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 *.webp filter=lfs diff=lfs merge=lfs -text
+claps/beaver[[:space:]]dam.clap filter=lfs diff=lfs merge=lfs -text
+claps/diablo.clap filter=lfs diff=lfs merge=lfs -text
+claps/wasteland.clap filter=lfs diff=lfs merge=lfs -text

claps/beaver dam.clap

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+oid sha256:3d4101bb331c7eb5840cc69cdbb0dea68820db4d86d2b2ba5daa6eb7f280942e
+size 5028988

claps/diablo.clap

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+oid sha256:6fc7a3a7557190ace182f2d3d404db775c45fb3053231a95ed059e0d1f437e9b
+size 3658746

claps/wasteland.clap

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+version https://git-lfs.github.com/spec/v1
+oid sha256:fc17a2b987df92cae302c771937895926278fb6739798a5936d310b331b50bab
+size 10266887

scripts/AI-Lien.txt

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+INT. NOSTROMO - BRIDGE - MOMENTS LATER
+
+    The lights flicker as Dallas enters the Bridge, a room
+    bristling with advanced tech. He makes his way to the
+    captain's chair. Its display illuminates with an array
+    of warnings and notifications.
+
+    DALLAS
+    Mother, report status.
+
+    The MAIN VIEWSCREEN comes alive with the visage of MOTHER,
+    a soothing yet artificial face.
+
+                            MOTHER (V.O.)
+              Hull integrity compromised. Unknown
+              organism detected in lower decks. Quarantine
+              protocol in effect.
+
+    Dallas' eyes widen, a mix of confusion and concern.
+
+                            DALLAS
+              That wasn't on the docket for wake-up calls.
+              Where's the breach?
+
+                            MOTHER (V.O.)
+              Section 12, sub-level G. Recommend immediate
+              investigation.
+
+    INT. NOSTROMO - MESS - SAME TIME
+
+    The crew, still gathered, turns as a red LIGHT begins to
+    pulsate overhead.
+
+                            RIPLEY
+              That's not our average siren...
+              Ash, thoughts?
+
+                            ASH
+              It's an emergency code. Rarely used.
+              I'll check the mainframe.
+
+    As the crew is about to disperse, a LOW GROWL emanates from
+    the air duct. They freeze, exchanging nervous glances.
+
+                            PARKER
+              That's no siren or a busted engine...
+              What the hell was that?
+
+INT. NOSTROMO - MESS - CONTINUOUS
+
+    The crew stand motionless, suspended in a collective breath,
+    as the growl echoes and fades. Silence descends, a messenger
+    of dread. Ripley steps toward the THROBBING AIR DUCT, her gaze 
+    steady but her hand unwittingly finding the knife on the counter.
+
+                            RIPLEY
+                  (to the crew)
+              Stay sharp. We don't know what's in there.
+
+    Parker inches closer to Brett, trying not to show his concern.
+    
+                            BRETT
+                  (whispering)
+              They said hauling ore would be the danger...
+
+    Lambert clutches a napkin, wringing it in her hands.
+
+                            LAMBERT
+              We're not equipped for this. We should just seal the
+              section and move on.
+
+    Dallas' voice CRACKLES through the COMM:
+
+                            DALLAS (V.O.)
+              Listen up! We have a situation. I need a volunteer
+              team to investigate Section 12. Suit up and be careful.
+
+    Ripley locks eyes with Dallas on the SCREEN.
+
+                            RIPLEY
+              On it. Parker, Brett— you're with me.
+              Lambert, monitor comms. Ash, stay with her.
+              Dallas, we'll keep you posted.
+
+    They all nod gravely. Kane hesitates for a moment before grabbing
+    a flashlight.
+
+                            KANE
+              I'm coming too.
+
+    The RED LIGHT pulses faster as they head out, a silent 
+    heartbeat driving them towards the unknown.
+
+    INT. NOSTROMO - CORRIDOR TO SECTION 12 - MOMENTS LATER
+
+    Ripley, Parker, Brett, and Kane move cautiously through the metallic
+    corridor. Their FLASHLIGHT BEAMS dance across the walls, casting
+    towering shadows.
+
+                            PARKER
+                  (under his breath)
+              I don't like this. Space is quiet. Not growly.
+
+    Ripley turns to address the team, maintaining her composure.
+
+                            RIPLEY
+              We're not hunters, we're miners. Remember that.
+              We find the problem, we contain it, we let the
+              Company deal with the rest back home.
+
+    A SUDDEN CLANG reverberates from up ahead. They pause, weapons
+    and tools poised, as the door to Section 12 looms before them.
+
+INT. NOSTROMO - OUTSIDE SECTION 12 - CONTINUOUS
+
+    The door to Section 12 stands ominously sealed. Ripley inputs a
+    command on the wall panel, and with a hiss of hydraulics and a
+    clunk of disengaging locks, the door slowly slides open. They
+    step through, the beam from their flashlights cutting through the
+    murkiness. 
+
+    INT. NOSTROMO - SECTION 12 - CONTINUOUS
+
+    The air in Section 12 is colder, heavier. Metal surfaces are slick
+    with condensation. Their breaths materialize in ghostly puffs as they
+    advance.
+
+                            BRETT
+              Never been this far down before...
+
+    The dim light from the flashlights reveals unusual SLIME TRAILS
+    across the floor and walls.
+
+                            KANE
+                  (fascinated)
+              What do you suppose left these?
+
+    Parker, with a look of revulsion, wipes a viscous substance from his
+    boot.
+
+                            PARKER
+              Nothing I want to meet.
+
+    As Ripley surveys their surroundings, a SHADOW darts across the far
+    end of the hallway. She raises her hand, signalling a halt.
+
+                            RIPLEY
+                  (quietly)
+              Did you see that?
+
+    INT. NOSTROMO - INFIRMARY - SAME TIME
+
+    Lambert and Ash watch the MONITORS, restless.
+
+                            LAMBERT
+              This is too much. They should come back.
+              They should—
+
+    Ash places a calm hand on her shoulder, interrupting her.
+
+                            ASH
+              They’ll deal with it. Trust Ripley.
+
+    Lambert, reassured by Ash's stoic demeanor, nods reluctantly, her
+    eyes back on the blinking monitors.
+
+    INT. NOSTROMO - SECTION 12 - CONTINUOUS
+
+    They press on, the tension palpable. Kane moves ahead, his flashlight
+    leading him to a sealed compartment door that’s ajar. Inside, a cocoon-like
+    structure pulsates quietly against the wall.
+
+                            KANE
+                  (whispering back)
+              Guys... you might want to see this.
+
+    The rest of the team gather around the entrance. The sight of the cocoon
+    sends a chill down their spines.
+
+    Suddenly, the ship SHUDDERS, a low rumble traveling through the structure.
+    Dust and debris sprinkle from the ceiling.
+
+                            BRETT
+              The hell was that? Are we moving?
+
+    Ripley opens a communicator.
+
+                            RIPLEY
+                  (into the device)
+              Dallas, we found something...
+
+    The cocoon opens slightly. 
+
+    A BEAT.
+
+    Something MOVES inside. 
+
+    All eyes fixate on the opening, the tension erupts into fear mingled with
+    awe as they brace for what’s to come.
+INT. NOSTROMO - SECTION 12 - CONTINUOUS
+
+    The cocoon pulsates more violently, the movement within becoming frantic.
+    Kane inches closer, captivated, his hand trembling as he reaches out.
+
+                            KANE
+              (mesmerized)
+              Look at it... it's like...
+
+    Ripley reaches out, yanking him back.
+
+                            RIPLEY
+                  (urgent)
+              Kane, no! Don't touch—
+
+    A CREATURE LEAPS out of the cocoon, fast as a striking snake, attaching
+    itself to Kane’s helmet. The light from his flashlight flickers as he 
+    falls back, crashing to the ground.
+
+    Parker and Brett rush to his side, trying to pry the creature off, but
+    its grip is iron tight.
+
+                            PARKER
+                  (panicked)
+              It's got him! It's got him good!
+
+    Ripley, fighting to keep her cool, pulls her communicator closer.
+
+                            RIPLEY
+                  (into the communicator)
+              Dallas, we have an emergency! Something's
+              attacked Kane. It's attached to his face.
+              We're bringing him to the infirmary, now!
+
+    INT. NOSTROMO - INFIRMARY - MOMENTS LATER
+
+    The door to the infirmary slams open as they rush Kane inside. Lambert
+    and Ash stand back, shocked, as the team lays Kane on a medical bed.
+
+    Ripley looks to Ash, the science officer, her eyes demanding answers.
+
+                            RIPLEY
+              Get that thing off him, Ash! Safely, but
+              quickly!
+
+    Ash approaches cautiously, examining the creature without touching it.
+
+                            ASH
+                  (analyzing)
+              Remarkable. The creature has established a
+              tight seal... It's not just clamped on; it's
+              fused.
+
+    Dallas' voice comes through the room's comm system, anxious.
+
+                            DALLAS (V.O.)
+              What's the situation?
+
+    Ripley looks at the struggling Kane, then back to the comm.
+
+                            RIPLEY
+                  (determined)
+              We'll keep it contained, Captain. But we
+              need to figure out what we're dealing with.
+
+    The creature's tail tightens around Kane's neck as he convulses slightly.
+    Fear and fascination wash over the crew's faces as the reality of their 
+    situation sinks in. They are no longer alone, and the rules of their 
+    mission have changed forever.
+INT. NOSTROMO - INFIRMARY - CONTINUOUS
+
+    Ash moves around the medical bed with a cautious precision, avoiding
+    any sudden movements that might further agitate the alien organism.
+
+                            ASH
+              I don’t dare remove it surgically. The creature's
+              blood could be acidic... It might burn through the
+              hull.
+
+    Ripley steps forward, her expression resolute despite the fear 
+    that grips the rest of the crew.
+
+                            RIPLEY
+              We can't just leave it on him. Ash, options?
+
+    Ash ponders for a moment, then retrieves a scanning device.
+
+                            ASH
+              I'll try to get a reading on its biology. Stay
+              alert.
+
+    He begins scanning Kane’s helmet, the creature, and the immediate area,
+    as the device emits a SERIES OF BEEPING SOUNDS.
+
+                            LAMBERT
+                  (anxiously)
+              It’s like a nightmare...
+
+    Parker watches Kane, his hands clenched into fists.
+
+                            PARKER
+              We need to be armed, whatever that thing is—
+
+                            RIPLEY
+                  (cutting him off)
+              No weapons. Not until we know more. The last
+              thing we need is to breach the hull— or worse.
+
+    The scanner results flash on Ash's hand-held screen, his eyes widening
+    slightly.
+
+                            ASH
+              Fascinating... it's like nothing I've seen.
+              The creature has a...signature. Some kind
+              of unique protein structure.
+
+ INT. NOSTROMO - CORRIDOR - SAME TIME
+
+ As the tension in the infirmary mounts, Dallas strides through the
+ corridor. His determined gaze is fixed on the comm device in his hand.
+
+                         DALLAS
+               (into the comm)
+           Update, Mother. Immediate data on unknown
+           life forms.
+
+ A PAUSE. Then the COMM WHISPERS with MOTHER’s synthetic voice:
+
+                         MOTHER (V.O.)
+           Data received and analyzing. Caution is
+           recommended. The organism is beyond current
+           xenobiology understanding.
+
+ Dallas’ steps quicken, knowing that time is of the essence.
+
+ INT. NOSTROMO - MESS - CONTINUOUS
+
+ Dallas enters the mess where Brett is hastily making improvised weapons
+ from mining tools. Dallas snatches a makeshift flamethrower.
+
+                         DALLAS
+           Ripley's right. No unnecessary risks.
+           But, we stay prepared.
+
+                         BRETT
+               (nods, gripping his tool)
+           Got it, Cap.
+
+ INT. NOSTROMO - INFIRMARY - CONTINUOUS
+
+ Ash’s eyes remain fixed on the creature, analyzing the scanner’s readout.
+
+                         ASH
+           The creature is maintaining an air passage
+           through... I believe it's keeping him alive.
+
+ Lambert backs away to a corner, her arms wrapped around herself.
+
+                         LAMBERT
+           It's using him... for what?
+
+ Ash doesn't answer, the implications hanging heavy in the air.
+
+ As Parker continues to watch his colleague with a mix of anger and fear,
+ a THUDDING SOUND reverberates through the ship, causing the lights to
+ flicker.
+
+ INT. NOSTROMO - BRIDGE - CONTINUOUS
+
+ As the crew deals with their infirmary crisis, Dallas is back on the
+ bridge, staring at the main screen, which is scanning the ship's
+ exterior.
+
+                         DALLAS
+               (muttering to himself)
+           What's hitting us now?
+
+ His fingers punch the controls with urgency, cycling through the 
+ external cameras. 
+
+ EXT. NOSTROMO - OUTER HULL - SPACE
+
+ The CAMERA FEED shows the blackness of space, stars twinkling in
+ the distance, and then a SHADOW flits across the camera, momentarily
+ obscuring the view. Something is out there with them.
+
+ INT. NOSTROMO - BRIDGE - CONTINUOUS
+
+ Dallas, now realizing the gravity of their situation, toggles the
+ shipwide comm.
+
+                         DALLAS
+               (into the comm, firmly)
+           Crew, this is the Captain. Stay alert and stay
+           close. We are not alone on this ship.
+
+ INT. NOSTROMO - INFIRMARY - CONTINUOUS
+
+ The announcement hangs in the air. Ripley looks around the room
+ at the faces of her crew, seeing the same concern mirrored in each.
+ She makes a silent vow. They would face this— together.
+
+                         RIPLEY
+               (quietly, to herself)
+           We'll make it through. We have to.
+
+ Ripley's gaze hardens as she turns to look at the still form of Kane
+ on the bed, the alien still clinging to his face, and her mind starts
+ to race, planning their next move.

scripts/CliffDemo.txt

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+
+
+
+
+
+
+
+
+
+
+
+
+                           CLIFFHANGER
+
+                          screenplay by
+
+                          Michael France
+                           Terry Hayes
+                        Sylvester Stallone
+
+
+
+
+
+
+
+
+
+                                       Shooting draft 3/30/92
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+     [NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE
+     NUMBERS.  THESE HAVE BEEN OMITTED FOR THIS SOFT COPY.]
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+     EXT.  MOUNTAIN RANGE - HELICOPTER POV - DAY
+
+     We are flying, soaring, wheeling, diving through a range of
+     magnificent mountains.  They are the Colorado Rockies and,
+     right now, in early spring, it's one of the finest sights on
+     earth: The lush greenery of the valleys gives way to cliffs of
+     sheer rock and towering peaks crowned by snow.
+
+     As the CREDITS ROLL, we wheel past a mountain wall and realize
+     this is the POV from
+
+
+     A HELICOPTER
+
+     as it soars up to circle the tallest mountain:  The Tower.  It
+     rises thousands of feet from the ground below, so high that its
+     summit is wreathed in clouds.
+
+                        GABE
+                    (V.O.)
+               Do you see them yet?
+
+                        JESSIE
+                    (V.O.)
+               Patience my love, patience.
+
+                        GABE
+                    (V.O.)
+               That's a virtue isn't it?
+
+                        JESSIE
+                    (V.O)
+               Wait, I think I have them
+               sighted.  What's the word, Frank?

scripts/Dino Demo.txt

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+
+
+11   EXT. HILLTOP - DAY                                               11
+
+     Two large, open-top jeeps ROAR down the hilltop away from
+     the landing cross as the helicopter engines WHINE back to
+     life and the rotors start to spin again.
+
+     ELLIE, GRANT, and MALCOLM hold on tight in the front jeep,
+     HAMMOND and GENNARO are in the rear jeep. Both cars have
+     DRIVERS.
+
+                  HAMMOND
+        Just stop here, stop here. Slow,
+        slow.
+
+He slows down, then stops. So does the front jeep.
+
+IN THE FRONT JEEP, Ellie stares at the leaf, amazed,
+running her hand lightly over it.
+
+                  ELLIE
+        This species of vermiform was been
+        extinct since the cretaceous
+        period. This thing --
+
+Grant, never tearing his eyes from the brachiosaur, reaches
+over and grabs Ellie's head, turning it to face the animal.
+
+She sees it, and drops the leaf.
+
+                  ELLIE
+        Oh -- my -- God.
+
+Grant lets out a long, sharp, HAH - a combination laugh and
+shout of joy.
+
+He gets out of the jeep, and Ellie follows. Grant points to
+the thing and manages to put together his first words since
+its appearance:
+
+                  GRANT
+        THAT'S A DINOSAUR!
+
+-- a dinosaur. Chewing the branches. Technically, it's a
+brachiosaur, of the sauropod family, but we've always
+called it brontosaurus. It CRUCHES the branch in its mouth,
+which is some thirty-five feet up off the ground, at the
+end of its long, arching neck. It stares down at the people
+in the car with a pleasant, stupid gaze.
+                                                           26.
+
+
+Ellie looks up at the sauropods in wonder.
+
+They've pretty light on their feet - a far cry from the
+sluggish, lumbering brutes we would have expected.
+
+Hammond gets out of his jeep and comes back to join them.
+He looks like a proud parent showing off the kid.
+
+Ian Malcolm looks at Hammond, amazed, and with an
+expression that is a mixture of admiration and
+rapprochement.
+
+                  MALCOLM
+        You did it. You crazy son of a
+        bitch, you did it.
+
+Grant and Ellie continue walking, following the dinosaur.
+
+                  GRANT
+        The movement!
+
+                  ELLIE
+        The -- agility. You're right!

scripts/Les_Incompetents.txt

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+3   INT. MASTER BEDROOM - NIGHT                                      3
+
+    KATE McCALLISTER is talking on the phone and packing a
+    suitcase. She's handsome and energetic, in her early
+    forties.
+
+    Still dressed from work.
+
+                      KATE
+            I don't want any calls. I'm not
+            going to France so I can spend the
+            holidays on the phone.
+
+    KEVIN McCALLISTER enters. He's seven.
+
+                  KEVIN
+             (to Linnie)
+        Do you know what I should pack?
+
+                  LINNIE
+        What're you worried about? Mom's
+        gonna pack your stuff anyway.
+        You're what the French call les
+        Incompetant.