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>
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Claude Opus 4.6
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Title: Loose Threads
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Author: Test Script
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====
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apartment - morning
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NADIA wakes up on the couch. Still in yesterday's clothes. Her phone buzzes on the coffee table — 14 missed calls.
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She ignores it and walks to the kitchen.
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NADIA
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(to herself)
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Not today.
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She opens the fridge. Empty except for a bottle of hot sauce.
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INT GROCERY STORE DAY
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Nadia pushes a cart through fluorescent aisles. She looks half-asleep. Her phone rings again. She silences it.
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at the checkout, TOMMY (20s, works here, knows everybody) scans her items.
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TOMMY
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You look rough.
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NADIA
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Didn't sleep.
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TOMMY
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Your brother was in here earlier looking for you.
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Nadia freezes.
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NADIA
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What did you tell him?
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TOMMY
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Nothing. I don't get involved.
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EXT. PARKING LOT - DAY
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Nadia loads groceries into her car. A beat-up sedan is parked three spaces away. DEREK (30s, her brother, intense) leans against it.
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DEREK
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We need to talk.
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NADIA
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No we don't.
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DEREK
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It's about the house.
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NADIA
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I said no.
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She gets in her car and drives away. Derek watches her go.
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nadia's apartment - night
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Nadia sits at her kitchen table eating cereal. A KNOCK at the door. She doesn't move. Another KNOCK.
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MRS. PETROV (O.S.)
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Nadia, I know you're in there. I can hear the television.
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Nadia mutes the TV and stays quiet.
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MRS. PETROV (O.S.)
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Your rent is late again, dear.
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NADIA
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(calling out)
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I'll have it Friday!
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MRS. PETROV (O.S.)
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That's what you said last Friday.
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Silence. Footsteps recede.
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EXT. BUS STOP - EARLY MORNING
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Nadia waits at a bus stop, duffel bag at her feet. The sun is barely up. Nobody else around.
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Her phone rings. She looks at the screen — "DEREK." She answers.
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NADIA
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What.
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DEREK (V.O.)
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The lawyer says we have to both sign or we lose everything.
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NADIA
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Maybe we should lose everything.
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DEREK (V.O.)
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You don't mean that.
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NADIA
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Don't tell me what I mean.
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She hangs up. The bus arrives. She boards.
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INT - BUS - MORNING
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Nadia sits in the back. PASSENGER (elderly woman) across the aisle knits something blue.
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PASSENGER
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Going far?
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NADIA
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Hopefully.
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The bus pulls away.
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EXT GAS STATION - AFTERNOON
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The bus has stopped. Passengers mill around. Nadia buys a sandwich from a vending machine and sits on the curb.
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Her phone has 3 new texts from Derek. She reads them:
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"Please just call me"
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"This isn't about us this is about mom's house"
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"Nadia"
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She types: "I need a few days." Sends it.
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.FLASHBACK - INT. FAMILY HOUSE - KITCHEN - YEARS AGO
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Young NADIA (12) and young DEREK (16) sit at the kitchen table. Their MOTHER sets plates in front of them.
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MOTHER
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Eat your dinner before it gets cold.
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YOUNG DEREK
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Mom, can I go to Tyler's after?
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MOTHER
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After you clean your room.
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YOUNG NADIA
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His room is disgusting.
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YOUNG DEREK
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Shut up.
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MOTHER
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Both of you. Eat.
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A normal evening. Nothing special. Everything special.
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INT. MOTEL ROOM - NIGHT
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Cheap. Clean enough. Nadia drops her duffel on the bed and lies down without undressing.
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She stares at the ceiling for a long time.
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Then she calls Derek.
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DEREK (V.O.)
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Nadia?
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NADIA
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Tell the lawyer I'll sign.
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DEREK (V.O.)
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Really?
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NADIA
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But I want to go through the house first. Before they clear it.
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DEREK (V.O.)
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...okay. Yeah. We can do that.
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NADIA
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I'll be back Thursday.
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DEREK (V.O.)
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Okay. Drive safe. Or... bus safe. Whatever.
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NADIA
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(almost smiling)
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Goodnight, Derek.
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She hangs up. Closes her eyes.
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> FADE OUT.
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