EXT. 
Balance of Souls
Pilot Episode
"A Choice to Make"
By Matthew Liddell
TEASER:
FADE IN:
INT. AN OFFICE -- DAY
Seated at a desk hunched over some paperwork is a character we will come to know as JACOB OSBORNE. He is working at some forms with a detached, almost bleary level of interest.
We see a tight shot of his pen, it scarcely moves. The camera cuts to a shot of his eyes, he has a thousand yard stare painted across his face.
Slowly audio of a summer barbecue starts to fade over Jacob's blank stare.
LITTLE GIRL (V.O.)
Daddy! Daddy look!
JACOB'S WIFE (V.O.)
Jacob, honey get the camera.
(more laughter)
Abruptly.
PHILLIPS
Osborne, you got those ten-W-twenties ready yet?
JACOB
(breaking trance)
Yeah, just give me a...
Jacob digs about his workspace, looking for the paperwork his boss is requesting.
PHILLIPS
There a problem over here, Osborne?
JACOB
No, no sir. No problem. Just um, could you give me a...a couple of minutes maybe with those. They're here, I know it. I mean I had them this morning. It's just...
PHILLIPS
You know Osborne my Daddy had a little sayin'.
Jacob looks frantically through a pile
PHILLIPS (CONT'D)
He had a saying, he said you either had to pitch in and keep up with the wagon train or leave yourself prey to the Injuns. Now everytime I come over here I find you staring off into space, lollygaggin' in one way or another, and I come over here to make a simple request out of you and you can't even seem to do that.
JACOB
I'm sorry sir, I have no excuse, I...
We see a wider shot of the office, another man, slightly older than Phillips calls to him.
GLEASON
Bob, could I see you for a minute over here.
PHILLIPS
Sure, Dick, just give me a second, okay?
(back to Jacob)
Now, I'm not the kinda person to write up some kinda little report kinda counselin' kinda thing. Man gets to the point where he can't do his job I expect him to just get up and say. "Sorry boss, caint do it no more" No harm no fowl, see what I'm sayin'?
JACOB
I can do it sir, it's just...
GLEASON
(a little rougher)
Bob, I need you right now.
Giving him one more look Phillips turns away from Osborne and walks to Gleason, his superior.
GLEASON (CONT'D)
(in a confidential tone)
I don't want you to be too rough on Jack Osborne.
PHILLIPS
Why's that?
GLEASON
(takes a look over at Jacob at his desk)
Jacob Osborne isn't the kind of guy that would want this spread around...but about a week ago someone broke into his house and murdered his wife and his little girl. They probably would have killed him too, he said he's gotta pretty good scar, knocked him out, probably thought he was dead.
PHILLIPS
What? Who did it?
GLEASON
No one knows. You know the police..
We hear the men's voices fade out as we cut back to Jacob working at his desk. He can hear the men talking about him, it seems to eat at him. Slowly his gaze falls to a picture of his wife and child on the desk beside him.
The phone at his desk rings.
JACOB
(into phone)
Accounts payable, Jacob Osborne, how may I help you?
We see the camera start to slowly pull in on Jacob's reaction. He looks as if his breath is taken away.
JACOB (CONT'D)
Yes..I've...I'll get a
(writing)
I'm...yes..yes...just tell me, who is this?
Who are you? Why would you be telling me this?
His reaction is puzzled, somewhat breathless.
JACOB (CONT'D)
Yes, Yes..I understand. I'm, why should I say it? I don't..you want me to say it?
Jacob looks at the picture of his wife and child.
JACOB (CONT'D)
Of course I want to find the man who killed my wife and my little girl.
His facial expression changes to one of anger.
JACOB (CONT'D)
And I want to kill them.
Jacob puts down the phone.
We see a wider shot of the office. Gleason and Phillips are talking, in the background we see Jacob at his desk putting on his coat and gathering up his things to go.
GLEASON
All I'm saying is, take it easy on the guy. If we have to let him go, we let him go, but give him a little time first
Phillips takes notice of Jacob Osborne walking towards the two of them as if he's on his way out.
PHILLIPS
You goin' somewhere there, Jacky boy?
JACOB
Yeah, I sure am.
Jacob slams a set of keys into Phillips' palm, who stares at him confused.
JACOB (CONT'D)
I'm getting out of this wagon train boss. You crazy cowboys can keep it.
FADE OUT:
ACT BREAK 
FADE IN:
EXT - A DUSTY STRETCH OF ROAD IN ARIZONA - DAY
We see Jacob Osborne behind the wheel of his car. His eyes locked on the road he drives on. We see a wide shot of his car passing out of frame.
INT. - DINER - LATER
We see an attractive young woman in her mid to late twenties we will come to know as HARMONY taking an order from a big and burly looking TRUCK DRIVER.
TRUCK DRIVER
Gimme, the um. A Half-scramble half fried with a side a bacon and I got a long haul so keep the java comin'.
The Truck Driver tries to pass his menu back to Harmony who isn't quite ready to take it yet. She is staring intently at her note pad, a look on her face as if she is trying to work a complex equation.
HARMONY
Okay, you want...scrambles?
TRUCK DRIVER
Yeah, eggs..Half scrambled and half sunny.
HARMONY
(intensely)
...Eggs...
TRUCK DRIVER
Yeah, you know. Eggs. Chickens lay 'em.
HARMONY
(concentrating, writing)
...Chick-ens...
TRUCK DRIVER
Naw, naw, naw. Tell you what, darlin'. You just go in the back and tell Danny to make me the 'Hungry Man' you think you can handle that?
HARMONY
(writing)
...Hungry man...
We see a shot over her shoulder. Harmony has in fact not written anything, she has done nothing but scrawl symbols and pictures on her notepad to make it look like she was taking the order.
Harmony takes the menu and passes through the frame. She breezes past the door to the diner where we see Jacob enter and look around.
HARMONY (CONT'D)
(off screen)
Danny I need the Hungry Man or something.
The camera stays on Jacob as he looks around, takes notice of a pay phone mounted on a nearby wall. He looks tired and unshaven, perhaps a day has gone by since we saw him last. He sits down in a booth near the phone and rubs at his eyes.
HARMONY (CONT'D)
Hi, welcome, um, do you...You want...something to drink?
JACOB
Just coffee.
HARMONY
Coffee.
(as if thinking it over)
JACOB
(thinking it a bit odd)
Yeah, coffee.
HARMONY
Okay.
Harmony leaves and the camera stays with Jacob.
TRUCK DRIVER
(off screen)
Darlin' am I ever gonna get me some java over here?
HARMONY
I'm sorry! I'm sorry!
Jacob isn't concerned with anything going on in the diner. He turns and looks at the phone again.
Harmony sets down a cup of coffee on the table top, and looks at Jacob just as the phone is starting to ring.
HARMONY (CONT'D)
(as if a question)
Coffee?
Jacob tries to scoot past her to get to the phone.
JACOB
Yeah, that's...Excuse me.
Jacob gets up and picks up the phone. We hear the voice on the other end this time, it is somewhat venemous.
JACOB (CONT'D)
(into phone)
Hello.
LILLIAN (V.O.)
I was worried you weren't going to come.
JACOB
No, I'm here.
LILLIAN (V.O.)
An opportunity like this isn't something to just be thrown away is it?
JACOB
No, no it's not.
LILLIAN (V.O.)
Do you have a gun?
JACOB
(pause)
No, no.
LILLIAN (V.O.)
Why not?
JACOB
I didn't know how for real this was.
LILLIAN (V.O.)
This is totally 'for real' Mr. Osborne. And if you're serious about this I suggest you go and purchase the tools you need to do the job.
JACOB
I'll, okay...but I don't even know where or how. What do you need to buy a gun in this state?
LILLIAN (V.O.)
Don't worry about it. Go across the street to the motel. I'm going to call you shortly, I'll have an associate come by with what you need.
JACOB
Who are you?
LILLIAN (V.O.)
Don't worry about it.
JACOB
No, before this goes any further. Before I...get in any deeper. I want to know who you are, I want to know why you're concerned about me and why you want me to do this.
LILLIAN (V.O.)
Mr. Osborne, I'm just a concerned party. Someone who wants to see that people get what they deserve. That's all I can say.
Osborne looks around, thinking this over.
LILLIAN (V.O.) (CONT'D)
Go to the motel, I'll have someone come by shortly with what you need.
The phone clicks dead.
We pull back to a wide shot of the diner. We see that Harmony was watching the whole conversation. Slowly, Jacob, takes notice of her. He isn't sure what she heard, he reaches into his pocket and takes out some money.
We see Harmony looking across the diner to an attractive woman sitting at the far end in a booth working at the buttons on a cell phone.
Jacob approaches Harmony and hands her the money.
JACOB
For the coffee.
HARMONY
Thank you.
Jacob exits the diner. We see Harmony still taking an intense interest in the woman with the cell phone. She is making another call now. Harmony walks across to the diner to where the woman is sitting. As she comes closer we see it is a woman with dark hair, a litle older than Harmony, her voice is the same as the voice we just heard on the phone.
LILLIAN
(talking into phone)
Yes, he's going over there now. How soon can you...?
HARMONY
Excuse me.
LILLIAN
How soon can you--
HARMONY
Excuse me?
LILLIAN
(to Harmony)
Excuse me, I'm on the phone.
HARMONY
Can I ask you something?
LILLIAN
If it's important.
HARMONY
Are you a demon?
LILLIAN
(pauses, looks at her, then into phone)
I'll call you back.
She beeps the phone dead and looks at Harmony.
LILLIAN (CONT'D)
You know the service here is terrible
HARMONY
May I sit down?
LILLIAN
If you must.
Harmony sits down.
HARMONY
I know what you're doing.
LILLIAN
Do you?
HARMONY
You're trying to make Jacob Osborne kill that man.
LILLIAN
That's the game, little girl.
TRUCK DRIVER
(off screen)
If I don't get me some coffee over here in one minute I'm leavin'!
HARMONY
And I'm...I'm supposed to stop you.
LILLIAN
You can try honey, but this one is pretty much sewn up. So I guess I'm just going to have to see you next time.
Lillian gets up and starts to exit the diner, Harmony follows her.
HARMONY
Wait, wait. Please wait.
EXT. - OUTSIDE THE DINER - CONTINUOUS
Lillian exits the diner and walks into the dusty parking lot. A hot Arizona sun hangs over the dusty plain.
HARMONY
Wait, I have to talk to you.
LILLIAN
I'm not trying to be rude, but I don't think we have anything to discuss.
Cell phone still in hand, Lillian begins making a call.
LILLIAN (CONT'D)
Now I'm sorry but you really are going to have to excuse me. You have your business, and I have mine.
HARMONY
What is that you're using?
Lillian stops working at the phone and looks at Harmony for a second, strangely.
LILLIAN
How long have you been here?
HARMONY
Here...I've been, I got the job at the diner this morning. It wasn't hard, I just told the...
LILLIAN
Where were you before this?
Lillian watches her. Then, as if realizing something, sets her phone aside and steps toward Harmony, somewhat aggressively.
LILLIAN (CONT'D)
When I came in I asked where the cigarette machine was. And you...you acted like you didn't know what I was talking about. Not where the machine was...you acted like...
HARMONY
There's a lot of things I don't know yet. There's a lot of little things to know, and I just...
LILLIAN
How long have you been here? On this side. On planet Earth? It can't be more than...
HARMONY
Today's my first day, so if you don't mind--
LILLIAN
(laughing scornfully)
I'm sorry, I'm sorry. It's just...
(she pauses and looks at her, shaking her head, still smiling)
I'll tell you what, kiddo. I don't have time for this. Have you got someone to talk to? They must have appointed someone to help you out.
HARMONY
Yes, his name is Father Geoffrey and he--
LILLIAN
(interrupting)
Well, great for you, kid. You go see him. I've got some things to take care of. I'm going to tell you that Jacob Osborne is a wash though, he's mine. Tomorrow he is going to kill a man.
(starts dialing cell phone again)
And after he does, after he makes his choice, he will belong, ever after, to my respective side. Maybe you can get a better shot at the next one but if you don't know what coffee, or cigarettes or a fried egg is...If you don't know anything about these people how can you persuade them to do anything. You're too out of touch. Now, if you will excuse me.
(into phone)
Luther, yes. Sorry, I was interrupted.
HARMONY
What is that you're using?
LILLIAN
(trying to ignore her)
He's at the motel across the street. It's called...
(turns to look at motel)
HARMONY
What is that you're...
LILLIAN
(turning away, into phone, plugging her ear)
It's called the Wagon Wheel Inn. I want you to bring--
We see a tight shot of Lillian facing the camera with Harmony just behind her. Harmony reaches out and makes a motion with her hand like she is spritzing water off her fingers. Suddenly, the phone in Lillian's hand evaporates in a burst of white light.
LILLIAN (CONT'D)
(frantic, jumping)
What did you do that for?!
HARMONY
I wanted to--
LILLIAN
Listen, I know your side isn't much on employee training. But that little move you made was against the rules, okay. We're both competing for that man's soul but if you're going to fight dirty then I win it by default.
(steps closer, gives her a dirty look)
I'm not hear to help you, you understand? I have nothing but hate in my heart for you and everything like you. What are you? Do you even know. I may be a demon but at least I became what I wanted to be. What are you? Nothing but celestial trash. Go talk to this father Geoffrey, whoever he is. Until then don't bother me again, or else you might find out I have some dirty tricks of my own.
(pauses, looks at Harmony with a sinister expression)
The angel trash that was here before you. I'm sure you have no idea what happened to him, do you? He killed himself, because he knew there wasn't any hope. And now he works for us.
Lillian walks away, leaving Harmony standing in the parking lot. Harmony starts to undo her apron, she looks around, she looks at the sky and at the dirt as if it is all new to her. Suddenly the door of the diner behind her opens and the Truck Driver from before steps out.
TRUCK DRIVER
Darlin', I'm just gonna say this. You are about the worst waitress I ever seen and I been haulin' rigs for twenty some odd years.
HARMONY
(with her back still turned)
Sorry, it's my first day.
Harmony walks out of frame. We see a tight shot of the trucker walking away. In the background we see Harmony step into nothingness. She walks into a discreet ripple and dissolve and is gone, unnoticed.
EXT. THE CHURCH OF THE ETERNAL REDEMPTION -- DAY
We see an exterior shot of a quaint church in suburban New York.
INT. THE CHURCH OF THE ETERNAL REDEMPTION -- CONTINUOUS
We see an overhead shot of the wide doors of the vestibule opening. Harmony enters as the camera looks down at her.
A Closer Shot. We see a BLIND WOMAN in the foreground. She is sitting as if somewhat relaxed. Suddenly her attention is snagged by Harmony. Slowly she turns, as if looking to her. Harmony does the same, looking back at her.
BLIND WOMAN
You're...You're warm.
HARMONY
I'm looking for Father Geoffrey.
BLIND WOMAN
He doesn't hold mass here anymore, sweetheart.
HARMONY
He doesn't?
BLIND WOMAN
I'm sorry, dear, but would you mind terribly just coming a little closer. You could sit if you like, it's just that you're so...
HARMONY
What?
BLIND WOMAN
...Warm...
HARMONY
I need to find father Geoffrey.
BLIND WOMAN
He does odd jobs for the church now. He doesn't preach, they won't let him and it's probably better that he doesn't. He's probably out back in the yard, I smelled...petunias, I think. I think it was petunias. Are you sure you won't sit?
HARMONY
I would, but, it's urgent that I see him.
BLIND WOMAN
May I ask you...?
HARMONY
What?
BLIND WOMAN
What does heaven look like?
HARMONY
(pause)
Like nothing you could imagine.
BLIND WOMAN
You sound like Father Geoffrey already.
EXT. BEHIND THE CHURCH -- CONTINUOUS
Harmony brushes past a thick overgrowth of flowers. The church has a large back yard assigned to it. As Harmony nears a man in coveralls, working in the soil, she steps carefully closer.
HARMONY
(looking at flowers, excited)
What are these?
Comically, Harmony leans down so low to smell the flowers that she topples over.
FATHER GEOFFREY, a short man in his forties turns to look at the collapsed Harmony.
FATHER GEOFFREY
(concerned for flowers)
Oh, dear, please don't...I just...
HARMONY
I'm sorry, I'm sorry.
Harmony stands up and looks at herself. Her clean white shirt is covered with dirt, she doesn't quite understand what it is or why it is sticking to her. She brushes at the dirt with her hand, then looks at her hand to see it has become dirty too. She looks at Father Geoffrey, as if confused.
HARMONY (CONT'D)
Dirt?...Right?
FATHER GEOFFREY
You're who Our Lord sent to save souls.
HARMONY
(still struggling with dirt)
Yes, of course I am. I'm just having some trouble on my first day. 
(shows him her dirty hands)
Is this supposed to be happening?
FATHER GEOFFREY
(standing)
Here, come inside.
INT. KITCHEN AREA IN THE CHURCH -- LATER
Father Geoffrey is wiping at Harmony's face with a rag. She sits on the counter top obediently being washed like a child.
FATHER GEOFFREY
So you met her already?
HARMONY
Yes, she was quite rude.
FATHER GEOFFREY
Well, she has every reason to be. She doesn't like us and we don't like her.
HARMONY
Why?
FATHER GEOFFREY
Because she works for the devil, dear child. Although that's just the name he goes by on the streets. In actuallity it's a lot more complicated than just a man trying to tempt someone to make a bad choice. There are a lot of players involved, a lot of souls in jeopardy. Do you even have an idea of what you're here to do?
HARMONY
I'm here to save souls.
FATHER GEOFFREY
Well, that's a given, but do you have any idea of the rules? Or who you're going to be meeting out there? My Lord, Harmony...This is your first day on Earth, you wouldn't know the difference between a chicken dinner and a heroin needle if someone put either in front of you.
HARMONY
Um...I've got dirt figured out. It's dirty...beyond that...
FATHER GEOFFREY
My congregation outed me for telling you what I'm about to tell you.
HARMONY
Why did they..?
FATHER GEOFFREY
Because people believe what they want to believe. And really, why shouldn't they? You go to church, you pay your taxes, you don't swear on Sunday...and most people think they're set.
HARMONY
But..?
FATHER GEOFFREY
But once...Once in every person's life they're given a choice, like our Mr. Osborne that you told me about.
HARMONY
Is he going to kill that man?
FATHER GEOFFREY
Well, that woman, if you could call her that, Lillian...She wants to see him do it.
HARMONY
But then he'll be...
FATHER GEOFFREY
Once in our lives we are given a choice. A choice of paramount importance, creatures like Lillian are there to see to it that we make the wrong decision.
HARMONY
But you and I...
FATHER GEOFFREY
We're here to try and help him make the right choice. It won't be easy though, she's got a head start on us.
HARMONY
She knows a lot more than me too.
FATHER GEOFFREY
She does...I don't think anyone can argue that. But you don't have to know anything to feel what is right. And we've got that on our side. Mr. Osborne knows what he's doing is wrong, but he's getting some good counsel on doing a bad thing, and Lillian is going to make it very easy for him to make the wrong choice, and condemn himself.
HARMONY
Lillian acts like she's been doing this for a long time. It's just my first day.
FATHER GEOFFREY
She's been here a long time, I've heard a lot about her.
HARMONY
She said that...the one before me...he...'killed' himself?
FATHER GEOFFREY
Yes, I never knew what happened to him. But that's what Lillian does, what all of her kind do, her business is to get inside your head and feed you lies. To help you do the worst things you can imagine. That is who she is and what she does.
HARMONY
But I can stop her right?
Harmony looks to Father Geoffrey as he wrings out a washcloth.
HARMONY (CONT'D)
Right?
FATHER GEOFFREY
Let's just say that we've got our work cut out for us.
FADE OUT:
ACT BREAK 
FADE IN:
EXT. WAGON WHEEL MOTEL - DAY
We are back in Arizona where we see Lillian standing outside the motel waiting impatiently as a rusty black van pulls up. As it pulls closer she approaches the van.
LILLIAN
Where have you been?
Inside the van we see LUTHER, he looks to be in his 20's. He has greasy black hair, is unshaved and sports a nose ring. Heavy metal music pours from the windows of the van.
LUTHER
(yelling over music)
What!?
LILLIAN
Turn that noise off.
LUTHER
(killing the engine, music dies)
It's not noise. Those guys are some of our greatest helpers in this little war.
LILLIAN
I could pull better helpers than that out of my rear end.
LUTHER
(flirtatiously)
Sounds good, Lil. You need any help down there, you let me know, Okay?
LILLIAN
I'd feel no remorse in tearing off any part of your body that got near me.
LUTHER
Ha-ha. Flirty. 
We cut to a shot from the interior of the van. We see the sliding door open up and we see both Luther and Lillian inspecting a cache of firearms strewn about on the floorboards of the van.
LUTHER (CONT'D)
Hey, Lil. Can I ask you something?
LILLIAN
(reaching in to look at the guns)
What?
LUTHER
It's said that Master Oglesbaugh acheived his extraordinary powers by having...you know...'a relationship' with a woman such as yourself.
LILLIAN
(brief pause)
You realy believe in what Oglesbaugh says, don't you?
LUTHER
Of course. Ever since I joined the Order of Ahriman I've felt empowered in a way I never imagined. After seeing the things The Master can do...After being opened up to this world...I mean, meeting you...how can I not feel like I'm totally empowered? Way more so than these suckers you meet everyday.
Lillian takes a small revolver and puts it square to Luther's temple.
LILLIAN
Good. That's exactly how we want you to feel.
She squeezes the trigger.
Nothing happens.
LILLIAN (CONT'D)
Make sure to take him some bullets too.
(she slams a box of bullets into his hand.)
He's in room 201.
INT. OSBORNE'S MOTEL ROOM -- DAY
Jacob Osborne is in his motel room. Idly moving about, he has a look of deep thought on his face. In his hand is the picture of his wife and daughter.
We hear a knock at the door. Jacob gets up to open it to reveal...Harmony, wearing a maid's uniform.
HARMONY
Housekeeping.
She brushes past him and walks inside.
JACOB
I don't really think I need...
HARMONY
Oh, please sir. It'll just take a second.
JACOB
If you don't mind, I'm...
Harmony has gone to the back and is sorting through items in the bathroom. We hear something topple and shatter off screen.
HARMONY
What's that, sir?
JACOB
I'm actually waiting for someone, so if you don't mind...
HARMONY
Who are you waiting for?
JACOB
That's...
HARMONY
The only reason I ask sir, is because this motel, and its remote location. There's sometimes some unsavory characters who hang around here. You might be better off if you just left entirely, you know there's a much nicer motel in the next state.
JACOB
Um, that's okay...I really have to-- 
HARMONY
Are you on vacation?
Harmony moves around the room as if straightening things but is in fact just pushing them into disaray. 
JACOB
What's that?
HARMONY
Are you on vacation?
JACOB
No...I'm, no vacation.
HARMONY
Business then?
JACOB
Yeah, you could say.
HARMONY
Listen, sir, not that I know you or...I'm just a regular person that you just happened to meet...and...and...
JACOB
What?
HARMONY
And I just want to tell you one thing. If you want to save yourself, you have to get out now...bad things are going to happen. That's all I can say.
Jacob looks at her, not quite sure what to make of her. 
JACOB
Who are you?
HARMONY
Just someone who wants to help you.
There is a knock on the partially ajar door. We see it is Luther who has just arrived. He has a look on his face as if he is suspicious.
LUTHER
Are you Osborne?
Harmony walks to the door and starts to push it closed.
HARMONY
Sorry, emergency houskeeping meeting.
(she pushes it closed)
JACOB
What are you..?
HARMONY
Are you leaving...
JACOB
No, I'm not leaving, I...
(he moves towards the door)
HARMONY
So, what time would you like to meet tonight?
JACOB
I don't understand.
HARMONY
Oh, come on, you can't be so busy you can't stop to...have something to eat.
JACOB
No, I don't think so.
HARMONY
There's a nice diner, right across the street.
JACOB
I know, I...
(stops, realizing)
Didn't...Don't you work there?
HARMONY
I did, but...
JACOB
I really have to talk to this man. Right now, you can come clean the room later. I promise.
Jacob opens the door and pushes her out.
As Harmony passes Luther he gives her a brief look and a snicker of disregard.
Harmony stands, featherduster in hand and looks around for a moment. She takes a few steps and sits down on the steps leading up to the second floor landing.
We see a tight shot of Harmony, from behind her we see Lillian emerge as if she had been sitting there the whole time.
LILLIAN
Not as easy as you thought it was going to be, I guess.
HARMONY
(half-heartedly)
No, it's all going according to plan.
LILLIAN
Oh really, then why is he up there right now listening to Luther tell him about the best way to kill a man.
HARMONY
Go away.
LILLIAN
Do you know anything about what you're doing?
HARMONY
Leave me alone.
LILLIAN
There are some ground rules to this. It's a game really, that's all it is. And as in any game there are rules. That little stunt you pulled earlier, destroying my cell phone, completely unnacceptable.
HARMONY
I'm not going to apologize.
LILLIAN
Your side and my side had a little agreement. Whether or not you're aware of it, I don't know, but I feel I should remind you. You can walk in there and tell that man anything you want to, tell him about heaven and hell and all those other charmingly simple ideas they like to hear about. But what you can't do, is tell him you're an angel.
HARMONY
Why not?
LILLIAN
Well first of all, you're not much of one, so I wouldn't go bragging about it. One word about how you're the best hope they've got and I think they might just give up now. Really, what are you expecting to do here, other than bother me? 
HARMONY
He knows what's right. I'll help him make the right choice.
LILLIAN
But he has to actually make the choice himself. No magic tricks, no little parlor games to convince him that there's something more to all this. When people see proof...they aren't allowed to play anymore.
HARMONY
What do you mean?
LILLIAN
The only thing that gets these primates through this life is faith. Whether they have it or not is pretty inconsequential. Everyone has a little bit of faith. But the minute you pull out a pin and start dancing on the head of it...The minute you prove to him that there's something more than this world, the sooner you condemn him.  The lunatics in the Ahriman Order, like Luther, they're condemned. Most of them, they've seen...they cheated. When they leave this life the only thing they're going to find is what they expect to find, a big fat nothing, for always and eternity.
HARMONY
That's terrible.
LILLIAN
And your friend...Father Geoffrey. You know he's not allowed to play anymore. He's no better off than that lunatic up there.
HARMONY
Dear.
LILLIAN
No hope for him, no hope for Mr. Osborne. The person who had your job before you quit it. You could too, just walk away, no one has to know. No one's watching us, there's nothing up there, not really. Not for us.
The door above the two women opens. Luther comes out and walks down the steps between them.
LUTHER
(to Lillian)
Mission accomplished
LILLIAN
(to Harmony)
You see how tight we have this thing wrapped up. Do you see how determined these apes are to come face to face with the very worst parts of themselves. Why don't you go somewhere and think all of this over, and then when you're done thinking about it, give up, walk back to where you came from and tell your boss this is a losing battle.
HARMONY
(standing up)
There's more to all this, there has to be.
LILLIAN
Oh there is, if you wanted to see I could take you. My side's not so bad once you get used to it. Where I come from you're in control of yourself.
LUTHER
Something she's obviously not.
Harmony walks past them, leaving them on the steps.
INT. THE CHURCH OF THE ETERNAL REDEMPTION -- EVENING
Harmony is sitting in a chair in children's play area. Around her are construction paper cut outs and child-friendly illustrations of Biblical scenes. In the foreground we see Father Geoffrey, finishing up some vacuuming. He has not yet noticed Harmony.
Father Geoffrey finishes vacuuming, turns off the vacuum and turns to catch a glimpse of Harmony.
FATHER GEOFFREY
(startled)
Dear Lord!
HARMONY
What's wrong?
FATHER GEOFFREY
You just...You just startled me, is all.
HARMONY
I need some help.
FATHER GEOFFREY
What is it you need help with?
HARMONY
This is going to be a lot harder than I thought it was.
FATHER GEOFFREY
Most things are.
HARMONY
How am I supposed to save anyone when everyone seems to have such a good reason for doing things that are bad?  How am I supposed to save anyone when it's so easy to do what's wrong?
FATHER GEOFFREY
The road to hell is wide and inviting.
Father Geoffrey sits in one of the diminuitive chairs beside her.
HARMONY
And...if you hear it from her. Hell isn't that bad of place anyway.
FATHER GEOFFREY
That's open to discussion. Some people, like Lillian I imagine, find it quite comfortable. Hell is described by the Lord in different ways, it's not necessarilly fire and brimstone like some believe. But one thing is for sure, it's a place without love. A place too far away for forgiveness to reach, and that's what you want to help Mr. Osborne avoid. That's what you want to help all people to avoid doing.
HARMONY
But...
FATHER GEOFFREY
What?
HARMONY
Can not Our Father forgive any sin?
FATHER GEOFFREY
We hope so. That's what it says in The Word. But another thing is for sure, The Lord likes to put us through our paces, he makes little tests for us. And you, and your kind, are here to carry out the largest of these tests. Whether damnation lurks in the future for anyone you meet has to do with the choices they make.
HARMONY
What about you?
FATHER GEOFFREY
Me?
HARMONY
Lillian said that...she said...that I wasn't allowed to show them any of what I could do.
FATHER GEOFFREY
Yes...
 
HARMONY
That if I did...
FATHER GEOFFREY
The Lord wants our faith more than our approval. If He so chose he could make a million Harmony's come down to Earth, but the Lord wants to make it tricky for us. Blessed are those who have not seen, but yet believe.
HARMONY
I don't know if I can do any of this. I don't know that I shouldn't just hand in my resignation right now.
FATHER GEOFFREY
You have...certain powers. Like we discussed. If you wanted to you could whisk yourself away to the next room, or back to Arizona or onto the top of the Eiffel tower.
HARMONY
I can also make things disappear.
FATHER GEOFFREY
You mean destroy them?
HARMONY
Yeah.
FATHER GEOFFREY
If you wanted to, you could just destroy yourself, but then where would you be? The Lord wants believers more than He wants anything else, certainly more than He wants quitters. 
HARMONY
Why did the one before me do it? Why did he kill himself?
FATHER GEOFFREY
Not one.
HARMONY
Not...
FATHER GEOFFREY
The last nine angels who descended from Heaven decided they'd rather have oblivion then stand up to Lillian. They decided they didn't believe in themselves.
HARMONY
So much hurt...
FATHER GEOFFREY
But that's where you come in...
HARMONY
What?
FATHER GEOFFREY
You offer hope...
HARMONY
Yes.
FATHER GEOFFREY
Go and give this man hope. Once you do, you will find you have found some for yourself.
The camera pans in to Harmony's thoughtful reaction.
EXT. WAGON WHEEL MOTEL - NIGHT
We see Jacob Osborne shutting the door behind him. He reaches into his coat pocket, looking for some keys. Harmony steps into frame, appearing almost too suddenly.
HARMONY
Hi!
JACOB
(startled)
Uh! Huh-Hi!
HARMONY
Listen, I don't know if we should go to that diner. My boss over there is still pretty mad at me.
JACOB
What are you talking about?
HARMONY
You said we'd meet tonight. I talked to a friend and he said when people meet they go and eat. So if you want to go and eat we should go somewhere else because they don't like me there anymore.
JACOB
You're crazy.
Jacob walks away from her.
HARMONY
It's not your fault.
He ignores her and walks down the steps. We see him walking towards the camera as Harmony stays on the second floor, both of them still in frame.
HARMONY (CONT'D)
It's not your fault Jacob Granville Osborne. It's not your fault your wife and child are dead, and killing someone isn't going to do anything but ruin your life.
Jacob stops, turns, looks at her, and then runs up the steps and grabs her around the shoulders.
JACOB
What are you talking about! Who are you!  How do you know these things about me! WHAT IS GOING ON HERE!
(screaming at the sky)
Why, why, why is all of this happening. A week ago, a week ago Shandy and Tiffany are killed, and now, here I am, in Nowhere, Arizona, waiting for a man, who...who I'm not even sure is the one who did it. And who are you and who is that woman who keeps calling me and what in God's name is going on here?!?!
HARMONY
You have a lot of questions.
JACOB
Your damn right I do. 
HARMONY
But I only have one answer...faith.
EXT. A REST STOP -- NIGHT
Jacob and Lillian sit on wooden benches eating cheeseburgers from a dusty wooden tabletop. Around them is a cheap neon lit burger joint and several trailer homes in the distance. Harmony is eating and is extremely messy. She has a face covered with grease and condiments. She tries to sip her soda throught a mouthful of food and ends up spilling it in her lap.
JACOB
Where did you say you were from again?
Jacob takes a wad of napkins and hands them to her.
HARMONY
(looking at her lap)
I'm getting...'wet.'
JACOB
Where are you from?
HARMONY
Someplace that doesn't have chiefburgers as good as this.
JACOB
Cheeseburgers.
HARMONY
That's what I said.
JACOB
You eat like my daughter.
HARMONY
Was she...?
JACOB
She was messy, very messy, it bothered her mother a little more than me. I thought it was funny, I was just happy that she was happy. She had a good time eating, like you.
Harmony laughs and drains the last of her soda.
JACOB (CONT'D)
It's funny, most of the time. It's hard to convince myself that they're even gone. I can't believe it.
HARMONY
Have you cried for them?
Jacob looks at her somewhat suspiciously. This is a little too personal to discuss with whoever this woman is.
JACOB
Before we go any further. You need to start answering some questions. You've told me your name is Harmony, and you've told me you're from...
HARMONY
Someplace sunny and warm.
JACOB
Right....That's not exactly answering any of my questions. Listen, all of that aside, this is what I need you to tell me, very specifically, and if you can't tell me this, I'm getting up and leaving right now.
HARMONY
What?
JACOB
Who is that woman on the phone? Why does she want me to do...this.
HARMONY
I can't tell you...
JACOB
Then I guess we're done.
(he starts to get up.)
HARMONY
No, wait.
(she reaches out to him, trying to get him to sit back down.)
I can tell you this though. She is not someone you want to trust.
A look passes across Jacob's face, he felt that he couldn't trust her either.
JACOB
I knew it. The fact that you...the guy who...the fact that you two know.  This isn't...I should just go back home.
HARMONY
I can't tell you a lot of things, Jacob Osborne, but I can tell you this. Your wife and child love you. They love you still, and the fact that you haven't cried for them...shows me that you haven't really let them go. Hurting someone else won't avenge their deaths, all it will do will destroy your own life, and that's the last thing they would have wanted.
JACOB
You're probably right...
(shakes head)
I should go back home, I guess. I never should have left in the first place.
HARMONY
(smiling broadly)
You are...
JACOB
Yes, why? You sound like...
Harmony is beaming.
HARMONY
You made the right choice, Jacob Osborne.
We cut to a different shot of their table. We see the open expanse of the road behind them. Emerging from the darkness behind them is a speeding car DRIVING RIGHT TOWARDS THE TWO OF THEM.
HARMONY (CONT'D)
I don't know if you really feel it or not now, but you made the right choice to let go of your hatred, you...
Both Harmony and Jacob turn, people from the trailer park are screaming at the car and the two of them. The seemingly out of control car crashes into the bench where they were eating. Both Harmony and Jacob throw themselves aside just in time as the out of control car DEMOLISHES THE AREA THEY WERE JUST SITTING IN.
We pause for a beat, absorbing the extent of the damage. From the ground we see Jacob looking at the old car that nearly killed him and Harmony, from inside we hear laughter. The door of the car slowly pushes open and from inside we see.
CUT TO: 
P.O.V. OSBORNE'S HOUSE-FLASHBACK -- NIGHT
We see a dreamy insert of the same man, he is sweaty and hopped up on drugs. He holds OSBORNE'S WIFE's hair in her hands. A knife to her throat, he screams incoherently at Jacob as the camera pans away.
BACK TO:
EXT. A REST STOP -- NIGHT
We see Jacob's eyes swell with anger as he pulls the gun from his pocket and points it at the laughing vissage of PHILLIP DARDEN, the murderer of his wife and child.
JACOB
(just about to fire)
I'm doing you a favor, you sick...
Jacob cocks the hammer back, and a breathless beat later we see a woman jump in front of him, blocking his line of fire from her shabby husband.
DARLA
No, stop, you can't kill my husband!
Jacob pauses, looks at the woman, she is just as shaggy and unkempt as her husband. Her stomach is swollen with pregnancy. Jacob is gripped by indecision
FADE TO BLACK:
Act Break
FADE IN:
EXT. A REST STOP -- MOMENTS LATER
DARLA
Stop, please don't. He didn't mean to! He doesn't know what he's doing!
Jacob holds the gun on the two of them. We see his anger swelling by the fact that he doesn't seem to be able to put the gun down. He squeezes the trigger, perhaps prepared to blow away both DARLA and her husband.
We see a flurry of reaction shots. Harmony, disheveled and panicked stands by breathless. Another shot, Lillian stands by watching with an almost bored expression.
Jacob, reconsidering, slowly lets down the hammer of the gun and gets up.
JACOB
(to Phillip)
This isn't over.
We see Harmony watching Jacob walk away, she looks to Lillian standing nearby. 
EXT. THE CHURCH OF THE ETERNAL REDEMPTION -- MORNING
We see an establishing shot of the now familiar church in New York, the next morning.
INT. THE CHURCH OF THE ETERNAL REDEMPTION -- MORNING
Harmony is seated in the pugh again, watching as Father Geoffrey, on his knees works at the carpet.
FATHER GEOFFREY
And you say he was almost ready to go home?
HARMONY
Yes.
We see an extreme close up of father Geoffrey wrestling a piece of gum from the carpet of the church. Grudgingly, it pulls free, taking with it a portion of the old carpeting.
Father Geoffrey sits up into the frame, holding the mangled carpet in his hand.
FATHER GEOFFREY
(considering the carpet)
There's something sacriligious about this.
HARMONY
What do I do now?
FATHER GEOFFREY
Well, it seems to me you've done all you can do. For some people, especially like Mr. Osborne, just letting go of the things that haunt them isn't enough. You may have to trust him to go further.
HARMONY
What do you mean?
FATHER GEOFFREY
You may have to trust him to meet this man. I have a feeling that the only he is going to forgive this man, to put this behind him, is if he looks him in the eye. And if he does go to meet this man, I have the feeling it's going to be with a gun in his hand.
HARMONY
But he'll kill him, I saw it last night. He wanted to kill him. 
FATHER GEOFFREY
Yes, but he chose not to.
HARMONY
Am I ever going to get the hang of this?
FATHER GEOFFREY
Maybe. Listen to me, Harmony, I've sat in this very church and heard a lot of sad stories. A lot of people blame their problems on things they can't control, but in the end, it's up to each and every one of us to stand up and come to terms with our own misfortunes, regardless of who perpetrated them.
HARMONY
Yes.
FATHER GEOFFREY
You seem to be doing a good job so far, don't give up on Mr. Osborne, and...don't give up on yourself. You have a very special job, Harmony. Your job is to intercede in someone's life at the moment they need it most, if you step down from that job, we'll all be the poorer for it.
HARMONY
I just want to do what's right.
FATHER GEOFFREY
I have a feeling about you, Harmony. I have a feeling you'll continue to do what's right.
INT. OSBORNE'S MOTEL ROOM -- AFTERNOON
Osborne is milling about his room, as before. The phone rings.
LILLIAN (V.O.)
He just went into the room directly below you. Room 101, go now, while he's alone.
JACOB
(into phone)
Who are you, tell me who you are, right now!
LILLIAN (V.O.)
Who am I?  I'm the little voice in the back your head that makes it possible for you to do what you want to do. Now go, kill Phillip Darden and be a man. Who is this human trash to do this to you, to destroy your life? Go and destroy him!
The phone clicks dead.
Jacob sets it down and looks at the gun in his hand.
EXT. WAGON WHEEL MOTEL - DAY
Jacob exits his room and walks down the stairs. As he reaches the first level he walks toward a door where a surly looking biker named SKULL is watching the door. Jacob approaches the massive Skull, not quite sure what to say to him.
JACOB
I need to see...I need to talk to...
Suddenly, Harmony approaches, walks between the two of them.
HARMONY
(bursting out)
Jacob, I really need to tell you something.
Skull opens the door of the motel room, motions for the two of them to go inside.
SKULL
Ladies first.
HARMONY
Thank you.
(continuing, to Jacob)
Now, it seems to me that what you're going to need to do is...
INT. DARDEN'S MOTEL ROOM -- DAY
Skull shoves both Harmony and Jacob inside where they are confronted by Phillip sitting on the couch counting out a pile of cash near. On the coffee table in front of them is a massive pile of drugs. All around the room is stolen swag, including televisions, three or four television seem to be showing different programs.
Nearby is another associate, R.I.P., another biker with a bandanna tied around his head.
PHILLIP DARDEN
Where the hell have you been?
Skull starts to pat down Harmony, who giggles wildly.
HARMONY
Stop it!
(laughing and batting at him as if she is being tickled)
Stop it!
PHILLIP DARDEN
You were supposed to be here over an hour ago. This is unproffesional man, I...
Phillip takes notice of Harmony's wild giggling. Harmony starts to try and tickle Skull back.
PHILLIP DARDEN (CONT'D)
What's wrong with your old lady?
JACOB
I'm not here about any of that, I'm not here about any money or drugs. I've got business with you, concerning something you did.
PHILLIP DARDEN
Is that so?
JACOB
Yeah,
(turns to look at Harmony)
But let her go, this doesn't have anything to do with her.
PHILLIP DARDEN
You brought her here, man. Why do you want her to leave so soon?  Party's just gettin' started from the way I see it.
JACOB
Let her go.
PHILLIP DARDEN
Sit down.
JACOB
I've just got one thing to say, and it won't take long.
Phillip looks between his two associates, he can't quite believe the gumption of this guy.
JACOB (CONT'D)
A week ago, you...and you...
(turns and looks at R.I.P.)
I remember you now, you were in my home. You broke in, you stole my television and a bunch of other crap I don't care about. But you took something from me that I didn't want to live without...my little girl woke up...
CUT TO:
INT. OSBORNE'S HOUSE-FLASHBACK -- NIGHT
A disconnected series of images of Phillip Darden and R.I.P. looting Osborne's house. We see they are both very high and very wired on drugs. We see a disturbing image of Darden smiling at Osborne's daughter and chasing her through the darkness.
BACK TO:
INT. DARDEN'S MOTEL ROOM -- DAY
JACOB
My wife and daughter are dead now because of you.
PHILLIP DARDEN
I thought I killed you.
Jacob pulls up his shirt, across his chest is a massive series of scars.
JACOB
You should have cut it out. 
We see a slow zoom on Harmony's face, she twitches, as we hear a faint sound, we get the impression that someone is whispering in her ear and only she can hear it.
PHILLIP DARDEN
So what are you here to do about it, cowboy? You here to try and scare me?
HARMONY
Excuse me.
PHILLIP DARDEN
'Cause I'll tell you somethin', nobody who looks like you ever scared me. I killed your wife, I killed your little girl. So what...What are you gonna do about it?
We see a stearn expression on Jacob's face.
PHILLIP DARDEN (CONT'D)
You want to know something else, cowboy? You want to hear something to really make you mad? I enjoyed it, and you know what, when I'm cutting your heart out...I'm gonna tell you exactly what I did to that little girl of yours.
Harmony slaps her head, she is in pain.
HARMONY
(to herself)
Ow, stop it.
Everyone looks at her, is she crazy?
HARMONY (CONT'D)
(to herself again)
Okay, alright.
(to room)
I need to go to the, um...'bathroom'.
Phillip Darden looks around, we see no reaction from anyone but we get the feeling that perhaps guns are about to be fired, and it's better that she does leave.
PHILLIP DARDEN
Skull, put her in the bathroom. We're savin' her for later. 
INT. MOTEL BATHROOM -- MOMENTS LATER
Harmony enters the bathroom, seated on the bathroom counter is Lillian.
HARMONY
Why did you...
LILLIAN
I just didn't want you to get any ideas.
HARMONY
What, I don't...
LILLIAN
There's going to be some shots fired soon, little girl, and if you wanted to you could make all those guns disapear and put posies in their hands. But that's not what we're here to do is it?
HARMONY
I need to go back.
Lillian makes a gesture similar to the one that Harmony made when she destroyed her cell phone earlier. We see a special effects shot. The lock of the bathroom door seems to become intertwined in misty red fingers.
Harmony goes and pulls on the door, it is locked tight.
HARMONY (CONT'D)
I have my dirty tricks, too. 
INT. DARDEN'S MOTEL ROOM -- MOMENTS LATER
JACOB
I'm just here to do one thing.
(Jacob reaches into the waistband of his jeans and pulls out the revolver)
Suddenly, the room explodes in a fervor of activity. R.I.P. points a shotgun at Jacob and Skull extracts a pistol.
R.I.P. & SKULL
Put it Down! Drop the Gun, idiot! Etc.
Calmly, eyes locked on Phillip Darden, Jacob sets the gun on the table in front of him.
JACOB
I'm not here to kill you. I just want you to know, her name was Shandy and my daughter's name was Tiffany and you killed them, but it's not my job to punish you for it, that belongs to someone else.
There is a heavy moment hanging in the air. Jacob's eyes are locked on Phillip's still.
PHILLIP DARDEN
R.I.P., do me a favor and blow this guy's head off.
Slow motion. We see R.I.P. cock and aim his shotgun at Jacob. Jacob turns, unafraid, looking at the barrell when suddenly we cut to a shot of his foot.
We see the carpeting yanked from underneath him. Jacob tumbles, falls, drops out of the zone of the shotgun blast as we see Skull takes the full force of it from across the room.
SKULL
(screaming in agony.)
You!!!
Skull points his gun at R.I.P. and fires, blowing him away.
A beat later, Darden and Osborne are sitting with the coffee table between them, the gun sitting there. Jacob reaches for the gun but Darden is quicker, he snatches the revolver, points it at Phillip and fires.
Nothing happens.
Jacob kicks the coffee table, sending drugs and cash flying everywhere. Jacob leaps on top of him, battering him.
EXT. WAGON WHEEL MOTEL - MINUTES LATER
Jacob walks out, stumbles and manages to catch the eye of a county sheriff rolling by.
SHERIFF
(getting out of car)
What's the trouble? Had a report of shots fired.
JACOB
(pointing)
In there.
Jacob props himself against a car, rubbing his hair, his back, he can't quite believe he isn't perforated with bullets.
We see a wider shot of the Wagon Wheel Motel's parking lot, it begins to fill with police cars. A hustle of activity floods on the door of Darden's room.
We a tighter shot of Jacob, he looks around, sees that he is mostly ignored, and steps away.
EXT. A DUSTY STRETCH OF ROAD -- EARLY EVENING
We see Osborne's car, pass through the frame, it passes and then slows, the blinker pops on and he pulls to the side of the road.
Jacob gets out of his car, walks to the back and takes a look. He has a flat tire. Jacob opens the trunk of his car and digs through it, he pulls out a spare tire but doesn't seem to have the tools he needs to replace the flat.
HARMONY
(from off screen)
You need some help?
We reveal Harmony and Lillian, a non descript car behind them. Lillian is holding a spider-wrench.
JACOB
(flabbergasted)
You...I didn't know, I didn't have any idea if you...
HARMONY
Oh, don't worry about me. Looks like you need a little...
JACOB
Yeah, I had a...
Lillian approaches, snatches the tire from him and walks around to replace it.
LILLIAN
(rudely)
Here, gimme.
JACOB
Are you sure, I can just as easily...
HARMONY
It's okay, we kinda had a little bet, and she agreed..
JACOB
Thank you, thank you for everything, I guess.
HARMONY
It was my pleasure, do you think you're going to be all right?
JACOB
I think so, yeah, I guess in the end I just needed to...I needed to forgive.
HARMONY
That's usually all it takes.
Lillian emerges with the tire in hand, brusquely she shoves past Jacob and throws it in the trunk.
LILLIAN
Pardon.
JACOB
Are you?...You couldn't have done it that quick.
Lillian ignores him and walks back to the car. Harmony paces backwards following her.
HARMONY
Just wanted to make sure you were going to be all right.
Jacob looks on, thinks of saying something in reply but it doesn't seem to be required. He turns and shuts the trunk of his car. Almost unnaturely quickly we see the car that was carrying Harmony and Lillian passing in the distance.
INT. LILLIAN'S CAR -- EVENING
Lillian is driving with Harmony sitting in the passenger seat in what looks like a non-descript rental car.
LILLIAN
That little stunt with the carpet wasn't exactly according to the rules, was it?
HARMONY
(a brief pause)
Look who's lecturing who about follwoing rules.
LILLIAN
All I'm saying is, next time, watch it.
They pass a moment in silence
LILLIAN (CONT'D)
What's your name, anyway?
HARMONY
It's Harmony...And you're, Lillian?
Lillian looks to Harmony, as if sizing her up she looks away, eyes on the road, shaking her head and giving a little smirk of disregard. 
EXT. A DUSTY STRETCH OF ROAD -- NIGHT
Their car passes out of sight
INT. THE CHURCH OF THE ETERNAL REDEMPTION -- NIGHT
Just as before, Harmony is seated in the pugh. Father Geoffrey is near her, not quite facing each other.
HARMONY
She wasn't so tough after all.
FATHER GEOFFREY
This time.
HARMONY
Next time will be different, I guess.
FATHER GEOFFREY
Oh yes, to say the least. The world is full of people, and every one of those people is filled nearly to the brim with doubt and indecision. And it's going to be up to you to help them make the right choices.
HARMONY
Seems like we've certainly got our work cut out for us.
Father Geoffrey starts to get up and walk away.
FATHER GEOFFREY
Oh yes, dear child, we all do. Every one of us.
Father Geoffrey walks away, Harmony sits and looks on contemplatively.
FADE OUT
 
THE END