Phase 1 implementation: script ingestion + AI extraction pipeline
Complete working pipeline from Fountain script to validated scene JSON: - Schemas (Pydantic): all 7 layers defined upfront - Fountain parser + normalizer (Layer 1) - AI scene extractor with prompt contracts (Layer 2) - Schema validator + scene-specific semantic validator - Structured JSON logging per layer/scene execution - Versioned output writer (never overwrites) - Retry engine with 4-level failure escalation - Stop condition evaluator (per-unit + global halts) - Diff/drift detector for re-run comparison - CLI entry point with --dry-run, --scene, --test, --force - 3 test scripts (dialogue-heavy, action-heavy, nonstandard) - Expected output files for regression testing Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
This commit is contained in:
Claude Opus 4.6
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Title: The Extraction
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Credit: written by
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Author: Test Script
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Draft date: 2026-04-06
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====
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EXT. ROOFTOP - MEXICO CITY - NIGHT
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A sprawling cityscape glitters below. JACK REEVES (40s, ex-military, scar across his jaw) crouches behind an air conditioning unit, binoculars pressed to his eyes.
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Through the binoculars: a fortified compound three blocks away. Armed guards patrol the perimeter.
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Jack touches his earpiece.
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JACK
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I count twelve on the outside. How many inside?
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DISPATCH (V.O.)
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Thermal says another eight. Plus the package.
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JACK
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Twenty hostiles. One extraction target. Lovely.
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He slings a tactical bag over his shoulder and moves to the roof's edge.
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EXT. ALLEY - MEXICO CITY - NIGHT
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Jack drops from a fire escape, landing silently. He presses against the wall as a patrol vehicle passes.
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He checks his watch: 11:47 PM.
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He moves through the shadows toward the compound.
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EXT. COMPOUND PERIMETER - NIGHT
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Jack reaches a drainage grate at the compound's east wall. He pulls a small cutting tool from his bag and works the bolts.
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A guard's flashlight sweeps nearby. Jack freezes. The light passes.
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He removes the grate and slides into the drain.
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INT. DRAINAGE TUNNEL - NIGHT
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Cramped, wet, dark. Jack crawls through the tunnel using a red-filtered headlamp. Rats scatter ahead of him.
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He reaches a junction and checks a hand-drawn map.
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JACK
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(whispering)
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Left fork, thirty meters, then up.
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He crawls left.
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INT. COMPOUND - BASEMENT - NIGHT
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Jack pushes up through a floor grate into a dimly lit basement. Stacked crates everywhere. He draws his suppressed pistol and listens.
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Footsteps above. Two sets, moving away.
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He crosses the basement to a steel door. Locked. He pulls a bypass kit from his bag and works the lock. It clicks open in twelve seconds.
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INT. COMPOUND - GROUND FLOOR CORRIDOR - NIGHT
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Jack moves down a concrete corridor, back to the wall. Security camera ahead — he pulls a small device from his pocket and aims it. The camera's red light blinks off.
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He rounds a corner and comes face to face with GUARD #1.
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A brutal, silent fight. Jack disarms the guard, puts him in a chokehold. The guard goes limp. Jack drags him into a side room.
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INT. COMPOUND - STAIRWELL - NIGHT
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Jack climbs the stairs, pistol leading. He pauses at the second floor landing — voices in Spanish behind the door.
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He waits. The voices move away. He opens the door slowly.
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INT. COMPOUND - SECOND FLOOR - NIGHT
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A hallway lined with doors. At the far end, GUARD #2 and GUARD #3 stand outside a reinforced door.
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Jack checks his options. A ventilation shaft above him. He holsters the pistol, jumps, grabs the edge, and pulls himself up.
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INT. VENTILATION SHAFT - NIGHT
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Jack crawls above the hallway. Through a vent below, he can see the two guards.
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He pulls two smoke canisters from his bag. Drops them through the vent.
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The hallway fills with white smoke. Shouts from the guards. Jack drops through the vent, lands between them.
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Two precise strikes. Both guards are down in four seconds.
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INT. COMPOUND - HOLDING ROOM - NIGHT
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Jack kicks through the reinforced door. Inside: a bare room with a single chair. DR. SOFIA NAVARRO (30s, bruised, defiant) is handcuffed to it.
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SOFIA
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About time.
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Jack cuts the cuffs with bolt cutters.
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JACK
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Can you run?
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SOFIA
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Can you get us out of here?
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An alarm blares. Red lights flood the corridor outside.
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JACK
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That answers that. Move.
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He hands her a spare earpiece and they exit into the hallway.
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INT. COMPOUND - SECOND FLOOR - NIGHT
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They run. Jack fires twice behind them as guards pour from a doorway. Both shots hit.
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JACK
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Stairs — go left!
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They hit the stairwell. Gunfire chases them, sparking off the metal railing.
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EXT. COMPOUND - COURTYARD - NIGHT
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They burst through a ground floor exit into an open courtyard. Floodlights snap on. Guards converge from two sides.
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Jack pulls a flashbang from his vest. Throws it. BANG — blinding white light.
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In the chaos, Jack grabs Sofia and they sprint for the east wall.
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JACK
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Over the wall. I'll boost you.
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He cups his hands. Sofia steps up and scrambles over. Jack follows, bullets pocking the concrete around him.
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EXT. STREET - MEXICO CITY - NIGHT
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They drop onto a narrow street. A black SUV screeches around the corner — RAMOS (30s, driver, cool under fire) behind the wheel.
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RAMOS
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Get in!
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They dive into the back. Ramos floors it.
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INT. SUV - MOVING - NIGHT
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Jack reloads. Sofia catches her breath.
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SOFIA
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Who sent you?
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JACK
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People who want you alive.
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SOFIA
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That narrows it down to almost nobody.
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Rear window SHATTERS — pursuit vehicle behind them.
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RAMOS
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Hang on!
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Ramos cuts hard left through a market street. Stalls explode as the SUV plows through. The pursuit vehicle follows.
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Jack leans out the window and fires at the pursuit vehicle's tires. Third shot connects — the vehicle swerves and crashes into a storefront.
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EXT. HIGHWAY - NIGHT
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The SUV merges onto a highway. City lights fall behind them.
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Silence in the car. Ramos checks the mirror — no pursuit.
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RAMOS
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Airstrip is forty minutes out.
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Jack nods. He looks at Sofia.
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JACK
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You're going to have to tell them everything. The lab, the formula, all of it.
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SOFIA
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I know.
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JACK
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They won't be happy about what you found.
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SOFIA
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That's why they tried to kill me.
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EXT. DESERT AIRSTRIP - NIGHT
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A small prop plane waits on a dirt runway, engines running. The SUV skids to a stop beside it.
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Jack, Sofia, and Ramos exit. PILOT waves them toward the plane.
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JACK
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(to Ramos)
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Burn the car.
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RAMOS
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Already planned on it.
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Jack and Sofia board the plane.
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INT. PROP PLANE - NIGHT
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They settle into seats. The plane taxis and lifts off. Through the window, they watch the SUV ignite below — Ramos standing clear, lighter in hand.
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SOFIA
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Where are we going?
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JACK
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Somewhere they can't reach you.
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SOFIA
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Does that place exist?
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Jack doesn't answer. The plane climbs into darkness.
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EXT. COMPOUND - NIGHT
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The compound is in chaos. Guards shout, lights sweep the surrounding blocks. COLONEL VEGA (50s, cold, scarred) stands in the holding room, staring at the empty chair and cut handcuffs.
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An AIDE approaches.
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AIDE
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They escaped east. Vehicle lost them on the highway.
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VEGA
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Find the pilot's name. Find the airstrip. Find the plane.
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He picks up the cut handcuffs.
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VEGA
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And find whoever sent the soldier.
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FADE OUT.
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@@ -0,0 +1,267 @@
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Title: The Weight of Words
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Credit: written by
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Author: Test Script
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Draft date: 2026-04-06
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====
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INT. THERAPIST'S OFFICE - DAY
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A small, warm room. Bookshelves line the walls. DR. ELENA VOSS (50s, calm, measured) sits across from MARCUS CHEN (30s, restless, avoiding eye contact).
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DR. VOSS
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How have you been sleeping?
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MARCUS
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(shifting in his seat)
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Fine. Same as always.
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DR. VOSS
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Marcus, we've talked about this. "Fine" isn't —
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MARCUS
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It's not a feeling, I know. You've said that.
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A long beat. Elena writes something in her notebook.
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DR. VOSS
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Your sister called me.
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MARCUS
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She had no right to do that.
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DR. VOSS
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She's worried about you. She said you haven't left the apartment in two weeks.
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MARCUS
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That's an exaggeration.
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DR. VOSS
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Is it?
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Marcus finally looks at her. His eyes are red-rimmed.
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INT. MARCUS'S APARTMENT - NIGHT
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A cluttered studio apartment. Takeout containers on every surface. Marcus sits on the floor against the wall, phone in hand. He stares at a text from LILY CHEN: "Please call me back."
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He sets the phone face-down.
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INT. COFFEE SHOP - MORNING
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Bright, busy. LILY CHEN (late 20s, sharp, put-together but tired) waits at a corner table. Marcus enters, looking like he hasn't slept.
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LILY
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You look terrible.
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MARCUS
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Thanks. Love you too.
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He sits. An awkward silence.
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LILY
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Mom's been asking about you.
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MARCUS
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Tell her I'm fine.
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LILY
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I'm not going to lie to her, Marcus.
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MARCUS
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Then don't tell her anything.
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LILY
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That's the same thing and you know it.
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MARCUS
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(quiet)
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How is she?
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LILY
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She's scared. Dad's getting worse and you won't even visit.
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Marcus stares at his coffee.
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INT. HOSPITAL ROOM - AFTERNOON
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HENRY CHEN (60s) lies in a hospital bed, frail but alert. Marcus stands in the doorway, unable to step inside.
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HENRY
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Are you going to stand there all day or come in?
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Marcus enters slowly. He sits in the chair beside the bed.
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HENRY
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Your sister tells me you've been hiding.
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MARCUS
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I haven't been hiding.
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HENRY
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(smiling weakly)
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You're a terrible liar. Always were.
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MARCUS
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Dad —
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HENRY
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I'm dying, Marcus. Not dead yet. You can still talk to me.
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Marcus's composure cracks. He puts his head in his hands.
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INT. THERAPIST'S OFFICE - DAY
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Back with Dr. Voss. Marcus is more open now, leaning forward.
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MARCUS
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He just said it. Like it was nothing. "I'm dying."
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DR. VOSS
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How did that make you feel?
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MARCUS
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Like I've been wasting time. Like every day I spent not going to see him was —
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He stops.
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DR. VOSS
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Was what?
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MARCUS
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Selfish. It was selfish.
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DR. VOSS
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You were protecting yourself. That's not the same as selfishness.
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MARCUS
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Isn't it?
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INT. MARCUS'S APARTMENT - NIGHT
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Marcus packs a small bag. He picks up a framed photo from the shelf — a young Marcus and Henry at a baseball game, both laughing.
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He puts the photo in the bag.
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INT. HOSPITAL ROOM - NIGHT
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Marcus enters with the bag. Henry is asleep. NURSE PATRICIA (40s, gentle) is checking his IV.
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NURSE PATRICIA
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He's been asking for you.
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MARCUS
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I'm here now.
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He sits in the chair and takes his father's hand. Henry stirs.
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HENRY
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(half asleep)
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Marcus?
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MARCUS
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I'm here, Dad. I'm not going anywhere.
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Henry squeezes his hand weakly and drifts back to sleep. Marcus settles in, pulling his jacket around himself like a blanket.
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INT. HOSPITAL CAFETERIA - MORNING
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Marcus and Lily sit across from each other, both holding bad coffee.
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LILY
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You stayed all night?
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MARCUS
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Yeah.
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LILY
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(softening)
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Thank you.
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MARCUS
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Don't thank me. I should have been here weeks ago.
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LILY
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You're here now. That's what matters.
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A beat.
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MARCUS
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I'm going to take a leave from work. Stay until... however long.
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LILY
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(eyes welling up)
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Okay.
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MARCUS
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I called Dr. Voss. She's going to do phone sessions.
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LILY
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That's good. That's really good, Marcus.
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They sit in silence, something unspoken settling between them.
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INT. HOSPITAL ROOM - AFTERNOON
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Marcus reads aloud from a book. Henry listens, eyes closed but smiling.
|
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HENRY
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You always did have a good voice for reading.
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MARCUS
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Mom used to say I should have been an actor.
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HENRY
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Your mother was right about most things.
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MARCUS
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She was right about you too.
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HENRY
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(opening his eyes)
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What did she say?
|
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MARCUS
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That you were the most stubborn man alive.
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HENRY
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(laughing, then coughing)
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Was. Was the most stubborn.
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They share a look — sad, warm, real.
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INT. HOSPITAL HALLWAY - EVENING
|
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Marcus leans against the wall outside Henry's room, on the phone.
|
||||
|
||||
MARCUS
|
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(into phone)
|
||||
I know I missed the deadline. I understand... No, I'm not asking for sympathy. I'm asking for two weeks... Thank you. I appreciate it.
|
||||
|
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He hangs up. Takes a breath. Goes back inside.
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INT. THERAPIST'S OFFICE - DAY (PHONE SESSION)
|
||||
|
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Marcus sits in the hospital cafeteria, phone to his ear.
|
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|
||||
DR. VOSS (V.O.)
|
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How does it feel to be there?
|
||||
|
||||
MARCUS
|
||||
Terrifying. And also... right. Like I'm finally where I'm supposed to be.
|
||||
|
||||
DR. VOSS (V.O.)
|
||||
That's a significant shift, Marcus.
|
||||
|
||||
MARCUS
|
||||
I know. I just wish it hadn't taken this long.
|
||||
|
||||
DR. VOSS (V.O.)
|
||||
The important thing isn't when you arrived. It's that you stayed.
|
||||
|
||||
Marcus looks through the cafeteria window toward the hallway leading to his father's room.
|
||||
|
||||
MARCUS
|
||||
Yeah. I'm staying.
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FADE OUT.
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@@ -0,0 +1,7 @@
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{
|
||||
"expected_scene_count": 18,
|
||||
"expected_characters": ["JACK", "SOFIA", "RAMOS", "VEGA"],
|
||||
"expected_locations": ["ROOFTOP", "ALLEY", "COMPOUND", "DRAINAGE TUNNEL", "STAIRWELL", "SUV", "HIGHWAY", "AIRSTRIP", "PROP PLANE"],
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||||
"must_not_contain_characters": [],
|
||||
"must_not_contain_locations": []
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||||
}
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||||
@@ -0,0 +1,7 @@
|
||||
{
|
||||
"expected_scene_count": 13,
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"expected_characters": ["MARCUS", "DR. VOSS", "LILY", "HENRY", "NURSE PATRICIA"],
|
||||
"expected_locations": ["THERAPIST'S OFFICE", "APARTMENT", "COFFEE SHOP", "HOSPITAL ROOM", "HOSPITAL CAFETERIA", "HOSPITAL HALLWAY"],
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||||
"must_not_contain_characters": [],
|
||||
"must_not_contain_locations": []
|
||||
}
|
||||
@@ -0,0 +1,7 @@
|
||||
{
|
||||
"expected_scene_count": 11,
|
||||
"expected_characters": ["NADIA", "DEREK", "TOMMY", "MRS. PETROV", "MOTHER"],
|
||||
"expected_locations": ["APARTMENT", "GROCERY STORE", "PARKING LOT", "BUS STOP", "BUS", "GAS STATION", "FAMILY HOUSE", "MOTEL ROOM"],
|
||||
"must_not_contain_characters": [],
|
||||
"must_not_contain_locations": []
|
||||
}
|
||||
@@ -0,0 +1,186 @@
|
||||
Title: Loose Threads
|
||||
Author: Test Script
|
||||
|
||||
====
|
||||
|
||||
apartment - morning
|
||||
|
||||
NADIA wakes up on the couch. Still in yesterday's clothes. Her phone buzzes on the coffee table — 14 missed calls.
|
||||
|
||||
She ignores it and walks to the kitchen.
|
||||
|
||||
NADIA
|
||||
(to herself)
|
||||
Not today.
|
||||
|
||||
She opens the fridge. Empty except for a bottle of hot sauce.
|
||||
|
||||
INT GROCERY STORE DAY
|
||||
|
||||
Nadia pushes a cart through fluorescent aisles. She looks half-asleep. Her phone rings again. She silences it.
|
||||
|
||||
at the checkout, TOMMY (20s, works here, knows everybody) scans her items.
|
||||
|
||||
TOMMY
|
||||
You look rough.
|
||||
|
||||
NADIA
|
||||
Didn't sleep.
|
||||
|
||||
TOMMY
|
||||
Your brother was in here earlier looking for you.
|
||||
|
||||
Nadia freezes.
|
||||
|
||||
NADIA
|
||||
What did you tell him?
|
||||
|
||||
TOMMY
|
||||
Nothing. I don't get involved.
|
||||
|
||||
EXT. PARKING LOT - DAY
|
||||
|
||||
Nadia loads groceries into her car. A beat-up sedan is parked three spaces away. DEREK (30s, her brother, intense) leans against it.
|
||||
|
||||
DEREK
|
||||
We need to talk.
|
||||
|
||||
NADIA
|
||||
No we don't.
|
||||
|
||||
DEREK
|
||||
It's about the house.
|
||||
|
||||
NADIA
|
||||
I said no.
|
||||
|
||||
She gets in her car and drives away. Derek watches her go.
|
||||
|
||||
nadia's apartment - night
|
||||
|
||||
Nadia sits at her kitchen table eating cereal. A KNOCK at the door. She doesn't move. Another KNOCK.
|
||||
|
||||
MRS. PETROV (O.S.)
|
||||
Nadia, I know you're in there. I can hear the television.
|
||||
|
||||
Nadia mutes the TV and stays quiet.
|
||||
|
||||
MRS. PETROV (O.S.)
|
||||
Your rent is late again, dear.
|
||||
|
||||
NADIA
|
||||
(calling out)
|
||||
I'll have it Friday!
|
||||
|
||||
MRS. PETROV (O.S.)
|
||||
That's what you said last Friday.
|
||||
|
||||
Silence. Footsteps recede.
|
||||
|
||||
EXT. BUS STOP - EARLY MORNING
|
||||
|
||||
Nadia waits at a bus stop, duffel bag at her feet. The sun is barely up. Nobody else around.
|
||||
|
||||
Her phone rings. She looks at the screen — "DEREK." She answers.
|
||||
|
||||
NADIA
|
||||
What.
|
||||
|
||||
DEREK (V.O.)
|
||||
The lawyer says we have to both sign or we lose everything.
|
||||
|
||||
NADIA
|
||||
Maybe we should lose everything.
|
||||
|
||||
DEREK (V.O.)
|
||||
You don't mean that.
|
||||
|
||||
NADIA
|
||||
Don't tell me what I mean.
|
||||
|
||||
She hangs up. The bus arrives. She boards.
|
||||
|
||||
INT - BUS - MORNING
|
||||
|
||||
Nadia sits in the back. PASSENGER (elderly woman) across the aisle knits something blue.
|
||||
|
||||
PASSENGER
|
||||
Going far?
|
||||
|
||||
NADIA
|
||||
Hopefully.
|
||||
|
||||
The bus pulls away.
|
||||
|
||||
EXT GAS STATION - AFTERNOON
|
||||
|
||||
The bus has stopped. Passengers mill around. Nadia buys a sandwich from a vending machine and sits on the curb.
|
||||
|
||||
Her phone has 3 new texts from Derek. She reads them:
|
||||
|
||||
"Please just call me"
|
||||
"This isn't about us this is about mom's house"
|
||||
"Nadia"
|
||||
|
||||
She types: "I need a few days." Sends it.
|
||||
|
||||
.FLASHBACK - INT. FAMILY HOUSE - KITCHEN - YEARS AGO
|
||||
|
||||
Young NADIA (12) and young DEREK (16) sit at the kitchen table. Their MOTHER sets plates in front of them.
|
||||
|
||||
MOTHER
|
||||
Eat your dinner before it gets cold.
|
||||
|
||||
YOUNG DEREK
|
||||
Mom, can I go to Tyler's after?
|
||||
|
||||
MOTHER
|
||||
After you clean your room.
|
||||
|
||||
YOUNG NADIA
|
||||
His room is disgusting.
|
||||
|
||||
YOUNG DEREK
|
||||
Shut up.
|
||||
|
||||
MOTHER
|
||||
Both of you. Eat.
|
||||
|
||||
A normal evening. Nothing special. Everything special.
|
||||
|
||||
INT. MOTEL ROOM - NIGHT
|
||||
|
||||
Cheap. Clean enough. Nadia drops her duffel on the bed and lies down without undressing.
|
||||
|
||||
She stares at the ceiling for a long time.
|
||||
|
||||
Then she calls Derek.
|
||||
|
||||
DEREK (V.O.)
|
||||
Nadia?
|
||||
|
||||
NADIA
|
||||
Tell the lawyer I'll sign.
|
||||
|
||||
DEREK (V.O.)
|
||||
Really?
|
||||
|
||||
NADIA
|
||||
But I want to go through the house first. Before they clear it.
|
||||
|
||||
DEREK (V.O.)
|
||||
...okay. Yeah. We can do that.
|
||||
|
||||
NADIA
|
||||
I'll be back Thursday.
|
||||
|
||||
DEREK (V.O.)
|
||||
Okay. Drive safe. Or... bus safe. Whatever.
|
||||
|
||||
NADIA
|
||||
(almost smiling)
|
||||
Goodnight, Derek.
|
||||
|
||||
She hangs up. Closes her eyes.
|
||||
|
||||
> FADE OUT.
|
||||
Reference in New Issue
Block a user