Vertigo

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.

DISSOLVE TO:

INT. AN APARTMENT ON RUSSIAN HILL - (LATE AFTERNOON)

It is fresh, light, and simple, and crowded with books,

phonograph records, pictures. The most striking feature of

the apartment is the view: The rising hills of San Francisco

framed by a large picture window. To one side of the window

is the owner of the apartment, MAJORIE WOOD, called MIDGE,

at a commercial drawing table concentrating with professional

intensity on a drawing of a slim, a elongated woman with few

features and fewer clothes. A brassiere sits on a table at

Midge's elbow, and she studies it as she draws. Midge Wood

is about thirty-seven, attractive, straight-forward, well-

but-simply-dressed; she wears glasses but does not whip them

an and off as they do in the movies. The music comes from a

gramophone. The other occupant of the room is Scottie. He

sits in a big chair, with his feet stretched out on an ottoman

and his head far back. There is a drink on a table nearby.

He rouses himself to reach for it, and in doing so knocks

over his walking stick that has been propped against the

chair. He reaches out to catch it, and in the quickness of

trying to keep it from falling, he wrenches his body around.

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