I signed a pre-nuptial agreement

The next scene in Body Heat is INT., DAY -- from one end of a hallway we can see down at the other end of the hall, Ned Racine speaking with one of his clients who is in jail.  From audience POV, the right side of the hallway has a line-up of three big windows, sun shining in, through bars.  The sun reflects bright window-shaped spots with bar-lines on the opposite wall, lower down.  (I think this is what they call an "archetype" of a film noir - style shot....lines, and shadows...)

Ned Racine shakes hands with his client, reassuring him, you feel, and walks down the hall toward us.  Behind him a heavy door slides shut with a BANG.  Ned is startled, annoyed by the sudden noise.

EXT. - BEACH - NIGHT

The big beacon turns in the distance, throwing an intermittent bridge of light across the water toward us.

The undulating dunes stretch off as far as we can see.  Racine's Stingray is parked on the dirt access road.  Below it, Racine and Matty sit close in the warm sand.

RACINE
You'll come out all right.

MATTY
Of a divorce?

RACINE
Yeah.  He's ripe.

Matty is silent for a long beat.

MATTY
No.  I signed a pre-nuptial agreement.

a PAUSE

RACINE
What?

MATTY
He insisted.  He blamed it on his sister Roz -- she's always hated me -- but I know he wanted it too.

RACINE
How is it?

MATTY
Bad.  I get some money for a year.  Not much.  That's it. 
(pause)
Tell me, Ned, does it matter?  Tell me the truth.

RACINE
The truth. 
(with a small laugh)
I -- wish you were gonna be loaded.  But -- does it matter?  No!  No.

MATTY
(kisses him)
God, you make me happy!
(she pulls away)
It's time for your present.

---------------------------------
The gift she gives him is a hat.  (Earlier in the film, in the Pinehaven Tavern, she had said, "Sometimes -- I don't know.  Things get so -- I'm just not sure I care anymore.  Do you know what I mean, Ned?"
And he thinks a minute & answers, "I know that sometimes the shit comes down so heavy, I feel like I should wear a hat!"  Hence, the hat.)

Sometimes people "bond" over conversations and revelations like that.  "Sometimes I don't know.  Sometimes I don't know -- about life, about love, about work, about Whatever...."
"Sometimes the shit comes down so heavy, I feel like I should wear a hat."

("Somebody's torched it to clear the lot.  Probably one of my clients."
"Mr. Racine, the next time you come into my courtroom I hope you've got either a better defense -- or a better class of client."
"You've started using your incompetence as a weapon!"
"We'll sue those reckless bastards dry....")

On the beach, he tries on the hat and says, "I want to see."
Matty slides into the passenger seat of the car and rolls up the window -- as the window goes up it hides her face and reflects Ned's face...it's as if they're sort of "melded" -- into one person...

--------------------------------
EXT.  WALKER HOUSE - DAY

Matty comes out, neatly dressed in slim white slacks and a top with blue in it.  She approaches a big white Cadillac.  It's the first time in the movie when we see her husband, Edmund Walker.  He's portrayed by Richard Crenna (who was in some of the Rambo movies as a colonel, or commander or something...)

WALKER
Hello, darling!  Have I got a nice present for you!

A girl 10 or 11 years old pops her head up on the passenger side.

HEATHER
Hi, Aunt Matty!

Matty's smile is "set" and only twitches the tiniest bit.

MATTY
Heather!

INT. - WALKERS' DINING ROOM - EARLY EVENING

Mr. and Mrs. Walker and his niece Heather are seated at the table; a maid serves food.

WALKER
What is it, again?

HEATHER
Rover!  It's between first and second.

WALKER
Oh -- that's not a short-stop?

HEATHER
No.  Short-stop is between second and third.

WALKER
(with a glance at Matty, including her)
Oh good, that's the way I remember it.

EXT. - THE DRIVEWAY - DAY

Edmund Walker is in the white car, getting ready to drive away (end of the weekend, back to work).  He says good-bye to Heather, and as she starts to run off, he calls, "Have a good time!"

WALKER
(looking up at Matty from behind the wheel)
You don't really mind, do you?

She shakes her head "No" -- barely perceptible movement, and smile.

WALKER
Roz will pick her up Thursday.  But don't worry.  Roz won't stay overnight.

MATTY
(still smiling)
She can do whatever she wants.

Walker looks at her, decides everything's organized and OK at home, and looks at her again, this time up and down, like he's thinking, "My beautiful wife.  Boy do I have it made in life!"  His head tips back just a little, like he's on top of the world -- he has Everything, and is proud, satisfied, and a little smug.  He drives away.

MUSIC plays over the following scenes:  the same pretty, softly dramatic song that played during other scenes where Ned and Matty were apart...

EXT. - STREET DOWNTOWN - DAY

Medium far-away shot of MATTY at a pay phone, hanging up.

INT. - RACINE OFFICE - DAY

Ned is hanging up the phone, sitting at his desk. 
He takes the hat she gave him and tosses it at a hat-rack across the office.  Misses -- med. shot of the hat, on the black-and-white-checkered floor.
Ned gets up and retrieves the hat; walks back from the hat-rack and Frisbee-spins the fedora again; this time it lands on one of the hooks and stays there.

EXT. - WALKERS' PATIO - NIGHT

Matty exits the house onto the patio, wearing a sleeveless summer dress.  She walks with purpose.  She's picking something up out there, when suddenly Ned Racine appears -- he crosses the patio swiftly and grabs her.

MATTY
Oh! 
(then embraces him, in return)
Oh -- you scared me! 
(still hugging him, gathering him to her in an intensely loving way)
You -- you shouldn't be here.  Heather's still here; she's upstairs.

--------------------------
{Body Heat - Lawrence Kasdan, writer; director}

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