you can't get near it on the weekends

{In Body Heat, Ned and Matty are embracing, in the dark, on the patio.
"You shouldn't be here.  Heather's still here; she's upstairs."}

Then it's --

Oh but I need you...!
They're kissing.
MATTY:  Oh I know, I need you so badly!  But it's too dangerous!

NED:  She won't wake up now.

He is shirtless, and sweaty. 
They're making out.

HEATHER'S VOICE:
Aunt Matty?

A look of startled confusion on the girl's face, & she turns away and runs to the stairs and goes back up.

---------------------------------
It is a tense moment, in the movie. 

Matty Walker (played by Kathleen Turner) has a distinctive voice, in this movie:  her voice is urgent and strong and deep -- not deep like a man's voice, but not shrill like some women's voices.  It's smooth and mellow -- mellifluous (is that a word?), no matter what she's saying.    Its tone and breathiness make it compelling:  it's a -- husky, dusky, musky voice.  It is a voice of quiet evenings, fog, and desire -- of gold and diamonds.  It carries drama and effusiveness, intensity.

referring to the sex:  "I've never wanted it like this before."

referring to her dreams of her husband's demise:  "It's horrible, and it's ugly.  And it's what I  most want."

Watching it, you get caught up in the subtle power of that voice and the sultry things she says, and the whole bit, and you can see how men are all charmed by her, etc. but at the same time, you know that it's a movie, not real life, and your mind can wander to think of the practical things that would be considered if this were real-life, because though it's a movie, it is representing real life, & thoughts cross your mind which are more every-day, quotidian, down-to-earth...like...

Can you people not conduct an affair without Getting Caught every other damn-week????!!!!?!

Jize--first it's Mary Ann out at the gazebo,
then it's the little kid on the patio...

OK.  [CLAP, CLAP]  Attention.  Mrs. Walker; Mr. Racine:  three things.
1.  Stop getting caught.
2.  Don't get caught in the first place.
3.  Don't go to any places that end in the letter "o"...

(No more gazebos or patios for you!!...)

--------------------------------

EXT.  DAY
Heather's in the car with her mother, Roz.  Matty is standing by the car.

ROZ
What do you say?

HEATHER
I did!

MATTY
(gently, cheerfully)
She did.

HEATHER
(capitulating)
Thank you Aunt Matty.

ROZ
Thanks Matty; we appreciate it.

MATTY
A pleasure, Roz.  Anytime.

They drive away.  Matty turns her face; we see her profile -- she looks after their car as they drive away, with a worried expression.

EXT.  DOWNTOWN STREET IN MIRANDA BEACH - DUSK

Loud SFX of a car passing by.  When it's gone we see Ned Racine, lighting a cigarette, then crossing the street, going toward a restaurant.

Inside, he tells the hostess,
"It's just me tonight" -- she says it'll be just a minute.

Then through a door that's right there, Matty Walker appears, wearing a gold-colored dress.  Her hair is all pinned up in an elegant arrangement.

It's close quarters.
They are pretty much face-to-face.
They are both surprised.

RACINE
Well, well.  Hello to you --

The panic which shoots across her face, cuts him off in mid-sentence, a split second before EDMUND WALKER appears behind her.  Matty's face goes calm and she smiles politely.

MATTY
(to Racine)
Hello.

She turns to her husband.  He is not what Racine expected.  He may, in fact, be mean, as Matty described him, but he looks neither small nor weak.  A handsome man, he is bigger than Racine and in terrific shape.  Dressed in an expensive summer suit, he radiates vigor and controlled physical power.  He wears sleek, metal-framed glasses.

MATTY
Darling, I'd like you to meet Mr. Racine.  I'm sorry.  I don't know your first name.

RACINE
Ned.

He offers his hand and Walker encloses it firmly in his.

WALKER
Edmund Walker.  Nice to meet you.

MATTY
(thinking fast)
Mr. Racine is the lawyer I told you about.
(Walker doesn't remember)
You remember, darling --
(smiling)
he had a client who wanted to buy the house.  I told him we weren't selling.

WALKER
Right.

RACINE
That hasn't changed, has it?

WALKER
(after a brief hesitation)
No.  We're very happy with it.

RACINE
(nods)
I can understand that.  It's a terrific place.

Walker nods, looking at Racine carefully.  He motions toward the dining room.

WALKER
Are you going in?

RACINE
I was going to grab a bite, yeah.

WALKER
Well -- join us.

RACINE
No -- thanks very much, but I don't want to--
(he makes a hand motion indicating the two Walkers)

The Hostess has come toward them.

WALKER
Don't be silly.  Come on.
(to Hostess, cheerfully)
We have room for three, don't we?

Hostess leads the way; Walker gestures Matty ahead, then puts a big hand behind Racine's elbow and ushers him into the dining room.

WALKER
I've heard this place is great.  But you can't get near it on the weekends and I don't get down much during the week.

RACINE
Is that right?

("He's out of town.  Only comes up on weekends."

"I'm liking him better and better all the time....")

=================
{Screenplay for Body Heat, written - Lawrence Kasdan}

-30-