very careful now about the phones

In that Restaurant-Dinner scene in Body Heat, the ages of the actors playing the characters were as follows:
Kathleen Turner (Matty Walker) -- 27
William Hurt (Ned Racine) -- 31
Richard Crenna (Edmund Walker) -- 55.

So Edmund Walker is almost sort of like the "Dad"-figure at the table.  He's the one who knows how to "Get Successful" -- how to Make Money.

He is the Master Of Situations; he has been to The Mountain; (he's also picking up the check, my guess would be....)

But what is his actual career?  HOW does a person make money?  Ned Racine, with undergrad & law degrees, hasn't discovered the formula yet, so he asks Walker, "What is it, exactly?"

WALKER:  "Oh -- various things.  This and that.  Here and there."

("He's never introduced me to anyone.  I don't know if they're all legitimate.")

("He was like a lot of guys you run into -- they want to get rich, they want to do it quick, they want to be there with one score.")

(( "I'm surprised you weren't in on that toilet caper -- it could have been that quick score you've always been searching for."))

("But they're not willing to do what's necessary....
No -- I mean do what's necessary.  Whatever's necessary.")

So, does this man Make his Money by ... by hook?
...or -- by crook?

It's all a little mysterious.

--------------------------------
===============

EXT.  BEACH - DAWN

Racine runs south along the beach.  Ocean waves roll-and-plow and froth toward the sand.  Racine is looking at something.  He takes out his cigarettes as he slows to a walk.  When he is directly across from what he's staring at, he sits in the sand.  He lights up.

RACINE'S POV (point-of-view) - "THE BREAKERS," an ancient wooden beach hotel, of medium size, sits at the edge of the beach.  It is closed down, boarded up, deteriorating horribly in the ocean air.

EXT.  MAIN STREET - DAY

Lunchtime.  The sidewalk is full of pedestrians.  Racine is headed toward his office, briefcase in hand.  His secretary, Beverly, appears out of the noon crowd; she's going the other way in a hurry.

BEVERLY
There are some messages on your desk.  Be back in an hour.

INT.  RACINE'S OFFICE - DAY

Racine comes into the reception room from the hall.  He's surprised the door is unlocked.  Through the Venetian blinds [those lines and shadows again -- noir!] which separate the reception area from Ned's office, he sees someone in his office.  It's Matty, wearing a summer dress. 

He enters his office.

RACINE
Jesus!  Did Beverly see you?

MATTY
(tense, sad, desperate)
No, I waited until I saw her leave.  Please -- don't be angry.

RACINE
Angry?  I'm not angry -- How'd you get in?

MATTY
It didn't lock.  Oh.  Ned, hold me.  Please just hold me.

He takes her in his arms.

MATTY
Oh God, I love you.
He left this morning.  I had to see you.

RACINE
(kissing her)
I know.

MATTY
I couldn't call.  I'm afraid to call.  I was afraid you wouldn't let me come!

RACINE
Yes, that's right.  You mustn't call.  Never call.  We have to be very careful now about the phones.  The phone company keeps records.

MATTY
I am careful.  I hated it, Ned.  I hated sitting there with the two of you.  I thought I was going to scream.

RACINE
(distracted, thinking)
You did good.
(finds his thought)
You've called my apartment from the house.

MATTY
No, never.

RACINE
No?  Those two times --

MATTY
I went to phone booths.  I'm afraid of him, Ned.  I'm always afraid.

RACINE
That's good.  We have to be careful about the phones now.

MATTY
Why, Ned, why do you say this now?

RACINE
(in his own thoughts)
We could account for a couple calls.  We've had some contact.  That would make sense.

Matty grasps his face in her hands and looks into his face.

MATTY
Why, Ned?  What's happened?

RACINE
Because we're going to kill him.
(pause)
We both -- know that.

Matty's face looks different than we've seen it.  There's a fire burning behind there and the heat it's throwing is bringing her equal portions of dread and relief.  She stares at him.

RACINE
It's what you want, isn't it?  We knew it was coming.  It's the only way we can have everything we want, isn't it?

Matty's nod is barely perceptible.

RACINE
(his impassioned face very close to her hair)
That man is going to die, for no reason but we want him dead.  He doesn't deserve it.  Let's not ever say that.  We're doing it for us.  And you'll inherit half of everything he owns.  That's what the will says, right?

Again, the tiny nod.  He pulls her head close, so he doesn't have to look into her eyes anymore.

RACINE
That's it then.  We're gonna kill him.  And I think I know how.

Matty reacts to this.

MATTY
It's real, then?

RACINE
Yeah it's real all right.  And if we're not careful, it's gonna be the last real thing we do.

=========================
{excerpt, screenplay for Body Heat, written by Lawrence Kasdan.}

====================

After Ned says "if we're not careful it's going to be the last real thing we do" the Camera, and with it Audience POV, climbs higher and higher in the room.  Even though it's daylight out, it's dark and shadowy in the office; it is only light around the embracing couple.  His hands are on her waist.  Her hands are on his shoulders.

Camera goes up, up, up kind of hanging, swirling up higher than where the ceiling would surely have ended.  A technician in the movie crew asked director Lawrence Kasdan, "Who's point of view is this?"  And Mr. Kasdan answered, "It's God's point of view."

-30-