FYI--Charade is on Netflix.

This is a great scene analogy. The description is a bit much on the script, but as soon as it hits the screen, it creates a tremendous amount of suspense. The fighting scene confide to such a small space makes the scene bigger than whatever a reader might imagine. The last line was just icing on the cake.

Your point about the "small space" is spot-on. When a Good Guy and a Bad Guy end up on a rooftop, there's always the anticipation: someone is going down. Literally! So there is the compression of the space and the tension of what may transpire. Re style and format: I like to post older scripts from time to time to remind us of how much style sensibilities have changed over the years. 50 years ago, the typical script was like this one, filled with specific camera shots. Over time that has changed. In part because directors didn't want the screenwriter 'directing' the movie. In part because as screenwriters have adapted screenplay form, they have moved it toward a more literary approach, less a blueprint to make a movie, more about telling a story. The thing is, we can 'direct' the action with using any camera lingo or directing jargon. For example instead of CLOSE SHOT or MED. SHOT, we can just use a secondary slug [shot]: THEIR HANDS DYLE AND SCOBIE SCOBIE'S CLAW Or even less 'scripty,' use individual lines to convey a specific camera shot:

Scobie's claw slides across the slate, a hideous scratching sound, sparks flying -- Scobie topples over the edge and disappears -- Dyle watches, hypnotized --

Much cleaner, much less scripty, and yet we still manage to 'direct' the action.

This is obviously the continuity script, written AFTER the movie was made. It is identical to the movie scene.