Input:
You are given a script of a TV episode. Summarize the episode in a paragraph.

Episode Script:
Michael: Hup! [throws cheese puff to Ryan who catches it in his mouth]
[SCENE_BREAK]
Pam: Things are a little slow here. And there's only so much cold-calling you can do in a day. Turns out there's no limit to the number of cheese puffs you can throw at someone's face.
Michael: Hup! [throws cheese puff to Pam who catches it in her mouth]
Pam: We're getting pretty good at it.
[SCENE_BREAK]
[Pam and Ryan throw cheese puffs to Michael, Ryan and Michael throw cheese puffs at each other, Michael throws a cheese puff over his shoulder to Ryan, all three throw cheese puffs to one another, give high-fives]
[SCENE_BREAK]
[Pam yawns, two cheese puffs thrown at her, one sticks in her hair]
[SCENE_BREAK]
Jim: Andy put down a bunch of deposits on stuff for his wedding with Angela, but then she was sleeping with Dwight for... several years. Wait, no, that can't be right.
Pam: The timeline's messy.
Jim: Anyway, now we are going bargain hunting in the haunted graveyard of their love.
[SCENE_BREAK]
Andy: This is my solo. [stereo plays Andy imitating bass guitar, a cappella starts singing 'You Can Call Me Al']
Pam: I'm confused. Am I walking down the aisle to 'You Can Call Me Al?'
Andy: Trust me. You will not be walking. You will be boogie-ing.
Jim: I am extremely interested. So, how much will all of this cost?
Andy: Well, 12 guys, airfare, three nights in a hotel, food per diem, table up front for merch... $9,000.
Pam: I don't know. It seems like a lot for an a cappella group from a college we never went to.
Andy: Did you even hear the music I just played for you?
Pam: Mm-hmm.
[SCENE_BREAK]
Phyllis: What's wrong with you?
Dwight: These sleeves are cutting off my circulation. Not enough blood getting to my hands.
Phyllis: I think you look nice.
Dwight: Doesn't Charles know he's compromising my attack readiness? It's not a dress code. It's a death sentence.
Charles: Looking good.
Dwight: 'Kay, thank you. It's a straight jacket! [knocks things off shelf with arms] Okay.
[SCENE_BREAK]
Dwight: When Michael was in charge, this place was like the Roman Empire. And the Wild West. And war-torn Poland. And Poland. There was just a lot going on, so what you wore to work was the least of anybody's worries. And in that chaos, I soared.
[SCENE_BREAK]
Michael: Hey.
Dwight: Hey. Ed's Tires is thinking of making a change.
Michael: [gestures to 'Bed & Breakfast' magazine] Is this good?
Dwight: They have some great kitchen ideas.
Michael: Oh. Okay. Ed's Tires, huh?
Dwight: It's small, I know.
Michael: I really appreciate it.
Dwight: Thanks, Michael. [Michael palms Dwight cash in their handshake] Wait, what is this?
Michael: It's for your trouble.
Dwight: Wh- I don't need $6 to help a friend.
Michael: No, no, listen, as a friend, I want you to have this.
Dwight: Michael, you know I can't take this.
Michael: Yes, I do.
Dwight: But don't forget you owe me $10.
Michael: That was four years ago. Why don't you let it go?
Dwight: Michael.
[SCENE_BREAK]
Andy: What was up with Pam being all pushy and negative in there?
Jim: I think she just didn't want a crucifix cake.
Andy: It scares me to see you going down a road that I went down.
Jim: Am I going down a road?
Andy: When I see her bossing you around like that, it just makes me wonder if this thing really has the legs to go the distance.
Jim: It's so scary how right the things you're saying are. And you're coming at it with almost no knowledge, so of course I trust your opinion on this.
[SCENE_BREAK]
Andy: I know a few things about love. Horrible, terrible, awful, awful things.
[SCENE_BREAK]
Jim: I was going to use today to purge my inbox, but now something much more pressing has come up.
[SCENE_BREAK]
Michael: Ed's Tires. Why don't you tell them that we have fewer clients, so we can spend more time with each of them. Also, try to discuss it over Indian food, and try to mention how you distrust women.
Pam: I'm not gonna do that.
Michael: That is smart. That would not seem genuine. Ryan?
Ryan: I can get there.
Michael: Good, you take the lead on this one. Also, do not forget that he has just gone through a messy divorce.
Ryan: Oh, awesome.
Michael: Bring it in. Morning cheer. [clears throat]
Michael, Pam & Ryan: U-G-L-Y, you ain't got no alibi! You ugly, huh huh, you ugly! You mama says you ugly! Hey! Go Michael Scott Paper Company!
[SCENE_BREAK]
Pam: I'm here. I'm a part of this now.
[SCENE_BREAK]
Dwight: You needed to speak to me?
Charles: Dwight, take a seat.
Dwight: I prefer to stand. Less blood clots.
Charles: Nah, that's weird. You're gonna sit. [Dwight sits] Great. You know, Dwight, it has been quite a transition for all of us. Are you happy with the way things have been runnin' lately?
Dwight: Do you mean compared to the ways things ran with other bosses? Comparisons are hard.
Charles: I've just been impressed with your performance and I wanted to make sure good work doesn't go unnoticed.
Dwight: Your concern is noted.
Charles: Yeah, I like your work ethic. You're so... focused.
Dwight: Like a wolf. Thank you.
Charles: And I wanna start givin' you more responsibility. What do you say you and I go out for a drink this week?
Dwight: Really?
Charles: Definitely.
Dwight: [sighs] It's firm.
[SCENE_BREAK]
Michael: [on phone] I need you to get me the prices that you're charging Ed's tires so I can undercut Dunder Mifflin.
Dwight: I don't know that I can do that now. You know, uh, something's come up.
Michael: Oh n- Is it Mose? Did you put the cover on that well?
Dwight: No, Mose is fine. I roped it off. It's not about Mose. Listen, things are changing here, Michael, they're changing fast.
Michael: I'm not following you.
Dwight: Imagine... Someone has a personal hero they really wanna help. But then there's this new guy. Very cool, very Will Smith-esque, who would not like it if he helped his hero.
Michael: Personal hero, cool new guy. Okay, I think I'm getting your drift.
Dwight: Good, do you see what I'm saying?
Michael: Crystal clear. So is this for a movie that you're writing?
Dwight: No.
Michael: Can I use it? [Pam holds up note saying "He's talking about you!"]
Dwight: No.
Michael: [Michael dismisses note, Ryan and Pam point to notepad] Dwight, are you talking about us?
Dwight: It is possible that I could be talking about us.
Michael: Someone could say that it is like the situation that we are in now?
Dwight: It is the situation that we are in now.
Michael: So I would say that the old boss has always been good to Dwight, and he was there first, so he has dibs. You respect dibs, don't you?
Dwight: I'm not a barbarian.
Michael: Good. Will you meet me in 20 minutes at the spot?
Dwight: I will.
Michael: Dwight?
Dwight: Yes?
Michael: Is the cool new guy Charles?
Dwight: I've said too much.
Michael: Is it Stanley?
[SCENE_BREAK]
Jim: Hey, Andy. You know I've been thinkin about what you said-
Andy: 'Noishe.'
Jim: -I just don't know if I can do it.
Andy: That's interesting, because I hear what you're saying is that you want to do it, which means you can do it. Believe me, I broke up with Angela, and I'm like, the happiest guy ever. I mean, I'm so happy. I'm so happy. Like, total freedom, you know?
Jim: It's just that Pam gets me through the day, you know? I really rely on her. I'm pretty emotionally needy.
Andy: And you know what? I am here for you. Let me be your traveling pants. [imitates punching on Jim's fist] Ah, what'd you do that for?
Jim: [both laugh] You know that I was doin' this.
Andy: [fist pound each other] Totally.
Jim: Okay.
[SCENE_BREAK]
Michael: Hello, Dwight. What's with the shirt? Are you alright?
Dwight: I'm sorry, Michael
Charles: [Charles comes from around corner] Hi, Michael.
Michael: Oh my God! Run! Run! It's a setup. Setup!
Charles: No, Mich-Michael.
Michael: Dwight, run!
Charles: Michael, no, let's be cool, ok?
Michael: You be cool.
Charles: Yes.
Michael: Just-what's going on?
Charles: We need to talk about our two companies, and how we should behave. Dwight tells me you've been pestering him for company info.
Michael: Mm-do... Dwight would not-
Charles: He did.
Dwight: I did, Michael. I was upset about the shirt sleeves at first, but now I'm okay with it.
Charles: Michael, I want you to stop pestering my salesmen, and I want you to leave Dunder Mifflin alone. Do you understand?
Michael: I. Understand. Nothing.
[SCENE_BREAK]
Michael: [Michael storms into office] Wow.
Pam: Michael, are you alright?
Michael: It was a setup. Dwight told Charles. He told him.
Pam: Tell us what you're talking about.
Ryan: Yeah.
Michael: It's like, a girl says she'll make out with you, but then her boyfriend is waiting around the corner with a pee-filled balloon.
Pam: We can't help you if you don't just tell us what happened.
Michael: I got hit in the face with a pee-filled water balloon, Pam, ok? I don't know how they did it. They filled the balloon with pee. A funnel? I don't know. Is that clear enough for you?
[SCENE_BREAK]
Andy: Hey, Jim.
Jim: [Jim slams lunchbag on table] I just totally blew a sales call.
Andy: Bro, I do that all the time.
Jim: Yeah, well, with you it's different, okay? Cause I just- I just suck. I just- I suck!
Andy: Tuna, be nice to my friend Jim, ok?
Jim: Why? When I look in the mirror, I don't like the face that looks back.
Andy: Well, so what? Your body's a ten.
Jim: Forget it.
Andy: Jim.
Jim: I said forget it. [drop kicks lunch across room, stomps on it]
[SCENE_BREAK]
Dwight: [on phone] Dwight Schrute.
Michael: Hello, traitor.
Dwight: I think you have the wrong number, Michael.
Michael: I want you to listen to me, friend, and I want you to listen to me good. I am going to come at you, and I am going to come at you hard. I am going to steal all of your clients, and then I am going to kill them in front of you.
Pam: Michael!
Michael: I'm just getting hardcore with him.
Ryan: Finally.
Michael: Yes, and hear me, Dwight, when I say I brought you into this world, and I can take you out. [hangs up] Bill Cosby.
[SCENE_BREAK]
Dwight: [on phone] Mr. Schofield, please?
Secretary: He's in a meeting.
Dwight: Dammit! [hangs up]
[SCENE_BREAK]
Michael: [on phone] Is Mr. Schofield there?
Automated phone voice: If you'd like to reach an outside line, please dial nine first. [Michael sighs, hangs up phone]
[SCENE_BREAK]
Stanley: So, you think Michael's going after the whale, huh?
Dwight: I have a long term relationship with Harper Collins publishers and Mr. Schofield. I'm not worried.
Phyllis: You sound worried.
Dwight: And you have bad skin. Oh, look everyone, we're all making observations! [gibberish sounds]
[SCENE_BREAK]
Michael: [on phone] Well, if you could do me a big favor and tell Mr. Schofield that Michael Scott has tickets to the Wilkes-Barre Penguins game this weekend, and if he would like to join me... Hello, Daniel. How are you? Uh-huh. I sure do. Yes. [referencing rolodex card] Wanted to ask, did Kathy ever make JV?
Ryan: Look at that old dude and his rolodex go.
Pam: I spent a month putting that rolodex on his Blackberry, which he now uses as a nightlight.
Michael: Wow. High score?
[SCENE_BREAK]
Dwight: And no, I cannot lower my current prices. [phone rings] Hold on. Hello? Mr. Schofield, thank you so much for taking the time to talk. I wanted to discuss your contract with us- oh, you're considering him. I thought Michael Scott left the paper business after his nervous breakdown.
[SCENE_BREAK]
Dwight: Michael has been talking to my biggest client. Master and apprentice pitted against one another for the fate of the greater Scranton area paper market. So it's not exactly like 'Highlander,' but still...
[SCENE_BREAK]
Michael: Hello, Dwight, I've been expecting your call. What do you want?
Dwight: I would like to arrange a truce.
Michael: So you heard Schofield is considering a switch, and you want mercy?
Dwight: Meet me in our spot in four minutes.
Michael: No. No. You think I am going to fall for that? There's no-
Dwight: Michael.
Michael: Meet- Ok, go to the spot and then walk 100 feet.
Dwight: In which direction?
Michael: Toward the sun.
Dwight: At what time?
Michael: Noon.
Dwight: That-
Michael: You have two seconds. [Dwight starts running]
[SCENE_BREAK]
Dwight: [looking at his watch] Michael. [Madge walks by] Sorry.
Michael: Dwight.
Dwight: Michael.
Michael: I hope you're not recording this conversation. [Dwight drops his pants and lifts up his shirt] Good. I cannot believe that you sided with Charles.
Dwight: You were making me do things that were not all right.
Michael: So you just rat me out? You could have said no.
Dwight: And not come through for you?
Michael: If you want a truce, I will give you a truce.
Dwight: I want a truce.
Michael: I do too.
Dwight: Let me take you and your whole company out for lunch at Alfredo's.
Michael: Cooper's.
Dwight: I had fish yesterday.
Michael: Damn it.
[SCENE_BREAK]
Michael: [Michael, Ryan and Pam sitting at restaurant, phone rings] Oh. Dwight-elicious. Where you at?
Dwight: Oh, hi, Michael. I'm so sorry I'm late. I got stuck in traffic.
Michael: Really? That's weird. We didn't see any.
Dwight: I hit a bear.
Michael: What?
Dwight: He's technically fine. I imagine the true horror will be when he wakes up in a zoo. [throws a fish into the vent at Michael's office] Hey, listen, will you do me a favor and order the meatball parm for me, with extra cheese?
Michael: Yeah, sure.
Dwight: Ok, I will see you very soon, alright? [takes all the items off Michael's desk and puts them into briefcase, including rolodex]
Michael: Okay, see you in a bit. Dwight hit a bear. He'll be here in a sec.
[SCENE_BREAK]
Pam: [Pam, Ryan and Michael enter office] Sounds neat.
Ryan: We can spend a couple days there.
Pam: Oh my God, I think we've been robbed!
Michael: [Michael answers phone] Yeah.
Dwight: Did you enjoy your lunch?
Michael: Dwight, not now, we've been robbed.
Dwight: No, Michael, you were sabotaged.
Michael: No, Dwight, we were robbed. How would you even know? You're still stuck in traffic. [Pam holds up sign saying "Dwight did it!!"] You?
Dwight: Me.
Michael: What about our truce?
Dwight: I broke it.
Michael: On purpose?
Dwight: Yes.
Michael: Why?
Dwight: You think this is some kind of game? No, this is a war, and I will not stop, I will not rest. You have no idea what kind of enemy you've created. You have unleashed the wolf!
Michael: Be that as it may, I have your meatball parm sandwich here, and I am going to eat it.
Dwight: And I knew that you would do that. The meatball parm is their worst sandwich!
Michael: Oh. [bites into sandwich, looks disgusted] b*st*rd!
[SCENE_BREAK]
Dwight: Hi there. Dwight Schrute here. I was just calling to see if Michael Scott Paper was meeting all of your paper needs, and how is [reading off rolodex card] Brenda, age four, ponytail, and Simon, age 7? Oh, you don't say.
[SCENE_BREAK]
Dwight: [holding up rolodex card] Schrute comma Dwight. And on the back he wrote, "great salesman, better friend." [turns card over] "Tall" and "beets."
[SCENE_BREAK]
Dwight: And say hello to Cheri, who is your black wife. [hangs up and answers cell phone] I see you're begging for mercy, huh? Well, you will find none here.
Michael: Dwight, do you mind if we talk?
Dwight: Sure. That'd be fine.
Michael: If you keep coming after us, the Michael Scott Paper Company cannot succeed.
Dwight: This is war and that is what happens.
Michael: Oh, one more thing. I'm going to have you listen while I steal your biggest client.
Dwight: Oh, no. No. No. No. No.
Michael: Oh, uh oh, I'm turning you down right now.
Dwight: Michael! Michael!
Michael: You can hear me, but I can't hear you.
Secretary: Mr. Schofield's ready to see you now, Mr. Scott.
Michael: Oh, great. Mr. Schofield's ready to see me. Thank you so much.
Dwight: Don't let him in! He's a traitor! Michael!
Michael: Walking in the door...
Mr. Schofield: Michael, good to see you.
Michael: Mr. Schofield, good to see you. And I'm closing the door. [Dwight runs out of the office]
[SCENE_BREAK]
Michael: [on speakerphone in Dwight's car] Now, when Dwight tells you that he will keep prices steady for a year, I think he is speaking out of turn.
Mr. Schofield: Really?
Michael: Yes. He does not have the authority to say that. I, on the other hand, am the president, the owner, and the founder. It is like you are buying software from Bill Gates.
Dwight: Are you saying you invented paper?
[SCENE_BREAK]
Andy: [hugging a crying Jim] Okay, okay.
Jim: Oh, God.
Andy: Okay, Tuna.
Kelly: Hey, guys.
Jim: Hey.
Andy: Hello.
[SCENE_BREAK]
Andy: Excuse me, can I have your attention, everyone? Here's the deal, everybody, Jim Halpert is very upset and disturbed. I don't know if it was something you did, something you said, a look you gave him, maybe it was nothing at all, but here's the deal, ok? It stops now.
Kevin: I guess I could be nicer.
Phyllis: Andy, I think Jim is messing with you.
Andy: Oh, really?
Phyllis: Mm-hmm. [looks over to Jim smiling through windows to the kitchen]
[SCENE_BREAK]
Jim: Okay.
Andy: Yeah, okay, what the heck is happennin' here?
Jim: Two things I need you to understand. One, Pam and I are very happy together.
Andy: Uh, that's not what was-
Jim: And two, that stuff that happened with you and Angela is a bummer, and I know you don't think you're ever gonna find someone else, but you will. I promise you, you will.
[SCENE_BREAK]
Andy: Oh man, he got me so good. I learned something about myself today. Yeah. I wish this was a sofa, cause I feel like I could sit here and talk for hours.
[SCENE_BREAK]
Michael: What is that thing that Dwight always says? Paper is the soil in which the seeds of business grow?
Dwight: It's not the soil! It's the manure! Paper is the manure! On-time delivery is the soil! Aah! [runs into office]
Secretary: Uh, hello, Dwight.
Dwight: Spin move.
Secretary: Oh-
Dwight: Ha ha! April 13th, 2002.
Mr. Schofield: Dwight, I'm in a meeting.
Michael: That's very rude.
Dwight: I barge because I care. April 13th, 2002, that is the date when you tried to switch paper providers for an obscure sociology textbook, but were hung out to dry when the price of glossy stock increased.
Mr. Schofield: Maybe we should schedule a meeting on our-
Dwight: La la la! Continuing. Notice my persistence and recall. Continuing! You called Dunder Mifflin, and your order was filled within an hour!
Michael: I'm going to pull a date out of the air right now. April 13th, 2002. That is the last day that you evaluated your paper needs. Is it not? We all know that the economy is bad, and bloated companies like Dunder Mifflin...
Dwight: Come on.
Michael: Are going to fall by the wayside. Two of their branches have closed within the last year. The Michael Scott Paper Company, however, has opened a new branch this very month.
Dwight: What he's not telling you is that he will abandon you.
Mr. Schofield: Why don't you guys just e-mail me your best offers and we can finish it up that way?
Michael: That sounds like a fantastic idea. I will see you this weekend for the Penguins. Box seats as usual.
Mr. Schofield: Uh, ok, sure.
Michael: Good, good, good. I will see you.
Dwight: Thank you, Mr. Schofield, for your time. Much appreciated. Oh, and tell me, um, how's your gay son?
Mr. Schofield: Excuse me?
[SCENE_BREAK]
Michael: I color code all my info. I wrote "gay son" in green. Green means go, so I know to go ahead and shut up about it. Orange means "Orange you glad you didn't bring it up?" Most colors mean "Don't say it."
[SCENE_BREAK]
Dwight: How is Tom, the homosexual sophomore?
[SCENE_BREAK]
Michael: I wanted to start a company, not a war. Because in a war, you always fight those you are closest to. And the great tragedy of the civil war is that brother fought against brother. For what? What purpose did that serve? Apart from abolishing slavery? In that case, war was the right choice. This doesn't feel as important though. That's just how the world works, I guess.
[SCENE_BREAK]
[muffled speech, Ryan, Michael, and Pam all have mouths stuffed with cheese puffs, Michael answers the phone and talks with mouth full]

Summary:

Output: Dwight, finding a new hero in Charles, clashes with Michael as each tries to steal the other's clients. After trying to sell Jim and Pam on his failed wedding plans, Andy tries to provide for all of Jim's emotional needs. Jim takes the opportunity to prank Andy, but also reassures him he will find love again. Michael ends up stealing Dwight's biggest client.

... [The rest of the episode script is omitted]


Input:
You are given a script of a TV episode. Summarize the episode in a paragraph.

Episode Script:
[PREVIOUSLY_ON]
Wes: "The host reads their souls, senses their futures."
Cordy: "Yes, but he can only do it when they sing Karaoke."
Cordy: "Imagine what could have happened if you'd gone nuts and slept with Darla!" Angel throws Darla through the glass doors. Angel and Darla on the bed kissing and ripping each others clothes off
Angel: "You know I would never do that." Angel wakes beside Darla and jerks upright in bed.
Angel: "Get dressed and get out, because the next time I see you I will have to kill you."
Shaman: "I can not help you. No one can. This is not meant to be known."
Darla rubbing her pregnant belly: "Well, I guess there's only one thing left to do. Time to go visit daddy." Rome 1771 Some rats scurry along an underground sewer tunnel. Angelus runs by. He looks behind him and sees a group of monks carrying torches coming his way. Turns a corner, only to see other torch carrying groups of monks down a couple other branches. Angelus comes up on a sewer grate. He pulls the center grating loose, steps through, then wedges it back in place behind him. As he turns, he stumbles, tumbles down the slanting tunnel, crashes through another grate and lands on the floor of some underground chamber lit by torches. He is surrounded by monks with crossbows aimed at him. A pair of double doors swing open behind him, letting in bright sunlight. Angelus throws himself to the ground out of the direct light surrounded by a thin cloud of smoke. A rider brings his horse to a stop just inside the doors and dismounts. One of the monks leads the horse away as the rider makes his way over to a red robbed priest, while Angelus is picks himself up from the floor.
Holtz: "Mille grazie, Monsignore. Sono nel vostro debito."
Subtitles: "Thank you, Monsignor. I am in your debt."
Monsignor (st): "No, this animal murdered your family. (Points at Angelus) Hold the beast!" Chains wrap around Angelus upper arms and chest.
Holtz steps closer to Angelus: "Monsignor Rivalli, performed the ceremony when Caroline and I were wed. You remember Caroline?"
Angelus: "Pretty lass. Hearty screamer."
Holtz: "The good monsignor has since then been excommunicated. The order he founded, Inquisitore, adheres to the old beliefs. They're traditionalists and quite good at their work. Let's get started, shall we?" Holtz takes a sharp hook and some knives from one of the monks. We see the hook digging into the side of Angelus' neck, hear some cloth ripping.
Angelus: "Ah. Aah!" We see the sun rise and set while hearing Angelus' screams in the background. The monsignor is walking cross the room, reading a book. Holtz is sitting on a bench, drinking from a cup. We hear some monks recite in the background and Angelus gasping in pain.
Holtz: "You lost me in North Africa. I knew you'd come back to Europe, but *Rome* Angelus? (Gets up and walks around Angelus, suspended from the ceiling by chains around his wrists) Why in Gods name would you come to the seat of all that's holy?"
Angelus: "Darla - she loves the Sistine chapel."
Holtz: "Michelangelo?"
Angelus: "Not him. She's mad about Botticelli's frescos. (Groans) The Temptation of Christ is her favorite - probably because of the leper. (Sighs) What do you want, Holtz?" Holtz picks up a three-pronged claw and looks at it.
Holtz: "I don't want anything. My family is gone. I don't trust you to give me Darla, although I *will* find her, you know that. My only desire here - is to discover if a thing such as yourself can be made to pay for its sins. (Holtz digs the claw-thingy in somewhere below Angelus waist (off screen) and Angelus groans in pain) You're a demon. It is your nature to maim and kill. But you were also once a man. If we beat and burn the demon out of your living flesh, will there be anything left? (Holtz digs the claw in again and Angelus groans in pain) Anything at all? I doubt it. But I'm willing to spend the next fortnight of my life finding out. - In either event - you have no soul, you can not be saved." A flaming arrow streaks across the room and buries itself in one of the monks.
Darla: "Sorry it took me so long darling." Darla is standing in a tunnel opening, holding a crossbow loaded with another flaming arrow. There are other vampires with her.
Darla: "Kill them." Darla fires her flaming bolt, hitting Holtz in the shoulder. The vampires streak past her and attack the monks. Several vampires get staked by the monks during the fight, but that doesn't slow the rest of them down. Monsignor confronts Darla with a cross held in front of him.
Monsignor: "Vai' all inferno, demonio lordo! (caption) Go to hell foul demon!" Darla pushes the cross aside, then sends the Monsignor flying into a wall.
Darla: "No, grazie, padre." The double doors that Holtz rode in through is pulled down and a horse and carriage driven by a blanket shrouded vampire trot in. Darla unclips Angelus chains. Two other vampires catch him under the arms and drop him onto the back of the cart. Holtz tries to get up. Darla knocks him across the chin, then joins a groaning Angelus on the cart.
Angelus: "Darlin'?"
Darla: "What?"
Angelus: "Shouldn't we be killing Holtz?"
Darla: "I know, but it's just so much fun ruining his life. He's like family now." Angelus pulls Darla into a kiss as a vampire covers them with a tarp. The wagon heads out into the sunlight, with the blanket shrouded vamp at the reins. A public bus (Downtown LA - Hollywood) pulls over to the side of a dark and deserted street in LA.
Darla: "Right here is fine. (To bus driver) Thanks for the lift. That didn't take long at all. (Gets off the bus) And they say there is no public transportation in LA." The bus driver turns slowly and looks towards the back of the bus. Three passengers are slumped in their seats with twin puncture wounds visible on their necks. Four other people are huddled down in the back of the bus. Bus driver fumbles out his radio: "Help! We got a code twelve on the 5-8 line! We need help here now, for god's sake. Now!" Darla walks away across the street. Intro Cordy is arranging some flowers in a vase down in the basement of the Hyperion. Angel walks into the training area and sees that there are several vases of them scattered around the room.
Angel: "What's this?"
Cordy: "Oh, it's just so dark and lifeless down here, I thought I'd brighten it up a little for you. (Angel picks up one of the vases) You can't exactly go out and enjoy the sunny fields of nature, but that doesn't mean we can't bring a little bloom into your darkness."
Angel: "They're fake."
Cordy: "Yeah. You put something real in this hellhole and it die (snaps her fingers) like that." Angel puts the flowers down, looking at Cordy.
Cordy: "Thank you, Cordelia?"
Angel: "You know, I've been around a long time..."
Cordy: "Which reminds me. Next birthday, you think we could skip the two-hundred and fifty odd candles on the cake and the inevitable fire marshal and just go and just go with a little song?"
Angel: "And I've never known anyone like you."
Cordy: "Well, duh! Times a wasting, big guy. Can we do it? (Takes on a stance) Hi-yeah!"
Angel chuckling: "Okay. Last time we were working on not pulling your punches and your kicks. Right? Don't worry about me. (Cordy hits him and he deflects the punch with his arm) That's good. (Cordy swipes at him again) Good! Where is your weight? (Angel looks down) Balls of your feet?" Cordy swings and hits him across the face full force.
Cordy: "Oops! Oh god, you said that... (Angel straightens back up, smiling) Are you okay?"
Angel: "I'm a vampire. You can't hurt me. Good." Angel turns away from her and makes a face, gingerly feeling his nose.
Cordy: "You're off your game. It's because of the prophecy Wes and Gunn are trying to get their hands on. You think the end is coming." Angel turns back to face her: "The end is not coming. Someone is always uncovering some ancient scroll, and they're always saying the same thing: that something terrible is coming. Do you know how many of these things I've seen in my very long life?"
Cordy: "Four?"
Angel: "Three. But there's nothing to worry about."
Cordy: "Then way are Gunn and Wesley breaking and entering right now?"
Angel: "Breaking and entering is such a negative term. They are simply retrieving some missing pieces from the Nyazian Scroll. Just to make sure..."
Cordy: "That the end is coming. - Well, all we can do is live each moment to the fullest and be grateful that we didn't throw too much money at the NASDAQ." Angel blinking his eyes and lifting a hand towards his face: "Am I swelling?" Camera sweeps over some big houses, surrounded by big gardens on a sunny plateau with some mountains in the background. Pans past some old oil paintings and statuary to show Wes, dressed in black, sneaking up on the window and look into the window from outside. Wes motions and Gunn walks up beside him.
Wes: "Step one: Dobermans are happily gnawing on the steak. Alarm and vid lines are disabled (pulls out a scanner and looks at its display) no infrared. Caught a break there. Step two: we cut a hole in the glass, snake in the mini-cam and scan the interior." Gunn walks over to look in the glass door while Wes pulls glasscutter with a suction cup out of his duffel bag and attaches it to the window.
Wes: "If it's all clear, we disable the locks and bolts on the side door thus completing... (Gunn tries the door and it swings open) ...step three." Wes closes up his duffel and moves over to follow Gunn inside, then hurries back to detach the suction cup from the window and stow it in his bag while Gunn waits for him inside. Wes hurries in and motions for Gunn to close the patio door. They open the doors into an adjacent room, in which all sorts of things are on display. Gunn looks around and whistles.
Wes: "Can you believe this?"
Gunn looking around: "Some guys collect old cars, some guys collect..." Gunn flinches back as he spots a misshapen, one-eyed demon head in a glass case. Then he and Wes lean in for a closer look.
Gunn: "It's like - the eye follows you wherever you go." Wes walks over to a bottle sitting on a pedestal, pulls out the stopper and takes a sniff before closing it again.
Wes: "Alright. If you were the priceless remnants of the lost Nyazian Scroll, where would you be?"
Gunn: "If I was priceless - I'd be in the vault."
Wes: "The vault? Your snitch never said anything about a vault!"
Gunn: "I got a bad feeling about this."
Wes: "We figure something out. It's just a - vault."
Gunn: "Actually my bad feeling is more about the man standing behind you with the large revolver." Wes turns to see a guy standing in the door aiming a gun at them.
Man: "Move and I'll kill you. The man edges into the room and reaches for the telephone with one hand while still aiming the gun at them with the other.
Wes: "I hope you're calling the police."
Man: "You bet I am."
Wes: "Good. You can explain to them why you keep so much GHB on hand. (Wes walks over to the bottle on the pedestal) You know, Rohypnol, the date rape drug."
Man: "What?"
Wes indicates the bottle: "Muslok Trancing Amalgam. Under the microscope it's virtually indistinguishable from GHB." The man slowly puts the receiver back down.
Man: "Alright. I won't call the police."
Wes: "I'm glad we understand each other."
Man: "Until after I kill you."
Wes: "Oh." Gunn picks up four red glass balls out of a bowl on another stand.
Gunn: "Hey, these worth a lot?"
Man: "Yes. They're Cyopian conjuring spheres."
Gunn: "How much? Four figures each? Five? (Starts to juggle two of the balls with one hand) More?"
Man: "Stop that!"
Gunn: "Put the weapon down." When the man hesitates, Gunn lets one of the balls drop and it shatters with a liquid splash as it hits the floor.
Gunn: "Kind of delicate. (Juggles the remaining three with both hands) Look, we're not thieves, we're investigators. Now, we need to look at your Nyazian Scrolls. Put the weapon down, because - I'm getting kind of tired here."
Man: "Alright!" Man puts the revolver down on a glass case and Wes retrieves it. Gunn drops another ball (the owner lets out a fearful gasp) only to bounce it off his foot and catch it again.
Gunn: "I always wanna give them a big finish. Fred comes down the basement stairs of the Hyperion.
Cordy: "Ow. That doesn't feel right."
Angel: "Just relax. You have to bend."
Cordy: "I don't bend there. - Okay. Now that's downright unnatural."
Angel: "I know it feels strange, but if an attacker comes at you from behind, you wanna be able to shift all your weight immediately to your other foot so you can spin and kick. Here, you try it." Cordy spins and kicks up against Angel's chest. Angel catches her, one arm around her leg another around her waist to keep her from falling.
Angel: "Whoa! Easy. Alright. That's alright. (Lowers her leg and lets go of her) That's better. We'll keep - working on it. Okay. That's probably enough for today."
Cordy: "Yeah, well, we could do more of it, but then I'd have to ice every bone in my body. See you." Cordy walks towards the stairs, one hand pressed against the small of her back.
Cordy: "Hey, Fred."
Fred: "Hey! - Kye-rumption."
Cordy walking up the stairs: "Well - back at you."
Angel: "What did you say?"
Fred: "Kye-rumption. It's the one nice word I remember from the Pylean hell dimension."
Angel: "What's it mean?"
Fred: "It's when two great heroes meet on the field of battle and recognize their mutual fate. It's also a kind of grog made out of the ox dung but that's archaic."
Angel: "Oh, ah, that's interesting."
Fred: "When I see you and Cordelia sparring Kye-rumption always comes to mind."
Angel after a beat: "Me and Cordelia."
Fred: "I know. She's such a hero, with the visions and the courage. It's only natural that you and she would be drawn to one another. - Oh! Plastic flowers! (Hurries over to one of the vases) My favorite! They never fade, you know."
Angel: "Oh, whoa, wait a minute. There's nothing going on between me and Cordelia."
Fred: "Nothing but Moira."
Angel: "Who's Moira?"
Fred: "Moira is the gut physical attraction between two larger than life souls."
Angel: "Ha. No, there is no attraction. Cordelia is a friend. Someone I work with. That's all."
Fred grinning: "See? You're being chivalrous. Because you 're a hero, just like her. You got Kye-rumption!"
Angel: "Stop using that word!"
Wes: "What's going on down here?"
Angel: "Nothing."
Wes: "I believe Fred's been through enough recently without people shouting at her."
Fred: "He didn't mean anything by it." Wes just stands there, looking at the floor.
Angel: "Is there something you wanted?"
Wes: "Yes. (Looks at Fred) Gunn and I were hoping you could give us a hand with the Nyazian Prohecies. We need someone who can do the math."
Fred: "Sure!" Fred starts up the stairs.
Wes looks around: "Who gave you all the flowers?"
Angel: "Nobody." Gunn is throwing darts at a board in the office at the Hyperion. Wes is sitting at the desk, writing. Fred is sitting beside him, working on the laptop. Cordy is at her own desk.
Gunn: "So, how are you doing there, Fred?"
Fred: "Oh, it's a simple equation, really. The ancient Roman calendar has fourteen hundred and sixty-four days in a four-year cycle. The Etruscan, Sumerian, and Druidian each have their own cycles. You work forward from the presumed day of the prophecy under each calendar, factoring in our own three hundred and sixty-five day calendar and accounting for a three day discrepancy for every four years and..." Angel walks into the lobby, he sees Cordy sitting at her desk and stops before anyone notices he's there.
Fred: "Oh. - That can't be right. - Unless the world ended last March."
Gunn: "So, are we talking Armageddon - or bad house number? (Sits down in the chair in front of Wes desk) Is it a bad event - or a bad guy?"
Wes: "It's not clear on that. It predicts the arrival or arising of the Tro-clan, the person or being that brings about the ruination of mankind."
Gunn: "So it's a two for one. Isn't that nice."
Wes: "And I'm not sure on the translation. Ruination may in fact mean purification."
Gunn: "Purification? So this Tro-clan is a good thing?"
Wes: "I doubt that. But it's purification in Aramaic, ruination in ancient Greek and in the lost Ga-shundi language it means both."
Cordy: "And you don't want to make the same mistake twice." Cordy looks up from her desk at Wes, who looks down at his papers.
Wes: "No."
Fred: "What mistake?"
Wes: "There was another prophecy a while back. It seemed to be about Angel and contained the word 'Shanshu' which I thought meant to die and I - sort of told Angel..."
Cordy: "...that we was going to die."
Fred: "Oh, no."
Wes: "Then I found out it also meant to live. It meant to die and to live."
Fred: "So - which is it?"
Wes: "Both. In his case it meant that some day the vampire in him might die, but the human in him might live." Angel is standing at a corner in the lobby, listening.
Fred: "That he would be like a normal man?" Angel slowly lifts his head and looks at Cordy working at her desk.
Wes: "Yes."
Fred: "Wow. What would we do if that happened?"
Cordy: "I'd buy him some plaid shirts and take him to the beach. The boy needs some color." Fred goes back to typing on the laptop.
Fred: "There. That came out better. - Oh. No it didn't. It's still very preliminary, but - if these calculations are correct, this bad thing should already be here. (Looks around) Well, I-I guess not right here, but - here in LA." Angel walks into the reception area and sits down.
Fred: "Let me run these numbers again."
Cordy: "Hey."
Angel: "Hey."
Cordy after a while: "Why are you looking at me like that?"
Angel: "Ah, no reason." After a moment Cordy gets up and walks past Angel to pour a cup of coffee.
Cordy: "Okay. It's getting creepy now."
Angel: "I was just thinking about things. - People. You know. How they relate. Take you and me for instance. We're very different. *Very* different. Obviously (points at Cordy) human (points at himself) vampire. (points a Cordy) Woman (points at himself) man...pire."
Cordy: "Has someone been putting vodka in your blood?"
Angel laughs: "See? You're funny! And I, well I get off a good one every once in a while, but you..."
Cordy, sipping her coffee: "Angel, are you trying to say you love me?"
Angel: "What?"
Cordy: "I love you too."
Angel: "You do? When did this..." Cordy yells towards Wes open office door: "Angel loves me. I love him."
Angel: "Oh, my god!"
Cordy: "You guys love us and we love you."
Fred, Wes and Gunn chorus: "We love you Angel."
Cordy: "They were all saying it earlier. Just in case this prophecy comes true and we all die. - You're not gonna wanna hug, are you?" Angel clears his throat and sits back shaking his head: "No." Cordy goes back to her desk: "God knows we've been through a lot together."
Angel: "That's really all I was trying to say, that we've been through so much together, you and me, as *friends.* You've seen the - good, - and the not so good."
Cordy: "Just like you have in me. And for the record: the good I've seen far outweighs the bad."
Angel after a beat: "Thanks. You, too."
Cordy: "Hey, what are friends for?"
Darla: "If you ask me, they're for knocking you up and leaving you high and dry." Angel spins around to see a very pregnant Darla standing on the top landing leading down into the lobby from outside.
Darla: "Hello, lover. Long time no see." Break
Angel: "Darla."
Cordy: "Darla?"
Wes: "Darla!"
Fred: "Who's Darla?"
Gunn: "Angel's old flame from way back."
Fred: "Not the one that died?"
Gunn: "Yeah. No, not that one. The other one that died and came back to life. She's a vampire."
Fred: "Y'all have a chart or something?"
Gunn: "In the files. I'll get it for you later."
Angel: "Well, when did this happen?"
Darla comes down the steps: "You know *exactly* when it happened."
Cordy: "Angel - did - you and Darla...?"
Angel: "Uh..." Cordy turns to look at him.
Angel: "This is impossible."
Darla: "Tell me about it - daddy!"
Cordy: "You slept with her?"
Angel: "Vampires can't have children. Wesley?"
Wes: "Ah, no, he's right. It's not possible."
Cordy: "That's not what I asked."
Darla: "You know we can't. I know we can't. But - we did."
Fred: "I wonder if this might not be that bad thing we were expecting."
Darla: "What did you do to me?" She hits Angel across the face and he stumbles back against the weapons cabinet behind him. Cordy steps between Angel and Darla: "Stop that!"
Angel: "It's okay. It's alright. I'm okay."
Cordy: "You'll hurt her! Haven't you done enough? (Turns to Darla) Here, sit down. You should get off your feet." Cordy leads Darla over to the round settee, then looks back at the others.
Cordy: "Can we get her some water?" Fred turns to go get it.
Angel: "Cordy that's *Darla.* Maybe you don't want to..."
Cordy: "Did you or did you not look me in the eye and say that you would *never* do a thing like this with her?"
Darla: "Oh, he lied? What a surprise." Fred carrying a glass of water: "Hi. I'm Fred. Is water okay, or did you want some blood?" Darla takes the water as Wes gently pulls Fred back away from Darla.
Angel: "Cordy. I'm sorry - I lied. It was just - it was a very dark time."
Cordy: "Oh! You used her to make *you* feel better during *your* dark time. Well, that makes it *all* heroic."
Angel: "It wasn't like that. It just - happened. It wasn't like I went *evil* or anything, I just..."
Cordy: "You just went male. (brushes the hair out of Darla's face) Have you been to a doctor."
Darla gives her a look: "No. But I have been to every shaman and seer in the Western Hemisphere."
Wes: "And what did they say?"
Darla: "They don't know what it is. They don't know what it means. Nothing like this has ever happened."
Angel: "Maybe it's an hysterical pregnancy."
Darla: "You wanna feel it kick?"
Cordy: "Does it kick a lot?"
Darla: "Like crazy."
Angel: "well, now wouldn't that be the first sign of... (Cordy gives him a look) ...hysteria?"
Cordy: "What can we do for you?"
Darla: "Well, you can get you little gang of supernatural detectives to find out what the hell is happening to me and how to stop it."
Cordy looking at Darla: "Are you gonna take some responsibility here? (Looks up at Angel) Angel?"
Angel: "Oh, me? - Of course I am. - Wes, lets get on this right now."
Wes: "What do you suggest?"
Angel: "I suggest you use your books and find out what's going on. What, do I have to think of everything?" Wes picks up a book from the counter and opens it.
Wes: "Oh, here it is." Darla straightens up in her seat and Angel walks over to Wes.
Wes: "It says 'I have absolutely no idea what's going on.' (Closes the book) We should talk to the host."
Lorne: "Oh, this is all wrong." The camera pulls back and we see that he is looking at two people holding up a modern painting.
Lorne: "Try it on the back wall. Far away from where folks might be eating."
Muses: "Violence abounds, violence restrain, this space a sanctuary was and shall be again."
Lorne: "That's great girls. - Hey, Arnie, why 're you charging me twelve hundred over the estimate here?"
Arnie: "Had to run a separate two twelve to the security box. Double insulation everywhere in the building. Plus, we had a run on Kek bile and Bin-der glands. And you know what you said: 'This club's my baby. I want top drawer through out."
Angel: "Lorne! You here? - You got to help me. We got (looks back at the others filing in behind him) kind of a situation on our hands."
Muses: "Mmm, Angel."
Cordy: "And here we have three more of Angel's chippies. You girls are on the pill I hope."
Muses: "Mmm." Angel smiles and waves at them then walks over to lean in close to Lorne.
Angel: "What are they doing here?"
Lorne: "They're here to help recast the sanctuary spell to prevent violence in the club. And this time I'm covering demons *and* humans. I'm opening the club again. I know I was blue for a pretty long time. If it'd gone on much longer I would have turned aquamarine. (Lorne is the only one laughing) And now that the ice is broken (turns to Darla) what happened here?"
Darla: "What's it look like?"
Cordy: "Angel boned her."
Angel: "Just once. Just the one night. Ah, just the two or three one times that one night..."
Fred: "Is Angel gonna sing?"
Gunn: "Oh!"
Wes: "I suppose he has to."
Cordy: "She's carrying the baby!" Darla grabs Lorne by the lapels, pulls herself in close and starts to sing: "Oh, Danny boy... What the hell's inside me?"
Lorne: "Oh, no, no, no. We're way past singing, mes enfants. This is a brand new day here. (To the club at large) Alright every body, that's a wrap! (People and demons start filing out) We'll finish the spell tomorrow. We got a little crisis brewing. Thanks for coming! Check's in the mail! Get the hell out."
Muses, speaking in turn: "Bye Angel, come see us soon. Mmm..."
Cordy: "Men!"
Lorne: "This is way beyond my ken - and my Barbie and *all* my action figures. If it's alive..."
Darla: "Oh, it's alive! And kicking!"
Lorne: "It could be anything. A child born to two vampires..."
Gunn: "Maybe it's some kind of 'ueber'- vamp."
Wes: "The Nyazian prophecies mention a Tro-clan."
Fred: "That's supposed to be here about now."
Lorne: "Born out of darkness to bring darkness."
Angel: "Great. So, we're saying that my child is - the scourge of mankind?" Darla moans.
Cordy: "You guys are upsetting her! (To Lorne) I think she needs to lie down."
Lorne: "Yeah, of course. She can have my bedroom." Lorne and Cordy help Darla up and start to lead her towards the back of the club. When Angel starts to follow Cordy stops him.
Cordy: "We can handle it." Cordy and Lorne lead Darla into Lorne's bedroom.
Cordy: "I think we should call a doctor."
Darla: "It'll pass. I just have to - let it." Darla lets herself drop onto the bed and Cordy sits down on the edge of it beside her.
Cordy: "I'll stay with her."
Lorne: "If you need anything, just holler."
Cordy: "Okay." Lorne leaves the room.
Angel: "I don't accept this. These stupid prophecies, you can always interpret them a hundred ways from Sunday. How do we even know your calculations are correct?"
Fred: "I don't. I'm still working on them."
Gunn: "Well, we do know that Darla is pregnant with something!"
Angel: "That's biologically impossible."
Lorne: "And mystically unfair. You've fought long and hard for good. If your destiny is to spawn something evil..."
Angel: "I don't see how anything spawned by Darla and me could be good."
Wes: "You know the first prophecy that said that the vampire with a soul would be pivotal in the battle between good and evil?"
Gunn: "That Shanshu one?"
Wes: "Maybe it's not you. Maybe your child is a pivotal figure. Maybe your destiny is simply to help bring to the world."
Angel after a beat: "Or to stop it."
Fred: "Can I say something about destiny?- Screw destiny! If this evil thing comes we'll fight it, and we'll keep fighting it until we whoop it. 'cause destiny is just another word for inevitable and nothing's inevitable as long as you stand up, look it in the eye, and say 'your evitable!' - Well, you- you catch my drift."
Lorne: "Wow. I like her so much!"
Angel: "I wanna see these prophecies myself, and your calculations, Fred, and anything else we got on this."
Fred: "Why don't I go back to the hotel and get everything?"
Wes: "Good idea. We put our heads together and figure out a way to fight this thing." Fred leaves and Angel turns to Lorne.
Angel: "How's she doing?"
Lorne: "Well, she's weary. The poor thing looks like she's about eighteen months pregnant. Hope they're not twins."
Angel: "Not her. Cordelia."
Lorne: "Oh, ah, I sense that she's - hurt and *pissed* what with the lying and deception and ecetera. You should probably stay out of her way for a while, huh?"
Cordy: "How're you feeling?"
Darla: "Just crazy."
Cordy: "What?"
Darla: "Why would anyone bring something into this world?"
Cordy: "I was pregnant once. (Laughs and holds out a hand) I was out to here - overnight! Mystical thing. I didn't go to term, but while it lasted, hooh! Talk about uncomfortable! Your back and legs hurt all the time and first you're sick to your stomach and you can't eat anything and then your ravenous! Are you able to eat or do you just..."
Darla levers herself up: "What? Drink?"
Cordy: "Well, it's - really none of my business, is it? - You should rest (Cordy gets up) and I should (starts to walk towards the door) I'll just be real close by. If there is anything that you need... (Darla morphs into vampface) Anything at all..." Cordy is about to open the door, but Darla is suddenly there, holding the door shut.
Darla: "I'm hungry all the time. It's weird."
Cordy: "Sure. You're eating for two now. It's only natural."
Darla: "No, what's weird is - no matter how much I feed - I can't seem to get full." Cordy punches Darla hard across the face. Follows it up with a second punch, then pulls out a cross to ward Darla off.
Cordy: "Pregnant or not, you're *going* to keep your distance." Darla bats the cross aside, grabs Cordy and throws her across the room against a table. Then she clamps a hand over Cordy's mouth to prevent her from screaming and sinks her teeth into the side of Cordy's neck. Break
[SCENE_BREAK]
As Darla bites her, Cordy gets hit by a vision. Darla backs away from her for a moment while we see flashes of some arcade, then lunges back in - only to get pulled back away by Angel.
Angel: "Get away from her!" Angel picks Cordy up and carries over to the bed.
Angel: "You're gonna be alright. You're gonna be alright." Cordy holding the side of her neck: "Ouch!" Angel presses a cloth over the neck wound.
Angel: "Cordy, you're gonna be all right. I'll kill her for this."
Cordy panting: "You're gonna have to find her first." Angel looks around. Darla is gone. Out in the club the others are just picking themselves back up, when Angel comes out, carrying Cordy in his arms.
Angel: "She bit Cordy."
Lorne: "Oh, sweetie, are you alright?"
Angel: "No. Where is she?"
Wes: "She got away."
Gunn: "We tried to stop her by hitting her fists and feet with our faces, but..."
Angel: "We'll take Cordy to a safe place and we'll take care of Darla." Hyperion, night, Cordy is lying on a bed with Angel sitting beside her.
Angel: "Are you feeling any better?"
Cordy: "Yeah. You don't have to stay with me."
Angel: "Gunn's gonna be right here." Cordy lifts her head to look at Gunn: "Thanks."
Angel: "I'm not gonna keep telling you how sorry I am. I'm gonna tell you - that she'll never do it again."
Cordy: "It was my fault, Angel. I felt sorry for her. She looked so helpless - like a mother. - I forgot what she really was. - I'm starting to feel the pills." Angel gets up and backs away from the bed as Cordy's eyes drift closed.
Angel quietly to Gunn: "You see Darla anywhere in range..."
Gunn: "I'll take care of it." Angel turns to go.
Cordy sits up: "Wait! - When she bit me I had a vision. I almost forgot." Angel comes back and sits back down on the edge of the bed.
Angel: "What did you see?"
Cordy: "It was like no vision I ever had before. - She's so hungry. - She doesn't know how to make the hunger stop. - I think I know where she's headed." Angel is arming himself from the weapons cabinet.
Wes: "I'm not speaking to you as the boss, because I know you wouldn't listen, but you shouldn't do this alone."
Angel: "I *have* to do this alone."
Wes: "Angel, a normal vampire is strong, and Darla wasn't normal before this. She took down the host, Gunn, and me without even breaking stride. She's stronger than all of us right now, including you, because of what's in her."
Angel: "I know. I put it there." Angel turns away and hurries out.
Wes: "Why does he think he has to do everything alone?"
Fred: "I think he just can't bear to have us see him do it."
Wes: "Kill Darla? She did try to kill Cordy - and she's a vampire."
Fred: "Who is carrying his child. The one thing he can never have, even if he lives forever." A busy arcade, there are kids and noise everywhere. A little blond boy stands in the middle of the confusion, looking around.
Boy: "Mommy? - Mommy? - Mommy?"
Darla: "What's wrong, honey? Lost your mommy? (Boy nods) Let's go find her together, hm?" The boy nods and takes her hand. Darla turns to lead him away.
Woman: "You're a brave woman! (Darla stops and looks over her shoulder) About to have one, taking another one out to play."
Darla: "Oh. I love children. I could just - eat them up." Darla and the woman smile at each other and go their separate ways. Break Cordy is sleeping on the bed, dreaming of Darla biting her and getting the vision. She jerks awake with a gasp. Gunn comes over and sits down on the edge of the bed.
Gunn: "Hey, hey! It's alright. It's just a dream, okay? I'm right here. She can't hurt you."
Cordy: "I have to talk to Wes." Cordy is pacing in Wes' office.
Cordy: "It was a dream, but - it was more like a vision."
Wes: "About what?"
Cordy: "About what's inside Darla. (Sits down) This Tro-clan thing - the prophecies say that it will be born - or it will arise?"
Wes: "It says both. The middle English eyrizan and the Gothic urreisan, both mean to appear, to spring up."
Fred: "Angel's not answering his phone. Should I leave a message on his voice mail?"
Cordy: "He doesn't know how to use his voice mail. Just try his pager."
Wes: "There is also a reference to the Tro-clan being boren, which is pretty plain middle English for being born, to bear." We hear a pager go off. Gunn checks his belt, then gets up and walks over and pulls Angel's pager out of the pocket of the coat hanging in the corner of Wes' office.
Gunn: "Well, we found Angel's beeper."
Wes: "What is it, Cordy? What is the vision trying to tell you?"
Cordy: "I think they're trying to tell me *why* Darla is craving younger victims." Darla is crouched in front of the little boy in a deserted corner of the arcade.
Boy: "Ma'am, I don't think my mom is back here."
Darla: "Are you sure? Did you look?" The boy looks around.
Boy: "I don't see anybody." He turns back to see that Darla has morphed and lets out a scream. Angel runs across some of the arcade games and tackles Darla against the wall and slams the stake in his hand towards her heart. Darla puts up a hand to ward it off the stake pierces her hand until it comes out on the other side. The boy runs away screaming, straight into his mother's arms out in the crowd.
Mother: "There you are! (Catches him up in her arms and hugs him close) Where have you been? How many times have I told you not to wander off!" Darla tosses Angel out from the deserted section. The mother's eyes widen as Angel lands on top of some tables, over turning them. People in the crowd see Darla follow him out, still wearing her vampface and turn to run away, screaming. Darla pulls the stake out of her right palm and lets it drop as she walks towards Angel.
Darla: "You *so* want to play the good guy, don't you? Yeah. You're the good guy who did *this* to me." Hauls back and knocks Angel across the face, slamming him against one of the games.
Darla: "You may have the face, but you don't know the hunger! It pounds! You can't make it go away! You can't stop it!"
Angel: "I'll stop it!" He hauls back and hits Darla. The two of them fight. In the end Angel manages to grab Darla by the throat and push her up against the wall.
Darla: "How could you put this in me? I *hate* you!" Darla hits him again, but Angel refuses to let go of her throat.
Darla: "They breathe. They breathe and pound. I don't breathe, you idiot! You can't strangle me!" Darla laughs.
Angel: "I'm not gonna strangle you." Angel pulls her away and slams her back up against the wall, pulling out another stake.
Darla: "Come on! Do it! (Angel hesitates) Do it!" Angel slowly lowers the stake and looks down at Darla's belly. We hear a heartbeat. Angel slowly steps back from Darla. Darla lunges, grabs a hold of Angel's jacket and shakes him.
Darla: "Do it! Do it! Make it stop!" Angel gently restrains her, wrapping her tightly in his arms and pulling her up against his chest.
Angel: "No it won't, Darla. Darla, listen to me."
Darla: "Make it stop! Make it stop."
Angel: "The child. The child has a heartbeat. It has a soul."
Darla flailing wildly: "No! Not my child! No!"
Angel: "Our child. Ourchild. Our child. That's why you've been craving purer and purer blood. That's why it's been driving you out of your mind. It has a soul." Darla collapses against Angel's chest, sobbing: "No, it doesn't."
Angel holding her: "It does."
Darla: "It can't."
Angel quietly: "Yes, it does. It does." Angel helps Darla to lay back down on a bed in the Hyperion and hands her a mug.
Angel: "Here, drink this." Darla takes a gulp then makes face.
Darla: "Pig's blood?"
Angel: "You need to keep yourself nourished. You'll get used..." Darla throws the pug against the wall, shattering it and splashing the wall with blood.
Angel: "You're not alone in this anymore. We'll deal with this together."
Darla: "Gosh. I'm the luckiest vampire girl in the whole world. - Get away from me."
Angel gets up: "Try and get some sleep."
Darla: "How's Cordy? She wanna come up and visit?" Laughs. Angel walks up to Gunn, standing in the door holding a loaded crossbow.
Angel: "She goes near Cordy, or Fred..."
Gunn lifting the bow: "I know."
Angel: "Don't underestimate her. The woman is stronger than all of us right now." Angel walks down into the lobby and sees Cordy and Wes leaning over an open book on the reception counter together.
Angel: "You're not to go near Darla for any reason without me, Gunn, and a lot of crossbows standing between you. You understand?"
Cordy: "Oh, yeah. And if I forget (indicates the bandage on the side of her neck) I have a nice little reminder."
Angel: "That goes for you, too, Fred." Fred looks up from the laptop: "Gotcha." Angel goes to sit down on the settee in the middle of the lobby and Cordy walks over to him.
Cordy: "So, I guess you're gonna be a father."
Angel after a beat: "Guess I am."
Cordy: "I felt it in my dream. The same thing you did - when you found her. (Sits down beside him) It has a soul."
Wes: "Well, Angel has a soul. It makes sense. As much as any of this does." Angel looks down at his folded hands.
Wes: "Angel, even with a soul, she could give birth to what's spoken of in the prophecies."
Angel looks at Wes: "The thing that's coming to kill and burn us all? - I know that. - I also know the child is mine."
Wes: "Right."
Cordy: "Well! Another big fun day at Angel Investigations. (Gets up) What do you say we pour ourselves a good stiff..."
Fred: "Uh-oh."
Cordy: "A good, stiff uh-oh?"
Fred: "Remember before when I said I thought that maybe, possibly, perhaps I might have been off in my earlier calculations? And you asked Wes if he thought if the Tro-clan was prophesied to arise or be born and he said it could be both? And we all know that the Latin for arrive is arripare, to come to land or possibly in this instance simply to come to, as from a deep sleep?"
Angel, Wes: "Fred!"
Fred: "Right. I believe that whatever this thing is, it's arriving right about (looks down at a watch) three, two, now." A busy section of LA, night, people are walking past, talking. The camera sinks through the ground down into a round chamber, lit by fires in the alcoves along the wall. The ceiling is supported by a circle of pillars. A stone statue and two bowls holding more flames are set up, forming an equal triangle inside the circle of pillars. A demon walks in and stops in front of the statue.
Sahjhan: "The weight of time is heavy on the world. And all men born must die. But there are worlds unknown, where dreamers dream and sleepers sleep, and patiently await. As pledged in Caladan by Cod-she, (Sahjhan steps back and throws some powder at the statue) One shall awaken in the first year of the final century. That one, who lived before and joined Cod-she in the great sleep. Arise, as was promised and foretold. Arise. - Arise!" Nothing happens. The demon turns away and walks over to one of the fires and lights himself a cigarette. Turns back to watch the statue, puffing. Checks his watch. Takes another drag. Suddenly the room begins to shake and blue lighting flashes. The eyes of the statue suddenly turn into two open, human looking eyes. The statue cracks then crumbles to the ground in a cloud of dust. The demon puts out his cigarette and walks over to the figure huddled in the middle of what's left of the statue.
Sahjhan: "Welcome to the twenty first century. (Crouches down and puts a hand on the back of the figure) Angelus is here. You'll see him soon. - You haven't used your muscles in a very long time. It will be a while before you're strong enough to..." The figure suddenly straightens up. It's Holtz.
Holtz: "Just tell me where he is."

Summary:

Output: Darla comes back to LA, bringing Angel news of their baby. As Team Angel tries to find out how a vampire pregnancy is even possible, Angel must deal with his growing feelings for Cordy and his new fears about what sort of "child" Darla might be carrying. Meanwhile, one of Angel's old enemies arrives in LA looking for vengeance.

... [The rest of the episode script is omitted]


Input:
You are given a script of a TV episode. Summarize the episode in a paragraph.

Episode Script:
Andy: Good morning, Pam.
Pam: Oh, welcome back, Andy.
Andy: Drew. I'm Drew now.
Pam: Oh. Drew. Sorry.
Andy: Apology not... accepted. Because it wasn't even necessary in the first place. [laughs]
[SCENE_BREAK]
Andy: Several weeks ago, Andy Bernard had an incident. [cut to shot of Andy punching a hole in the wall] But after five weeks in Anger Management, I'm back. And I've got a new attitude. And a new name. And... a bunch of new techniques for dealing with the grumpies.
[SCENE_BREAK]
Andy: Mornin' Jim.
Jim: Hey, Andy. How are you, man?
Andy: Good. Drew.
Jim: What's that?
Andy: Dr--- You can call me Drew.
Jim: No, I'm not gonna call you that.
Andy: Cool. I can't control what you do. I can only control what I do.
Jim: Andy.
Andy: Drew. [walks to Dwight] Dwight. How's it goin' man?
[SCENE_BREAK]
Dwight: Yes, I have decided to shun Andy Bernard for the next three years. Which I'm looking forward to. It's an Amish technique. It's like slapping someone with silence. I was shunned from the age of four until my sixth birthday... for not saving the excess oil from a can of tuna.
[SCENE_BREAK]
Dwight: Jim, could you please inform Andy Bernard that he is being shunned.
Jim: Andy, Dwight says welcome back, and he could use a hug.
Dwight: Ok, tell him that's not true.
Jim: Dwight says that he actually doesn't know one single fact about bear attacks.
Andy: You guys...
Dwight: Ok, no. Jim, tell him that bears can climb faster than they can run. Jim! Tell him!
Jim: [half-heartedly] Andy! Nah, that's too far.
Dwight: Damn you.
[SCENE_BREAK]
Michael: Today is Safety Training Day. Toby is leading ours upstairs. Yeauck. But, I am giving everyone a little bit of a treat. We are going to listen in on Darryl's presentation to the warehouse. And if I know Darryl, it gonna be zoppity.
[SCENE_BREAK]
Darryl: Now, this is the forklift. You need--- [Michael rattles it] You need a license to operate this machine. That means the upstairs office workers can't drive it. ... Quiz! Mike.
Michael: Hmm.
Darryl: Should you drive the forklift?
Michael: I can, and I have.
Darryl: No! No no no no no! I said should you. You should not drive it. You should not drive the forklift, you understand?
Lonny: You're not allowed to drive the forklift.
Darryl: It's not safe, you don't have a license.
Michael: Guys, I'm not the only one who's driven the forklift. [points] Pudge has driven the forklift.
Madge: Madge.
Michael: I thought your name was Pudge?
Madge: No, it's always been Madge.
Michael: Okay. Um, her.
Darryl: Her. Yes, "her" is qualified to work a dangerous machine. You are not. Okay?
Michael: Ah, fine.
Darryl: Do you understand that?
Michael: Yeeesh.
[SCENE_BREAK]
Darryl: We do safety training every year, or after an accident. ... We've never made it a full year. This particular time, I was reaching for a supply box on the top shelf, when one office worker, who shall remain nameless, kicked the ladder out from under me and yelled...
[SCENE_BREAK]
Michael: [barely keeping his composure] "Hey Darryl, how's it hangin'?!" [laughs]
[SCENE_BREAK]
Darryl: And I fell and busted my ankle. I'm legitimately scared for my workers.
[SCENE_BREAK]
Darryl: The baler can flatten a car engine. It can cut off your arm and crush your entire body without skipping a beat.
Dwight: Yeah!
Andy: It's on!
Darryl: How many people a year do you think get their arms cut off in a baler?
Michael: Bail'er? I hardly know her.
Lonny: Dammit, Michael. Pay attention, man.
Darryl: Anybody wanna take a guess? Anybody?
Kevin: Five bucks says it's over 50.
Jim: You really wanna bet?
Darryl: Anybody?
Kevin: Ever since March Madness ended, I am so bored.
Guy: How many?
Jim: Ok, you're on.
Darryl: Ten people, Michael. Ten people. Would you like to be one of them?
Kevin: [mouths] Damn...
Darryl: [in background] You have to be alert, and calm. And always careful...
Jim: No, don't worry about it. We'll just got double or nothin'.
Kevin: On what?
Jim: I don't know, we'll figure somethin' out.
Kevin: Nice.
Oscar: What are you guys talkin' about?
Darryl: These are very dangerous machines down here, and the upstairs workers, Michael, should not go anywhere near them.
Michael: Yes, yes. But it wouldn't be the worst thing in the world... if somebody...
Darry: It would be the worst thing in the world! It would! Very much so.
Lonny: What the hell is wrong with this man?
Michael: It's a big red trash compactor!
Lonny: What are you---
Darryl: It's not a trash compactor! It's a baler!
Lonny: Don't disrespect the baler!
Michael: Okay, okay! I got it. I got it. ... Only on the rarest of occasions...
Darryl: No do not touch it!
Michael: ...would I go near---
Darryl: There is no occasion for you to go near this stuff, okay?
[SCENE_BREAK]
Michael: Toby now has the floor... and he is going to try not to screw this up, like everything else in his life. Let me rephrase that. I believe that you can do safety training and make it sound just as good as Darryl. Here we go!
Toby: Ok, um, one thing that you're gonna want to look out for is carpal tunnel syndrome. It's recommended that you take a ten minute break from typing every hour. For your circulation, you're gonna want to get up out of your chairs and uh, and move around about ten minutes every hour.
Michael: Yes, good. Fine. Like stretching and...
Toby: Um, yeah. You're computer screen can be a big strain on your eyes, so uh, it's also recommended that you step away for about... about ten minutes every hour.
Michael: Wow, that is... that time really adds up. That's like... a half an hour, every hour?
Darryl: Take them at the same time.
Michael: Ok, you know what? You're making it sound kind of lame. So, skip ahead to the really dangerous stuff. Like sometimes computers can explode, can they not?
Toby: No, no. Um, you always want to keep a sweater or cardigan of some sort, in case it gets drafty.
Ryan: What about a long sleeve T?
Toby: Well, that'll work.
Kevin: Long johns? A shaw?
Toby: You know, anything that warms you.
Michael: Ok, you know what? I think that everybody is going to vomit due to boredom. [to warehouse guys] Sorry, he is very lame. [takes book from Toby] Um, let's see. "Seasonal affective disorder! A depression that includes weight gain, fatigue, irritability, brought on by the low light of winter."
Darryl: Thank God we only had a baler to deal with.
Lonny: Yeah, that dim light is a bitch, ain't it?
Michael: Ok guys, you know what? I didn't--- I didn't interrupt when you were having your presentation.
Darryl: Actually, you did.
Michael: Yes. Okay, let's do another one. This is a good one. "A particular concern for office workers is a sedimentary life style, which can contribute---"
Toby: Sedentary.
Michael: Yes. "Which can contribute to heart disease." Heart disease kills more people that balers.
Lonny: That's called having a fat butt, Michael.
Michael: Mmmm, no, no, it's... sedentary...
Lonny: Yeah, yeah. That's, that's fat butt disease. That's what you suffer from?
Michael: No.
Lonny: Fat butt disease, Michael?
Kelly: Excuse me, sea monster, you weigh like a thousand pounds.
Lonny: Yeah? I bet you'd like to swim with this sea monster, wouldn't you?
Kelly: Ryan?
Lonny: Dude, tell your girl to shut up.
Kelly: What?!
Ryan: Kelly, you insulted the gentleman. Please apologize.
Kelly: Are you kidding me?
Darryl: Alright, we outta here.
Michael: Darryl, I did not walk out in the middle of yours. So, I---
Lonny: Yeah, but ours was real, Michael.
Darryl: That's what I've been trying to tell you, Mike. It's serious down there. We do dangerous stuff, man. This is shenanigans, foolishness, Nerf-ball. You live a sweet, little, Nerf-y life. Sittin' on your biscuit. Never havin' to risk it.
Michael: Okay. ... What, Nerf isn't cool anymore?
[SCENE_BREAK]
Michael: Darryl thinks he is such a man because he works in a warehouse. I worked in a warehouse. Men's Warehouse. I was a greeter. I'd like to see Darryl greet people. Probably make 'em feel like wimps. Not me, I... "Hello, I'm Michael. Welcome to Men's Warehouse. We have a special on khaki pants today." ... This is one example.
[SCENE_BREAK]
Kevin: [Pam is holding a jar of jellybeans] Ten.
Oscar: Really, ten? That's your guess? You're a professional accountant.
Jim: There's like ten green ones.
Oscar: Forty-two.
Jim: I'm gonna say fifty.
Karen: Fifty-one.
Jim: Oh, don't be that person.
Kevin: That is lame.
Karen: It's a strategy!
Pam: It's called being smart.
Karen: Thank you.
Kevin: Oh, geeze.
[SCENE_BREAK]
Pam: I don't know how the whole betting thing started, but it's fun.
[SCENE_BREAK]
Pam: Ten...
Jim: Kev's out.
Kevin: Damn it.
Pam: 47, 48, 49! Jim wins!
Everyone: Oooh! [Jim claps]
Kevin: That is not fair. He has spent hours up here at reception with you. Hours and hours.
Jim: Okay, okay.
Kevin: No, constantly. Like, for years.
Jim: Okay.
[SCENE_BREAK]
Michael: Pam, depression is as scary as a baler, right?
Pam: I don't understand the question.
Michael: Working in an office can lead to depression. Which can lead to suicide. I mean this is really serious stuff.
Pam: Yeah...
Michael: I--- I--- Nobody commits suicide because they work with a baler, and yet those guys are makin' fun of me, calling me a Nerf, that...
Pam: It's really hard to demonstrate depression. Their safety training had visuals.
Michael: Yeah... you are... ah, so right. They had visual aids. And all we had were the facts. You don't go to the science museum and get handed a pamphlet on electricity. You go to the science museum and you put your hand on a metal ball, your hair sticks up straight... and you know science.
Pam: So, you're okay?
Michael: Indubitably.
[SCENE_BREAK]
Michael: They use props. They use visual aids, and they just made us look like dopes.
Dwight: Idiots! God, what are we gonna do!?
Michael: I don't know, I don't know. Because you know what our killer is? Depression---
Dwight: Wolves.
Michael: Nn--- Depression.
[SCENE_BREAK]
Dwight: Visual aids.
Michael: Yes.
Dwight: A quilt. Depression quilt?
Micheal: No time to sew a quilt. ... I got it. Give me the number for the Giant Big Box Toy Store.
[SCENE_BREAK]
Michael: You may be asking yourself, "What am I doing on a trampoline?" Well, I thought I'd bounce here for a while, relieve some stress, and then move on with my day. Not! Here's the plan. Dwight, is going to gather all of the office workers and all of the warehouse guys, we're going to have another safety seminar. Only this time, where's Michael? Oh my God! He is on the roof! Now I have got their attention. I... tell them, about the cold hard facts of depression. And then I say, "Hey! You ever seen a suicide?" And I jump. And they freak out. And they get to see... the dangers of depression with their own eyes. Nice side note[/b]: They might think "Hey, I should have been nicer to Michael." But that's... not why I'm doing this... Then, I land on the trampoline, take a couple extra bounces for fun. I climb off, walk around the corner... Ta-freakin'-da! [Dwight nods]
[SCENE_BREAK]
Kelly: So then the next movie moves to the top of the queue. So number five becomes number four, number six becomes number five, [Ryan checks his watch]number three becomes number two, etc, etc. And let's just say that I just sent back Love Actually, which was awesome. [Karen lays money down on the desk next to Ryan] And they sent me Uptown Girls, which is also awesome. But guess what, now I want to see love actually again, [Phyllis throws her money down] but it's at the bottom of the que! Oh no, what do I do!? [Creed throws his money down] What I do, is this. I go online, I go click, click, click. And I change the order of the que, so that I can see Love Actually [Pam throws her money down] as soon as I want to. It's so easy, Ryan. Do you really not know how Netflix works? [Jim throws his money down]
Ryan: I guess I forgot. [kisses Kelly, gathers up all the money]
Kelly: You're such a ditz.
Kevin: Ryan, well done. Two minutes, forty-two seconds. Additionally, Pam, you win ten because she said "awesome" 12 times, and Jim, you win five because she mentioned six romantic comedies.
[SCENE_BREAK]
Dwight: [on the roof] Okay, let's do this thing! I'll go summon the troops!
Michael: Maybe we should test it first. Letterman-style. Throw a TV over, or...
Dwight: We measured it once...
Michael: Go buy some watermelons.
Dwight: Seedless?
Michael: Just...
[SCENE_BREAK]
Toby: [Creed takes a bite of an apple] Creed is eating an apple. I found a potato.
Pam: Hey Creed.
Creed: Hey!
Pam: Hey.
Creed: Hello. [Jim replaces Creed's apple with a potato][Creed takes a bite of the potato]
Pam: Yes!
Kevin: Here you go. [hands money]
Toby: Nice.
[SCENE_BREAK]
Karen: I don't know this place as well as I thought I did. I'm getting cleaned out.
[SCENE_BREAK]
Dwight: Ready?
Michael: Let's do it! Drop that sucker.
Dwight: [drops watermelon, watermelon bounces off trampoline, onto a car, bursts, car alarm sounds]
Michael: BINGO! WHOA WHOA WHOA! Oh... crap. Deactivate the car alarm. Clean up the mess.
Dwight: Okay.
Michael: Find out whose car that is. If it's Stanley's, call the offices of James P. Albini, see if he handles hate crimes.
Dwight: Got it.
Michael: Also, take apart the trampoline, stick it in the baler.
Dwight: We're not allowed to use the baler.
Michael: Have Pa--adge do it, or... the sea monster.
Dwight: I'm on it!
[SCENE_BREAK]
Dwight: I'm temporarily lifting the shun.
Andy: Thank you.
Dwight: It means nothing. I need you to do something for me.
Andy: Anything.
Dwight: Okay, calm down. I need you to acquire an inflatable house, and/or castle.
Andy: You mean a moon bounce.
Dwight: What do you think? You've got an hour.
Andy: I'm gonna need... I'm gonna need petty cash.
Dwight: Shunning resumed.
Andy: Do you, do you want a drawbridge?
Dwight: Un-shun. Yeah that sounds good. Re-shun.
[SCENE_BREAK]
Dwight: Oh yeah, this is much better. Safer. Excellent decision.
Michael: Yes, thank you for seeing that.
Dwight: When you land, try and land like an eight year-old. These bouncy castles are not designed for adults.
Michael: I don't know if I wanna do this.
Dwight: Do you wanna do another test? I got plenty of watermelons in my trunk!
Michael: No. No more. The tests are going terrible. If we keep doing it, we're not gonna want to jump. This is about doing, not thinking.
Dwight: That's right! Doing! Totally doing! It's rock n' roll!
Michael: Rock n' roll!
Dwight: Yeah!
Michael: That's right! I am not thinking.
Dwight: [imitating the sound and playing an air guitar] Near near near near near!
Michael: Yes! Yeah!
Dwight: [singing] Michael is awesome! Jumpin' off the roof!
Michael: Woo!
Dwight: [singing] Bouncin' on the bouncy bounce! Show 'em who's boss!
Michael: Woo!
Dwight: [singing] Rip a hole in the suuuuuuun!
Michael: I am ready to do this! I am ready to make a point! [Dwight continues air guitar]
[SCENE_BREAK]
Dwight: [out of breath] Guys! Listen up! Michael is up on the roof, and acting strange!
Andy: Whoa! What's the situation?
Dwight: [hesitates] Un-shun. I think he's suffering from depression. Re-shun.
Andy: Ok, when's the shunning thing gonna end?
Dwight: Un-shun. Never. Re-shun. I think he wants you all to come out to the parking lot and watch him die!
Stanley: Is it nice outside?
Dwight: It's gorgeous. Let's go!
Stanley: Do I need my jacket?
Dwight: No really, it's, it's very nice. Come on!
Ryan: Will I be too warm in a long sleeve T?
Dwight: Everybody's gonna be fine in exactly what they're wearing, let's go! Let's go!
[SCENE_BREAK]
Dwight: [outside] Come on, hurry up you guys!
Michael: [on the roof] My life! Oh, my life...
Dwight: [on megaphone] Michael, what's wrong?!
Michael: Everything's wrong. The stress of my modern office, has caused me to go into a depression.
Dwight: Depression? Isn't that just a fancy word for feeling bummed out?
Michael: Dwight, you ignorant slut. Depression is a very serious illness. Over 32 thousand people commit suicide every year! According to a 2004 study!
Dwight: Is that the last year the data was available?
Michael: Yes! My head is in such pain! And turmoil!
Dwight: Don't do anything rash!
Michael: Wait, where are the warehouse guys?
Dwight: I didn't... [Dwight runs up to the side of the building] I didn't think you needed them for this part.
Michael: Okay... that's...
Dwight: you said to just...
Michael: That's the whole point, dummy.
Dwight: Okay, I'm on it!
Michael: Okay.
[SCENE_BREAK]
Dwight: Attention blue collar workers!
[SCENE_BREAK]
Pam: What are the odds that this is in any way real?
Jim: I'd say like... 10,000 to 1?
Kevin: Okay, I'd like ten bucks on those odds.
[SCENE_BREAK]
Kevin: If someone gives you 10,000 to 1 on anything, you take it. If John Mellencamp ever wins an Oscar, I am going to be a very rich dude.
[SCENE_BREAK]
Dwight: Michael's up on the roof and he's acting strange!
Michael: Oooooh, my life!
Dwight: Michael! What's wrong?
Michael: Everything is wrong, Dwight. The stress of my modern office, has made me depressed.
Dwight: Depressed? Isn't that just a fancy word for feeling bummed out?
Michael: Dwight, you ignorant slut.
[SCENE_BREAK]
Jim: Well, you know, the first performance was a little off. But I really think they hit their stride, in the second show. Um, might even bring my parents tomorrow, to the matinee.
Michael: And that is why, I am going to jump off this roof!
Jim: Oh, excuse me. It's my... favorite part.
[SCENE_BREAK]
Angela: This is just offensive.
Ryan: At least we're outside.
[SCENE_BREAK]
Creed: [zipping up his pants] Hey, check it out, there's a... there's a castle over there.
Jim: Oh my God, there is a castle.
Dwight: No, there's nothing to see over there, people! There's nothing to see. ...They found the castle, Michael.
Michael: Damn it.
[SCENE_BREAK]
Pam: Oh... God. Oh my God, he's gonna jump.
Jim: Oh. He's going to kill himself, pretending to kill himself.
Pam: Yeah...
[SCENE_BREAK]
Jim: Hey uh, Michael. Don't jump on the bouncy castle. You can't do that, because you're going to get horribly, horribly injured.
Pam: Hey Michael! I have a present for you, but you have to come down and get it.
Michael: What is it?
Pam: Come down and... open it and you'll see.
Michael: Dwight, find out what the present is.
Dwight: Okay, uh... I don't see anything. She might be bluffing.
Jim: Dwight...
Pam: Dwight, what are you---
Dwight: Oh... It's uh, a Repliee Q1 Expo female robot, they're only available in Japan.
Michael: Dwight, you are such a liar. Pam, really, what is it?
Darryl: Mike, this is the opposite of safety. You jump, you're gonna serious hurt yourself.
Michael: You told me, that I lead a... cushy, wimpy, Nerf life.
Darryl: Yeah, but I never said you had nothing to live for.
Michael: What do I have to live for?
Darryl: A lot... of things. Uh, you, uh... What about Jan? Lovely, lovely, lovely Jan, man. It's goin' good, right?
Michael: It's complicated with Jan. And I don't know where I stand, or what I want. The s*x isn't nearly as good as it used to be.
Darryl: Mike, you're a very brave man. I mean, it takes courage just to be you. To get out of bed every single day, knowing full well, you gotta be you.
Michael: Do you really mean that?
Darryl: I couldn't do it. I--- I ain't that strong. And I ain't that brave.
Michael: I'm braver than you?
Darryl: Way braver! You Braveheart, man.
Michael: I Braveheart. I am.
Darryl: Come down, okay?
Michael: Okay. Pam, I'm coming down to get my present.
[SCENE_BREAK]
Michael: An office... is as safe as the people in it. And sometimes those people can drive you to do crazy things to show the dangers of the office. That's the danger I found myself in today. I saved a life. My own. Am I a hero? I really can't say. But, yes.

Summary:

Output: Michael feels ashamed when, during a safety training course, the warehouse employees make fun of him for having a safer work environment. Determined to show that office life can be dangerous, he decides to demonstrate depression effects by faking a suicide attempt. His plan to jump off of the roof and onto a bouncy castle go awry when the employees discover what he is doing and are forced to talk him down. Meanwhile, Andy attempts to endear himself to Dwight after returning from anger management.

... [The rest of the episode script is omitted]


Input:
You are given a script of a TV episode. Summarize the episode in a paragraph.

Episode Script:
THE TALONS OF WENG-CHIANG
BY: ROBERT HOLMES
Part One
Running time: 24:44
[SCENE_BREAK]
JAGO: Mister Chang. Wonderful, wonderful. Words fail me, sir. Words quite fail me.
CHANG: You are most generous.
JAGO: Have I ever, in my thirty years in the halls, seen such a dazzling display of lustrous legerdemain? So many feats of superlative, supernatural skill? The answer must be never, sir. Never.
SIN: Honourable master is kind to bestow praise on humble Chang's miserable, unworthy head.
JAGO: Dashed clever, the way you work the little fellow. Wires in the sleeves, I dare say. But I'll not pry, Mister Chang. The secrets of the artistes are sacrosanct.
BULLER (OOV.): Hey, you!
JAGO: What the deuce?
BULLER: Where's my Emma? What have you done with her?
JAGO: You've got no right to burst in here.
BULLER: Out of my way! It's him I want.
CHANG: Your Emma?
BULLER: She come in here last night and nobody ain't seen her since.
JAGO: I'll have the fellow ejected.
BULLER: Now I'm asking you, mister, what's happened to her?
JAGO: Call the stage hands, Freddy.
CHANG: It's all right, Mister Jago. Please, come with me.
JAGO: Courteous coves, these Chinese. I'd have propelled him onto the pavement with a punt up the posterior.
[SCENE_BREAK]
CHANG: Your wife?
BULLER: Emma Buller. And don't deny she was here, cos I saw her with my own eyes.
CHANG: Many ladies come to theatre. Why should you think
BULLER: Not round the side door, they don't. Now, look. I was passing in my cab and I saw her plain, and I know it was you she was calling on. She's been acting queer ever since you put the 'fluence on her last week, so don't try coming the innocent, Mister. I want to know where she is or I'm calling the law. Clear?
CHANG: Your wife came on stage?
BULLER: Last week. Levitated her, you did. She's not been the same since. It's done something to her reason, I shouldn't wonder. And she was here last night.
CHANG: Not to see me.
BULLER: Don't come the cod. She's disappeared. Nobody's seen her, not since she come here last night, so what about it, eh?
CHANG: In my country we have saying. Man who goes too quickly may step in bear trap.
BULLER: Right, I'm getting the Peelers.
[SCENE_BREAK]
LEELA: These clothes are ridiculous. Why must I wear them?
DOCTOR (OOV.): Because you can't go walking around Victorian London in skins. You'll frighten the horses.
DOCTOR: Anyway, we don't want to be conspicuous, do we?
LEELA: A swamp creature. That was it's attack cry.
DOCTOR: Oh no, it was a ship on the river. Excellent. It means we can't be far away.
LEELA: From where?
DOCTOR: From where we're going.
LEELA: Doctor, you make me wear strange clothes, you tell me nothing. You are trying to annoy me.
DOCTOR: I'm trying to teach you, Leela. Surely you'd like to see how your ancestors enjoyed themselves? Splendid. That's why I'm taking you to the theatre. Li H'sen Chang. Hmm, pity. I'd rather hoped we'd catch Little Tich. Never mind. If we hurry we'll just catch the second house.
[SCENE_BREAK]
JAGO: You'd better get your tail pinned on. Linens up in five minutes. Casey, have you got the oopizootics coming on?
CASEY: Mister Jago, I've seen it. I've seen it again!
JAGO: Be quiet. I told you before.
CASEY: Horrible, horrible it was, Mister Jago. A great skull coming at me out of the dark.
JAGO: Damme, you don't want to bankrupt me, Casey. Keep your voice down. Threadbare in Carey Street I'll be if people get the notion there's anything wrong with this theatre.
CASEY: Chains clanking, nine foot tall.
JAGO: You've been drinking.
CASEY: Not a drop, sir.
JAGO: Well, it's time you started.
JAGO: Now pull yourself together, man.
CASEY: I ain't never going down that cellar again. There I was, fixing the trap, when this apparition rose out of the ground in front of me. Hideous, it was. Hideous.
JAGO: That's enough.
JAGO: It's your imagination.
CASEY: Never.
JAGO: A cat or something must be trapped down there making noises. Tell you what I'll do, Casey. I'll come down with you this evening, as soon as the house is clear, and we'll have a good look round. Now how's that?
CASEY: It was no cat, Mister Jago. I seen it!
JAGO: Please, Casey, remember, mum's the word.
[SCENE_BREAK]
LEELA: This is a big village.
DOCTOR: Yes.
LEELA: What's the name of the tribe here?
DOCTOR: Cockneys.
LEELA: The sound of death!
DOCTOR: You stay here.
DOCTOR: Excuse me, can I help you?
QUICK (OOV.): Hold you there.
QUICK: Now then, what's all this?
LEELA: Touch me and I'll break your arm.
QUICK: Now don't be foolish, miss.
DOCTOR: Good evening.
LEELA: Keep back, Doctor. Blue guards!
DOCTOR: Good evening, Constable.
QUICK: Good evening, sir. You know this young female, sir?
DOCTOR: Oh yes, yes. We were attacked by this little man and four other little men.
QUICK: When I got here, sir, he was being strangled with his own pigtail, sir.
DOCTOR: Really? Girlish enthusiasm, officer?
QUICK: You might call it that, sir. I call it making an affray. I must ask you to come down the station with me.
[SCENE_BREAK]
CHANG: Please to see, ladies and gentlemen, subject now in state of deep hypnosis.
AUDIENCE: Oh!
SIN: She asleep.
CHANG: She not asleep, Mister Sin.
SIN: She been slugging type of toddy.
CHANG: I will prove young lady not asleep.
SIN: She's lying on metal bar.
CHANG: Not lying on metal bar.
SIN: I've seen it done before.
CHANG: I will prove young lady not lying on metal bar.
SIN: She's held up by wires.
CHANG: Enough.
SIN: You can't fool me.
CHANG: Silence!
SIN: Don't touch me! Help! Police! Murder!
CHANG: You see? No wires, Mister Sin. I will now demonstrate art of levitation raising most beautiful lady high above own topknot.
[SCENE_BREAK]
KYLE: Name, sir?
DOCTOR: Doctor. Leela.
KYLE: Place of residence, sir?
LEELA: We've only just arrived here.
DOCTOR: We're on our way to the theatre, do you see.
KYLE: Your home address will do for the moment, sir. You do have a permanent address, sir?
DOCTOR: No, Sergeant. We're travellers.
KYLE: I see. Persons of no fixed abode.
DOCTOR: No, no, no, no. We do have an abode. It's called a TARDIS.
KYLE: A TARDIS.
DOCTOR: But it's not fixed.
KYLE: I can give you and the young lady a fixed abode, sir. Quite easily.
DOCTOR: Flat footed imbecile.
KYLE: What was that, sir?
DOCTOR: It was nothing complementary. Get on with it, Sergeant.
KYLE: Now look, sir. We've got our hands full here, all these girls going missing in the manor, so if you'd just oblige us by answering any questions we'll get on a lot better. And a lot quicker.
DOCTOR: Sergeant, all this is irrelevant. I've come here to lay evidence.
KYLE: We'll come to that in good time.
DOCTOR: We'll come to that now, Sergeant. We've just prevented a kidnapping, a robbery or even a murder. My friend here caught one of the attackers. Let's come to it now, shall we?
KYLE: We've only your word as to what he did, Doctor.
DOCTOR: Tell him. Tell him.
LEELA: The man they were carrying was dead. He had been stabbed through the heart!
KYLE: Really, Miss. And how can you be sure of that?
LEELA: I am a warrior of the Sevateem. I know the different sounds of death. Now put our prisoner to the torture!
KYLE: Well, if that don't take the biscuit. Torture, eh? This isn't the Dark Ages, you know.
LEELA: Make him talk.
KYLE: He's a Chinese, if you hadn't noticed. We get a lot of those in here, Limehouse being so close. Him jaw-jaw plenty by and by, eh, Johnny? I've sent for an interpreter.
DOCTOR: That won't be necessary. I speak Mandarin, Cantonese, all the dialects.
KYLE: Oh yes?
DOCTOR: Yes. Ne how ma? Ni chi mao cora (and so on)
KYLE: Yeah, very remarkable, I'm sure, Doctor, but since you're a party to the case, it isn't proper.
KYLE: Now what? That come from the river.
[SCENE_BREAK]
WOMAN: Look, there it is, guv. See? Look.
QUICK: Hurry with that boat hook.
WOMAN: It's a floater, all right. You've got it, guv.
WOMAN: On my oath, you wouldn't want that served with onions. Never seen anything like it in all my puff. Oh, make an 'orse sick, that would.
[SCENE_BREAK]
KYLE: Good of you to come so prompt, sir.
CHANG: Not at all, Sergeant. I'm always happy to be of service to the police. What can I do for you this time?
KYLE: A complaint against this man, sir. The lady and gentleman here swear they saw him, in concert with others not in custody, carrying what appeared to be a body, sir.
CHANG: Indeed.
KYLE: A European body as I understand them, sir.
CHANG: What happened to the others?
LEELA: They got away. I caught this one.
CHANG: You caught him? Remarkable.
DOCTOR: Don't I know you?
CHANG: I think not.
DOCTOR: Yes, I've seen you somewhere before.
CHANG: I understand we all look the same.
DOCTOR: Are you Chinese? Yes, that's it. We must have. No, I haven't been in China for four hundred years.
CHANG: Are you taking this matter seriously, Sergeant?
KYLE: We are, sir. Will you question the man, sir?
CHANG: Very well.
CHANG: Can I have paper and pencil, please, Sergeant?
KYLE: Certainly, sir.
DOCTOR: Got it! Li H'sen Chang.
CHANG: What?
DOCTOR: The Master of Magic and Mesmerism. Show us a trick.
DOCTOR: Very good. Very good.
KYLE: I think he's dead, sir.
DOCTOR: How did you do it?
CHANG: I did nothing. What are you suggesting.
DOCTOR: Scorpion venom.
KYLE: Scorpion venom?
DOCTOR: Highly concentrated scorpion venom. It killed him almost instantly.
DOCTOR: The Tong of the Black Scorpion.
KYLE: Don't know that one, sir.
DOCTOR: One of the most dangerous politico-criminal organisations in the world. Wouldn't you agree, Li H'sen Chang?
CHANG: You seem remarkably well-informed, Doctor. Alas, I know nothing of these matters. Most regrettable incident. Goodnight, Sergeant.
KYLE: Thank you, sir.
CHANG: I'm sure we shall meet again.
LEELA: Yes.
CHANG: Perhaps under more pleasant circumstances.
KYLE: Well, I don't know what to do about this lot.
DOCTOR: Then I'll tell you what to do, Sergeant. Organise a post-mortem. I want an analysis of the organs.
KYLE: You want what, sir?
DOCTOR: Well naturally I'm going to help. If the Tong of the Black Scorpion's here in London, you're going to need all the help you can get. Now cut along and do as I say. Now!
KYLE: Yes, sir.
[SCENE_BREAK]
CHANG: Faster, man, faster.
[SCENE_BREAK]
JAGO: Twinkle, twinkle, out in front.
CASEY: Eh?
JAGO: Gallery lights still burning.
CASEY: I'll just go and see to them now, Mister Jago.
JAGO: Everyone gone?
CASEY: Aye, just locked up, sir.
JAGO: I hope those girls go straight home to their digs.
CASEY: Oh, that they will, sir, with all this in the papers. Nine are missing now, you know.
JAGO: Nine. There was some fellow in here earlier blaming Chang of all people for some girl's disappearance.
CASEY: Just vanished off the streets, they have. Mostly in this area, too. What do you think's happened to them, Mister Jago?
JAGO: Nothing good, Casey, nothing good. That's a stone certainty.
CASEY: Oh, it says in the paper how it could be jolly Jack at work again.
JAGO: Jolly Jack?
CASEY: The Ripper, Mister Jago.
JAGO: The horrendous hyperbole of Grub Street, Casey.
CASEY: Eh?
JAGO: Newspaper gossip. They're probably just stony and scarpered. Cut along now. I'll wait for you here.
[SCENE_BREAK]
JAGO: I was right. It was blood. Blood all over the hand and wrist. How did that get there?
CASEY: Ready, Mister Jago.
JAGO: Oh, Casey. Don't ever do that to me again. If the celestial Chang caught me trying to pinch his tricks. I had an idea that his dummy was a midget dressed up, but it's just an ordinary vent's doll.
CASEY: Are we going to look down the cellar, Mister Jago?
JAGO: Of course, Casey. Of course. When I promise to do something. Determination, character. After you.
[SCENE_BREAK]
DOCTOR: They're what's known as a very dangerous bunch. Fanatical followers of an ancient Chinese god called Weng-Chiang.
LEELA: The Tong of the Black Scorpion?
DOCTOR: Yes. His followers believe that one day he'll come back and rule the world.
LEELA: So what's he like, this Weng-Chiang?
DOCTOR: Oh, very pleasant company. They say he blew poisonous fumes from his mouth and that he killed men with a white light that shone from his eyes.
LEELA: Magic!
DOCTOR: Superstitious rubbish. Here we are.
QUICK (OOV.): They're in there now, sir.
[SCENE_BREAK]
QUICK: Taken from the river not half an hour ago. Professor Litefoot's conducting his examination now, sir.
DOCTOR: Yes, well, our case is much more urgent.
QUICK: I wouldn't go in there if I was you, sir.
DOCTOR: Don't you worry about it. Don't you worry.
[SCENE_BREAK]
LITEFOOT: Thank you.
LITEFOOT: Who the devil are you, sir.
DOCTOR: I'm the Doctor, come to help you.
LITEFOOT: When I need anyone's help in pathology, I'll ask for it.
DOCTOR: The constable suggested a drowning case.
LITEFOOT: Fished from the river, but he wasn't drowned.
DOCTOR: By the look of those marks, an animal.
LITEFOOT: Exactly what I think, but what kind of animal leaves mutilations like those?
DOCTOR: Chisel-like incisors. A rodent?
LITEFOOT: Yes, but that's impossible. Look at the size of them.
DOCTOR: Hmm. Have you established the cause of death?
LITEFOOT: Yes, that's another curious thing. All this happened after death.
DOCTOR: Really?
LITEFOOT: He was killed by a knife blow to the heart.
DOCTOR: Are those his clothes?
QUICK: Yes, sir. I'm just taking them for examination.
DOCTOR: Hold that.
LITEFOOT: He was carrying no personal documents, but this indicates he was a licensed cab driver.)
LITEFOOT: Easy enough to identify the poor chap by his number.
LEELA: Doctor, those are the clothes the man we saw was wearing.
DOCTOR: What I'd like to know is, what do you think of these?
LITEFOOT: Some sort of hair.
DOCTOR: Yes. I think they're rat hairs.
LITEFOOT: Rat hairs? Do you know what you're saying, man?
DOCTOR: Yes, of course I know what I'm saying.
LITEFOOT: But they're nearly three inches long. Hairs on a rat can't be more than what, quarter of an inch?
DOCTOR: Interesting, isn't it, because I've just remembered something else about Weng-Chiang.
LEELA: What?
DOCTOR: He was the god of abundance. Yes, he made things grow. Can I borrow that?
DOCTOR: Thank you.
LEELA: Where are we going?
DOCTOR: Stay there, Leela.
[SCENE_BREAK]
DOCTOR: Were you trying to attract my attention?
DOCTOR: What's this?
LEELA: A Janis thorn.
DOCTOR: Yes. I thought I told you not to carry
LEELA: He was trying to kill you.
DOCTOR: Oh. Oh, well, in that case you'd better come along.
LEELA: What is it?
DOCTOR: The entrance to the sewers.
LEELA: Blood. Is this where they took the body?
DOCTOR: Yes.
LEELA: Where's it go?
DOCTOR: Into the Thames eventually. All the sewers are connected.
[SCENE_BREAK]
LEELA: What are those creatures?
DOCTOR: Rats.
LEELA: They don't look very dangerous.
DOCTOR: No, they're not. They're very cunning though. They're probably more afraid of us.

Summary:

Output: The Doctor and Leela land in Victorian London, and find themselves in the middle of missing girls, mutilated bodies, and vicious Chinese gangs. The Palace theater, presenting hypnotist Li H'sen Chang seems to be at the center of it all.

... [The rest of the episode script is omitted]