
  • 00:12:49.230 --> 00:12:51.250
  • AND HIS SON INDICATES HE'S GOING TO GO WITH HER.
  • 00:12:51.270 --> 00:12:54.260
  • SCOTT SAYS, FINE.
  • 00:12:54.280 --> 00:12:56.260
  • THE CONVERSATION HAD BEEN HEATED, AND HE TURNS AROUND,
  • 00:12:56.280 --> 00:12:59.190
  • AND HE WALKS BACK INTO THE HOUSE, CLOSES AND LOCKS THE
  • 00:12:59.210 --> 00:13:02.210
  • DOOR BEHIND HIM, NOT REALIZING THAT HIS SON HAS
  • 00:13:02.230 --> 00:13:06.210
  • FOLLOWED HIM BECAUSE HE'S BAREFOOT, AND HE WANTS TO GO
  • 00:13:06.230 --> 00:13:09.190
  • UP TO HIS BEDROOM AND GET HIS FLIP FLOPS.
  • 00:13:09.210 --> 00:13:12.020
  • WHEN THE SON FINDS THE DOOR LOCKED, HE HAD A FIT OF
  • 00:13:12.040 --> 00:13:15.030
  • FURY, AND HE TAKES THE GUN FROM HIS WAIST BAND, AND HE
  • 00:13:15.050 --> 00:13:18.000
  • USES THE BUTT OF THE GUN TO SMASH THE WINDOW, AND THE
  • 00:13:18.020 --> 00:13:21.230
  • CONCUSSION IS HARD ENOUGH THAT HE DOESN'T REALIZE
  • 00:13:21.250 --> 00:13:24.150
  • THAT IT GOES OFF.
  • 00:13:24.170 --> 00:13:28.140
  • AND THE BULLET GOES RIGHT STRAIGHT THROUGH HIS
  • 00:13:28.160 --> 00:13:31.050
  • FATHER'S HEART AND KILLED HIM, AND SCOTT FALLS INTO
  • 00:13:31.070 --> 00:13:36.170
  • THE LIVING ROOM.
  • 00:13:36.190 --> 00:13:37.280
  • HIS SON WALKS INTO THE HOUSE, UP THE STAIRS, GRABS
  • 00:13:38.000 --> 00:13:40.090
  • HIS FLIP FLOPS, AND WALKS OUT NOT REALIZING HIS FATHER
  • 00:13:40.110 --> 00:13:44.010
  • IS DYING TEN FEET AWAY.
  • 00:13:44.030 --> 00:13:47.130
  • AND I GET THE CALL AT WORK DOWNTOWN THAT SCOTT, WHO'S
  • 00:13:47.150 --> 00:13:51.270
  • MY FRIEND, HAS BEEN SHOT AND KILLED BY HIS OWN SON, AND
  • 00:13:51.290 --> 00:14:00.130
  • I'M SO WRECKED THAT I WASN'T ABLE TO EVEN GO TO THE
  • 00:14:00.150 --> 00:14:05.130
  • MEMORIAL SERVICE. I JUST COULDN'T DO IT.
  • 00:14:05.150 --> 00:14:10.120
  • THAT WAS IN THE FALL OF 2004, MY 11TH YEAR.
  • 00:14:10.140 --> 00:14:17.030
  • 2005, I WRITE A STORY FOR MY KIDS.
  • 00:14:17.050 --> 00:14:21.230
  • 2007, IT GETS PUT INTO PRINT.
  • 00:14:21.250 --> 00:14:24.180
  • AND BY THE END OF 2007, I START GETTING E-MAILS,
  • 00:14:24.200 --> 00:14:27.230
  • 50 TO 100 A DAY, FROM ALL OVER THE WORLD, AND A LOT OF
  • 00:14:27.250 --> 00:14:31.120
  • THEM START, "YOU DON'T KNOW ME, BUT..."
  • 00:14:31.140 --> 00:14:35.050
  • AND THEN THEY TELL ME A STORY.
  • 00:14:35.070 --> 00:14:37.170
  • AND I GET THIS ONE THAT COMES IN, AND IT SAYS, "YOU
  • 00:14:37.190 --> 00:14:40.170
  • DON'T KNOW ME, BUT I REALLY FELT IT WAS IMPORTANT THAT
  • 00:14:40.190 --> 00:14:44.270
  • YOU KNEW HOW YOUR LITTLE BOOK HAS LANDED IN THE
  • 00:14:44.290 --> 00:14:48.130
  • MIDDLE OF MY FAMILY'S GREAT SADNESS.
  • 00:14:48.150 --> 00:14:52.170
  • YOU SEE, IN 2004, MY OLDEST SON SHOT AND KILLED THE
  • 00:14:52.190 --> 00:14:58.030
  • FATHER HE LOVED, SCOTT MITCHELL."
  • 00:14:58.050 --> 00:15:02.050
  • AND I LOOK, AND IT'S CONNIE, AND SHE DOESN'T
  • 00:15:02.070 --> 00:15:04.190
  • KNOW, AND I SEND AN E-MAIL BACK, "CONNIE, CAN I HAVE
  • 00:15:04.210 --> 00:15:08.000
  • YOUR PHONE NUMBER? I NEED TO TALK TO YOU."
  • 00:15:08.020 --> 00:15:10.250
  • AND SHE SENDS BACK HER PHONE NUMBER, AND I CALL
  • 00:15:10.270 --> 00:15:12.270
  • HER, AND I SAY, "CONNIE, YOU NEED TO KNOW THAT IF IT
  • 00:15:12.290 --> 00:15:16.240
  • WASN'T, IN PART, FOR SCOTT, I PROBABLY WOULDN'T BE
  • 00:15:16.260 --> 00:15:20.260
  • ALIVE, AND THIS LITTLE BOOK, IT WOULD NEVER
  • 00:15:20.280 --> 00:15:23.110
  • HAVE BEEN WRITTEN."
  • 00:15:23.130 --> 00:15:25.170
  • AND SHE SAYS TO ME, "WHEN YOU ASKED FOR MY PHONE
  • 00:15:25.190 --> 00:15:30.000
  • NUMBER, I TURNED TO MY BROTHER-IN-LAW, AND I SAID,
  • 00:15:30.020 --> 00:15:36.000
  • 'I WONDER IF PAUL IS ONE OF SCOTT'S BOYS.'"
  • 00:15:36.020 --> 00:15:45.280
  • AND I SAID, "YEAH, I'M ONE OF SCOTT'S BOYS."
  • 00:15:47.110 --> 00:15:53.140
  • HERE'S THIS MAN WHO HELPED ME THROUGH ONE OF THE
  • 00:15:54.050 --> 00:15:57.000
  • HARDEST TIMES OF MY LIFE, FREES ME UP TO WRITE A
  • 00:15:57.020 --> 00:16:04.060
  • LITTLE STORY FOR MY KIDS THAT ENDS UP LANDING RIGHT
  • 00:16:04.080 --> 00:16:07.160
  • BACK IN THE MIDDLE OF HIS FAMILY'S GREAT SADNESS.
  • 00:16:07.180 --> 00:16:13.180
  • HIS SON WAS SENTENCED TO TEN YEARS FOR MANSLAUGHTER,
  • 00:16:14.220 --> 00:16:19.260
  • AND HE'S JUST GOTTEN OUT, AND HE'S CLEAN.
  • 00:16:19.280 --> 00:16:25.080
  • SOMETIMES, THE ANSWERS TO OUR PRAYERS ARE NOT IN ANY
  • 00:16:25.100 --> 00:16:29.020
  • WAY WHAT WE MIGHT ANTICIPATE.
  • 00:16:29.040 --> 00:16:32.070
  • [UPLIFTING MUSIC]
  • 00:16:32.090 --> 00:16:41.290
  • [UPLIFTING MUSIC]
  • 00:16:41.290 --> 00:16:49.130
  • THE LAST OF MY STORIES FOR TODAY.
  • 00:16:50.270 --> 00:16:55.050
  • I TOLD YOU HOW IN 2004, I ASKED MY FRIENDS NOT TO
  • 00:16:55.070 --> 00:17:00.290
  • RESCUE ME, AND WE LOST EVERYTHING PHYSICALLY AND
  • 00:17:01.010 --> 00:17:04.210
  • MATERIALLY, AND WE LEARNED THAT THE OPPOSITE
  • 00:17:04.230 --> 00:17:06.230
  • OF MORE WAS ENOUGH.
  • 00:17:06.250 --> 00:17:09.010
  • AND WE ENDED UP MOVING OUT TO GRESHAM, OREGON INTO A
  • 00:17:09.030 --> 00:17:12.200
  • LITTLE TINY HOUSE ON THE CORNER OF 12TH STREET.
  • 00:17:12.220 --> 00:17:16.100
  • AND I TOLD YOU HOW I WROTE A STORY FOR CHRISTMAS AND MADE
  • 00:17:16.120 --> 00:17:19.190
  • THE 15 COPIES, AND WITHIN A COUPLE OF YEARS, IT BECAME
  • 00:17:19.210 --> 00:17:22.200
  • THIS JUGGERNAUT, THIS MASSIVE, BEST-SELLING THING
  • 00:17:22.220 --> 00:17:26.170
  • THAT NOBODY SAW COMING.
  • 00:17:26.190 --> 00:17:29.090
  • WELL, IT ENTERED THE INTERNATIONAL
  • 00:17:29.110 --> 00:17:30.180
  • MARKET LIKE A BOMB.
  • 00:17:30.200 --> 00:17:33.070
  • IT BECAME THE NUMBER TWO BOOK IN THE HISTORY OF
  • 00:17:33.090 --> 00:17:34.290
  • BRAZIL, NUMBER ONE WRITTEN BY A NON-BRAZILIAN.
  • 00:17:35.010 --> 00:17:39.280
  • THE COUNTRY OF CROATIA, DUBBED IT THEIR BOOK OF THE
  • 00:17:40.000 --> 00:17:43.170
  • DECADE, AND I WAS INVITED BY THE MINISTRY OF CULTURE TO
  • 00:17:43.190 --> 00:17:47.100
  • COME SPEAK TO THE NATION.
  • 00:17:47.120 --> 00:17:49.100
  • THESE CRAZY THINGS BEGAN HAPPENING.
  • 00:17:49.120 --> 00:17:51.190
  • WELL, THE GERMANS, THEIR VERSION IS CALLED "DIE HUTTE"
  • 00:17:51.210 --> 00:17:55.090
  • AND THEY WANTED TO COME OUT WITH A MASS MARKET
  • 00:17:55.110 --> 00:17:57.040
  • EDITION, SO THEY CAME TO ME, AND THEY SAID, WE'D LIKE TO
  • 00:17:57.060 --> 00:18:00.150
  • MAKE A DOCUMENTARY ABOUT YOUR LIFE.
  • 00:18:00.170 --> 00:18:04.030
  • [LAUGHING INCREDULOUSLY] A DOCUMENTARY ABOUT MY LIFE?
  • 00:18:04.050 --> 00:18:07.180
  • I NEVER EVEN ANTICIPATED EVER BEING AN AUTHOR, AND
  • 00:18:07.200 --> 00:18:10.180
  • NOW SOMEBODY WANTS TO MAKE A DOCUMENTARY ABOUT MY LIFE?
  • 00:18:10.200 --> 00:18:14.040
  • SO THEY HIRED SUZANNE, WHO IS A WORLD-CLASS
  • 00:18:14.060 --> 00:18:17.080
  • DOCUMENTARIAN, AND SUZANNE AND HER CREW FOLLOWED US
  • 00:18:17.100 --> 00:18:21.110
  • AROUND GERMANY.
  • 00:18:21.130 --> 00:18:23.230
  • AND THEN THEY SAID, PAUL, WE WANT TO COME TO OREGON.
  • 00:18:23.250 --> 00:18:28.050
  • DO YOU KNOW A VIDEOGRAPHER IN OREGON?
  • 00:18:28.070 --> 00:18:33.040
  • I SAID, YES, I KNOW ONE, AND IT'S TRUE.
  • 00:18:33.060 --> 00:18:37.060
  • I KNOW JOE KALEEL, AND JOE IS A PROFESSIONAL
  • 00:18:37.080 --> 00:18:40.260
  • VIDEOGRAPHER, BUT HE'S THE ONLY ONE THAT I KNEW, SO I
  • 00:18:40.280 --> 00:18:43.110
  • CONNECTED HIM WITH SUZANNE.
  • 00:18:43.130 --> 00:18:45.150
  • THEY'RE WORKING ON LOGISTICS.
  • 00:18:45.170 --> 00:18:47.060
  • JOE SAYS TO SUZANNE AT ONE POINT, I CAN'T TAKE THE JOB.
  • 00:18:47.080 --> 00:18:51.010
  • I'VE BEEN LOOKING AT MY SCHEDULE, AND I'M NOT
  • 00:18:51.030 --> 00:18:54.000
  • AVAILABLE THOSE TEN DAYS.
  • 00:18:54.020 --> 00:18:55.210
  • SO HE CONNECTED SUZANNE WITH BILL DOLAN,
  • 00:18:55.230 --> 00:18:58.000
  • WHO I DON'T KNOW.
  • 00:18:58.020 --> 00:19:00.220
  • BILL DOLAN SAYS TO SUZANNE HALFWAY THROUGH THEIR
  • 00:19:00.240 --> 00:19:03.060
  • CONVERSATION, SUZANNE, I'VE BEEN LOOKING AT THE
  • 00:19:03.080 --> 00:19:05.090
  • DATES, I CAN'T DO IT.
  • 00:19:05.110 --> 00:19:06.290
  • AND I KNOW YOU'RE IN A JAM.
  • 00:19:07.010 --> 00:19:08.080
  • I KNOW YOU WANT A VIDEOGRAPHER FROM OREGON,
  • 00:19:08.100 --> 00:19:10.270
  • SO I'LL TAKE THE JOB ON CONTRACT, ON PAPER, AND THEN
  • 00:19:10.290 --> 00:19:14.150
  • I'LL SUBCONTRACT IT TO A FRIEND OF MINE
  • 00:19:14.170 --> 00:19:16.120
  • NAMED KEVIN FELTS. SUZANNE DOESN'T CARE.
  • 00:19:16.140 --> 00:19:19.170
  • SHE JUST WANTS A VIDEOGRAPHER.
  • 00:19:19.190 --> 00:19:21.250
  • ONE OF THE PLACES THAT THEY WANTED TO SHOOT WAS AT THE
  • 00:19:21.270 --> 00:19:24.060
  • LITTLE TINY HOUSE ON THE CORNER OF 12TH STREET WHERE
  • 00:19:24.080 --> 00:19:27.050
  • I FINISHED WRITING "THE SHACK", THAT LITTLE 900
  • 00:19:27.070 --> 00:19:29.270
  • SQUARE FOOT OF RENTAL SPACE.
  • 00:19:29.290 --> 00:19:32.230
  • SO I'M STANDING THERE WHEN THIS VIDEOGRAPHER THAT I
  • 00:19:32.250 --> 00:19:36.160
  • DON'T KNOW NAMED KEVIN FELTS WALKS UP, AND HE'S LOOKING
  • 00:19:36.180 --> 00:19:38.250
  • AROUND, AND HE SAYS, HEY, PAUL, I GOT A REALLY ODD
  • 00:19:38.270 --> 00:19:41.150
  • QUESTION FOR YOU. I SAID FIRE.
  • 00:19:41.170 --> 00:19:45.150
  • HE SAID, BACK WHEN YOU WERE LIVING HERE, BACK IN 2005,
  • 00:19:45.170 --> 00:19:51.200
  • DID YOU EVER HAVE A CHRISTMAS WHERE YOU HAD
  • 00:19:51.220 --> 00:19:54.060
  • ABSOLUTELY NOTHING? AND I SAID, YEAH, WHY?
  • 00:19:54.080 --> 00:19:59.090
  • HE SAID, DO YOU REMEMBER SOMEONE ANONYMOUSLY SLIPPING
  • 00:19:59.110 --> 00:20:03.020
  • SOME MONEY UNDER YOUR DOOR AT CHRISTMAS?
  • 00:20:03.040 --> 00:20:06.010
  • I SAID, YES, BUT NOBODY KNOWS ABOUT THAT.
  • 00:20:06.030 --> 00:20:12.020
  • HE SAID, THAT WAS ME. I WENT, WHAT?
  • 00:20:12.040 --> 00:20:16.060
  • HE SAID, OH, LET ME TELL YOU.
  • 00:20:16.080 --> 00:20:18.210
  • IN 2005, CHRISTMAS IS COMING, AND I GET A LITTLE NUDGE.
  • 00:20:18.230 --> 00:20:23.000
  • I THINK IT'S THE HOLY SPIRIT TELLING ME TO GIVE SOME
  • 00:20:23.020 --> 00:20:25.290
  • MONEY AT CHRISTMAS TO SOMEONE WHO HAS NOTHING,
  • 00:20:26.010 --> 00:20:28.270
  • BUT I DON'T KNOW ANYBODY LIKE THAT.
  • 00:20:28.290 --> 00:20:31.140
  • SO I'M IN A QUANDARY ABOUT IT, AND I HAPPENED TO STOP
  • 00:20:31.160 --> 00:20:33.140
  • INTO BLOCK BUSTER ONE NIGHT TO PICK UP A MOVIE FOR THE
  • 00:20:33.160 --> 00:20:36.090
  • FAMILY, AND I RUN INTO A GUY THAT I USED TO SHARE OFFICE
  • 00:20:36.110 --> 00:20:40.010
  • SPACE WITH, AND HE HAD STOPPED IN RANDOMLY TO PICK
  • 00:20:40.030 --> 00:20:44.120
  • UP A MOVIE FOR HIS FAMILY.
  • 00:20:44.140 --> 00:20:46.220
  • AND WE STARTED TALKING, AND I DON'T KNOW WHY IT COMES
  • 00:20:46.240 --> 00:20:49.000
  • UP, BUT I TELL HIM ABOUT THIS LITTLE NUDGE.
  • 00:20:49.020 --> 00:20:51.280
  • PAUL, HE SAYS, I DIDN'T KNOW IT WAS THIS HOUSE UNTIL I
  • 00:20:52.000 --> 00:20:55.190
  • DROVE UP HERE BECAUSE THE GUY DIDN'T TELL ME
  • 00:20:55.210 --> 00:20:57.250
  • WHO LIVED HERE.
  • 00:20:57.270 --> 00:20:59.080
  • ALL HE DID WAS GIVE ME THE ADDRESS, SO IN THE MIDDLE OF
  • 00:20:59.100 --> 00:21:01.220
  • THE NIGHT AT CHRISTMAS, I PUT FIVE $20 DOLLAR BILLS IN
  • 00:21:01.240 --> 00:21:06.020
  • AN ENVELOPE, AND I SLIPPED THEM UNDER YOUR DOOR.
  • 00:21:06.040 --> 00:21:09.240
  • I SAID, WHO IS THIS GUY YOU RAN INTO AT BLOCK BUSTER?
  • 00:21:09.260 --> 00:21:14.240
  • HE SAYS, OH, HE'S A FRIEND OF MINE.
  • 00:21:14.260 --> 00:21:16.240
  • HIS NAME IS SCOTT CLAUSNER, ONE OF MY BEST FRIENDS.
  • 00:21:16.260 --> 00:21:21.140
  • I SAID, KEVIN, YOU DON'T UNDERSTAND.
  • 00:21:21.160 --> 00:21:23.240
  • THAT $100 THAT YOU SLIPPED UNDER MY DOOR, IT PAID FOR A
  • 00:21:23.260 --> 00:21:29.040
  • COUPLE OF THINGS THAT KIM AND I REALLY NEEDED RIGHT
  • 00:21:29.060 --> 00:21:32.000
  • THEN, BUT IT GAVE ME THE EXTRA MONEY TO GO DOWN TO
  • 00:21:32.020 --> 00:21:35.250
  • OFFICE DEPOT AND PRINT THE FIRST 15 COPIES
  • 00:21:35.270 --> 00:21:39.230
  • OF "THE SHACK".
  • 00:21:39.250 --> 00:21:41.260
  • IT TAKES A SECULAR GERMAN PUBLISHER TO DECIDE TO DO A
  • 00:21:41.280 --> 00:21:47.200
  • DOCUMENTARY AND TWO VIDEOGRAPHERS IN OREGON TO
  • 00:21:47.220 --> 00:21:51.090
  • TURN IT DOWN FOR ME TO MEET KEVIN, THE MAN WHO GAVE ME
  • 00:21:51.110 --> 00:21:57.260
  • ENOUGH MONEY SO THAT I COULD GIVE MY KIDS A CHRISTMAS
  • 00:21:57.280 --> 00:22:02.020
  • PRESENT THAT YEAR.
  • 00:22:02.040 --> 00:22:07.010
  • A GOD WHO IS GOOD ALL THE TIME, A GOD WHO IS INVOLVED
  • 00:22:07.030 --> 00:22:11.020
  • IN THE DETAILS OF OUR LIVES.
  • 00:22:11.040 --> 00:22:13.240
  • [UPLIFTING MUSIC]
  • 00:22:13.260 --> 00:22:22.290
  • [UPLIFTING MUSIC]
  • 00:22:22.290 --> 00:22:30.130
  • ONE OF MY CHALLENGES LIVING ON THE WEST COAST,
  • 00:22:32.250 --> 00:22:35.210
  • AND KIM AND I, WE LIVE JUST OUTSIDE OF PORTLAND, OREGON,
  • 00:22:35.230 --> 00:22:40.070
  • SO ANYWHERE IN THE NORTHWEST, IT TAKES A WHOLE
  • 00:22:40.090 --> 00:22:42.190
  • DAY TO GET TO THE REST OF THE COUNTRY.
  • 00:22:42.210 --> 00:22:45.160
  • ONE MORNING, I SHOW UP AT THE TICKET COUNTER AT ABOUT
  • 00:22:45.180 --> 00:22:47.250
  • 4:30 IN THE MORNING, AND THE GAL SAYS, "WE'VE GOT A
  • 00:22:47.270 --> 00:22:51.240
  • PROBLEM WITH YOUR PLANE, A MECHANICAL PROBLEM, AND THE
  • 00:22:51.260 --> 00:22:55.040
  • TURN AROUND TIME INSTEAD OF 6:00 IN THE MORNING,
  • 00:22:55.060 --> 00:22:58.110
  • IT'S GOING TO BE 12:30 IN THE AFTERNOON."
  • 00:22:58.130 --> 00:23:00.210
  • I'M TRYING TO GET TO ASHEVILLE, NORTH CAROLINA,
  • 00:23:00.230 --> 00:23:03.190
  • AND I HAVE TO GO THROUGH ATLANTA.
  • 00:23:03.210 --> 00:23:06.160
  • I GET THERE AND MISSED MY DEPARTURE FOR
  • 00:23:06.180 --> 00:23:09.160
  • ASHEVILLE BY TEN MINUTES.
  • 00:23:09.180 --> 00:23:12.230
  • SO I LAND AT THE GATE, AND IF YOU'VE BEEN IN ATLANTA,
  • 00:23:12.250 --> 00:23:15.060
  • YOU KNOW THAT THIS IS A MONSTER BIG AIRPORT,
  • 00:23:15.080 --> 00:23:17.160
  • AND I'M AT GATE D-11.
  • 00:23:17.180 --> 00:23:20.180
  • AND I LOOK UP, THEY'VE REROUTED ME AND PUT ME ON A
  • 00:23:20.200 --> 00:23:22.210
  • DIFFERENT FLIGHT, AND I'M GOING OUT OF A-53.
  • 00:23:22.230 --> 00:23:27.120
  • SO MY WHOLE DAY HAS BEEN CHANGED.
  • 00:23:27.140 --> 00:23:30.090
  • LET ME TELL YOU SOMETHING.
  • 00:23:30.110 --> 00:23:32.250
  • WHEN YOU LEARN TO LIVE WITHOUT EXPECTATIONS,
  • 00:23:32.270 --> 00:23:35.290
  • THERE'S ALWAYS SURPRISES RIGHT AROUND THE CORNER.
  • 00:23:36.010 --> 00:23:39.190
  • SO I MAKE MY WAY OVER TO GATE 1153 TO MAKE SURE IT'S
  • 00:23:39.210 --> 00:23:42.220
  • THERE, AND AS I ARRIVED, THERE'S A WHOLE BUNCH OF
  • 00:23:42.240 --> 00:23:45.260
  • EMPLOYEES FOR THE AIRLINES, AND THEY'RE ON THE CARPET
  • 00:23:45.280 --> 00:23:48.200
  • LOOKING FOR SOMETHING DOWN ON THEIR HANDS AND KNEES.
  • 00:23:48.220 --> 00:23:52.190
  • SO I'M CURIOUS, AND I SAY, WHAT ARE YOU LOOKING FOR?
  • 00:23:52.210 --> 00:23:56.010
  • AND THEY SAY, YOU KNOW, IN YOUR GLASSES, YOU HAVE THESE
  • 00:23:56.030 --> 00:23:58.090
  • LITTLE SCREWS THAT ARE RIGHT OVER IN THE CORNER?
  • 00:23:58.110 --> 00:24:01.150
  • WELL, ONE OF OUR ELDERLY LADIES THAT WORKS FOR US,
  • 00:24:01.170 --> 00:24:05.120
  • SHE LOST THAT LITTLE SCREW, AND SHE CAN'T SEE ANYTHING
  • 00:24:05.140 --> 00:24:08.100
  • WITHOUT HER GLASSES.
  • 00:24:08.120 --> 00:24:10.030
  • I SAID, YOU WANT ME HELP? OH, SURE.
  • 00:24:10.050 --> 00:24:12.280
  • IT TAKES ME ABOUT 30 SECONDS, AND I FIND THIS
  • 00:24:13.000 --> 00:24:16.060
  • TINY LITTLE SCREW, AND THEY'RE ALL EXCITED.
  • 00:24:16.080 --> 00:24:20.110
  • AND THEY'RE GOING LIKE WHO ARE YOU, AND WHERE
  • 00:24:20.130 --> 00:24:22.090
  • ARE YOU GOING?
  • 00:24:22.110 --> 00:24:23.180
  • I SAID, I'M GOING TO ASHEVILLE NORTH CAROLINA.
  • 00:24:23.200 --> 00:24:25.180
  • WHY ARE YOU GOING THERE?
  • 00:24:25.200 --> 00:24:27.080
  • I'M GOING TO TALK ABOUT THIS LITTLE BOOK THAT I WROTE.
  • 00:24:27.100 --> 00:24:29.260
  • REALLY, WHAT IS IT? IT'S CALLED "THE SHACK".
  • 00:24:29.280 --> 00:24:32.190
  • AND THEY ALL SAID, WELL, WE'LL GO GET IT.
  • 00:24:32.210 --> 00:24:34.160
  • THEY'D NEVER HEARD OF IT.
  • 00:24:34.180 --> 00:24:36.120
  • AND THEN I LOOK UP, AND MY GATE CHANGED TO D-12,
  • 00:24:36.140 --> 00:24:41.150
  • AND IT JUST MADE ME LAUGH.
  • 00:24:41.170 --> 00:24:44.000
  • HERE I'D SPENT A GOOD PART OF THE DAY IN ORDER TO
  • 00:24:44.020 --> 00:24:47.210
  • ARRIVE AT THIS ONE PLACE TO FIND A LITTLE TINY SCREW.
  • 00:24:47.230 --> 00:24:53.140
  • THIS IS A GOD WHO CARES FOR US, INVOLVED IN THE DETAILS,
  • 00:24:53.160 --> 00:24:56.200
  • AND I GOT TO PARTICIPATE.
  • 00:24:56.220 --> 00:24:59.050
  • WHO KNOWS WHAT THE RIPPLES OF THAT
  • 00:24:59.070 --> 00:25:01.140
  • LITTLE STORY WILL BE?
  • 00:25:01.160 --> 00:25:02.270
  • ONE DAY, WE'LL FIND OUT, AND THAT'S WHY I THINK
  • 00:25:02.290 --> 00:25:05.020
  • ETERNITY TAKES SO LONG.
  • 00:25:05.040 --> 00:25:07.080
  • WE GET THE PRIVILEGE OF UNRAVELING THE TAPESTRY OF
  • 00:25:07.100 --> 00:25:12.070
  • THE STORIES, HOW WE'RE ALL INTERRELATED.
  • 00:25:12.090 --> 00:25:16.140
  • I THINK WE ARE SURROUNDED BY THE MIRACULOUS, AND YET,
  • 00:25:16.160 --> 00:25:23.110
  • WE'RE OBLIVIOUS MOST OF THE TIME.
  • 00:25:23.130 --> 00:25:25.010
  • WE LIVE OUR LIVES IN PRISON, PRISONS OF OUR OWN MAKING,
  • 00:25:25.030 --> 00:25:31.080
  • PRISONS THAT OTHER PEOPLE HAVE BUILT FOR US.
  • 00:25:31.100 --> 00:25:35.020
  • AND SOMETIMES THOSE PRISONS BECOME OUR IDENTITY;
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  • THAT IS, THEY BECOME PRECIOUS TO US.
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  • OUR FEARS, OUR HURTS, OUR LOSSES, THE ABUSE,
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  • WE BEGIN TO IDENTIFY THEMSELVES TO US.
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  • A LOT OF TIMES, THE PRISON DOOR IS LEFT UNLOCKED, AND
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  • WE DON'T WANT TO LEAVE.
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  • SO HERE'S THE QUESTION I WANT YOU TO THINK ABOUT.
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  • HOW MUCH OF YOUR LIFE DO YOU LIVE INSIDE THE HURT AND THE
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  • LOSSES OF YOUR HISTORY, INSIDE WHAT OTHER PEOPLE
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  • HAVE DONE TO YOU, INSIDE YOUR OWN SUFFERING?
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  • HAS IT BECOME AN IDENTITY FOR YOU?
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  • AND WHAT WOULD IT COST YOU TO WALK OUT?
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  • [INSTRUMENTAL MUSIC]
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  • [INSTRUMENTAL MUSIC]
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  • [INSTRUMENTAL MUSIC]
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