VERTIGO

Roteiro de Alec Coppel e Samuel Taylor.
Baseado na Novela d'Entre les Morts de Pierre Boileau e Thomas Narcejac.

Um trecho:

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT

We see a close view of a roof parapet and the curved rail of 
a fire escape. In the bag, are large skyscrapers with all 
their windows fully lit in the late winter afternoon. This 
background is used for the CREDIT TITLES of the picture.  
After the last card has FADED OUT, we HOLD on to the empty 
parapet, when suddenly a man's hand reaches and grips the 
top of the rail. It is followed by another hand and, after a 
beat, we see the face of a man in his early 30's. He is an 
Italian type, with rough features. He turns quickly and looks 
below him and then turning back, springs up over the empty 
parapet and is lost from view. We STAY on the EMPTY SCENE 
for a second or two as we HEAR the scraping of boots on the 
iron ladder. Someone else is coming up. Presently, two more 
hands and the head of a uniformed policeman with cap and 
badge starts to climb over the parapet. The CAMERA PULLS 
BACK so that by the time he has completed his climb, he is 
in full figure. He dashes out of the picture drawing his 
gun.  Immediately following him over the parapet, a detective 
in plain clothes climbs over. This is JOHN FERGUSON, known 
as SCOTTIE. He too pulls a gun and dashes out of the picture.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

A vast panorama of the San Francisco skyline. Nearer to us 
are three tiny figures running and jumping over the roof 
tops. The man on the run, whom we first saw climb over the 
parapet, is dressed in a white shirt and light tan linen 
slacks, and wearing sneakers. The uniformed man is shooting 
at him. Scottie is dressed in medium grey clothes. The CAMERA 
SLOWLY PANS the group across the roof tops.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MED. SHOT

We now see a short gap between rooftops, with a drop below.  
The pursued man makes the leap successfully followed by the 
uniformed policeman. Scottie makes the same leap, but almost 
trips in taking off and is thrown off balance. He tries to 
recover, lands awkwardly on the opposite roof, and falls 
forward, prone, with a heavy impact that hurts and drives 
tile breath from his body. He tries to rise but raises his 
head with a look of pain -- one leg is doubled up under the 
other. The tiles give way, and he slides backwards, and his 
legs go over the edge of the roof, then his body. In his 
daze he grasps at the loose tiles, and as he goes over the 
edge he clutches on to the gutter, which gives way, and he 
swings off into space, looking down.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE SHOT

Scottie looking down.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

From Scottie's viewpoint, the gap beneath the building and 
the ground below. It seems to treble its depth.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

Scottie looking down with horror. His eyes close as a wave 
of nausea overcomes him.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT

In the distance the fleeing criminal. The policeman, seeing 
what has happened to Scottie, returns to the slope of the 
roof and strains to reach down to Scottie.

			POLICEMAN
	Give me your hand!

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSE UP

SCOTTIE'S HEAD. His hands grip the edge of the guttering.  
The tips of the fingers of policeman straining to reach 
Scottie, are at the top of screen. Scottie begins to open 
his grip but stares down, he quickly resumes his grip looking 
up hopelessly towards the helping hand. He looks down again.  
FROM SCOTTIE'S VIEWPOINT - the ground below still a long way 
away.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - MEDIUM SHOT

The policeman's hand in foreground, his face beyond.

			POLICEMAN
	What's the matter with you? Give me 
	your hand!

Policeman endeavors to stretch out his hand further.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK)

The tiles beneath the policeman's heel begin to give. The 
Policeman starts to slide. He claws desperately at the surface 
of the roof.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

Scottie, his eyes closed. He opens them as he hears a wild 
cry.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

The policeman falling through space.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - CLOSEUP

Scottie stares down in horror.

EXT. SAN FRANCISCO ROOF TOPS - (DUSK) - LONG SHOT

The body of the policeman sprawled on the ground below.  
People are running into the alleyway; they stare at the body, 
look up to where Scottie is hanging. We see the light on 
their upturned faces. And now we hear a police whistle blown 
shrilly, again and again.  Up to this moment the background 
music has had an excitement to match the scene, and now it 
cuts off, abruptly, leaving on the echo of the police whistle 
as the DISSOLVE begins. Then, in the DISSOLVE, we hear the 
gentle insistence of Scarlatti played by a chamber orchestra.