Finally we complete our triptych by seeing both Ballard and Catherine together.  They are seen on the balcony of their apartment.  Catherine is resting against the railing, looking out over a vista of concrete and vehicles, the city spread out below them in cold greyness.  Ballard is standing by the door to the balcony, looking at his wife as though she were a ghost.  Once again Catherine does not turn to acknowledge another’s presence, however, she does have dialog with her husband as they exchange stories of their adventures that day.   

It is clear from this scene that the affairs each of them are having are part of their norm.  Neither is hiding anything about their encounter, each of them knows the identity of the others lover, and the location in which the act took place.  Catherine even consoles Ballard when she discovers he was unable to reach orgasm due to being interrupted.   

As Catherine speaks, almost in a whisper as she sits only partially in the world about her, the traffic faintly hisses in the distance.  Her arms are outspread, as though she were planning to use her flying lessons to jump off the balcony and swoop down among the traffic moving in the twilight beyond.  She lifts her skirt to expose her nakedness, she is not wearing panties.  This is precisely the same gesture that had attracted her lover in the opening scene.  This time Ballard approaches from behind and casually enters her.  All the while they continue their conversation about their sexual escapades that afternoon. 

It is in this scene that we first hear the line:  “Maybe the next one, maybe the next one”, which directly connects us to the final moments of the film, only in that instance, it is Ballard comforting his wife.  It is telling that in this case we hear it from the lips of Catherine, rather than Ballard.