SCENE 7 INT. FOUR STAR RESTAURANT - DAY Chandeliers sparkle like stars above a sea of white tables, amid which we find TONY and LUCILLE, beautiful, elegant, the perfect couple to a layman observer. TONY is leaning slightly to peruse a wine list the WAITER is holding for him. Besides him is already an opened champagne bottle. Lucille sits cross armed and legged, scowling in any direction that is not Tony. WAITER Excellent choice, monsieur. It will be out right away. TONY Yes. He looks at Lucille now, eyes sharp. TONY A toast. Lucille finally looks at Tony, his glass raised. She doesn't move. LUCILLE To what? TONY (annoyed) You know. LUCILLE No, Anthony, I don't. Since you only take me out on these... dinners when YOU'VE accomplished something, I can't rightly know, can I? TONY And what accomplishments of yours could I possibly celebrate, other than managing to max out every credit card I give you? LUCILLE Go fuck yourself. TONY There's an accomplishment for best comeback. LUCILLE (sweetly) So what is this celebration for, then? You've managed to not bring home a disease from your late night excursions? TONY (heard it before) Fuck you. LUCILLE And I thought I was the champion of comebacks. TONY Just drink the fucking champagne. LUCILLE I'm pregnant, asshole. TONY (without missing a beat) I'd love to meet the father. Lucille suddenly jumps to her feet and throws the champagne in Tony's face. She struggles to avoid exploding. LUCILLE You fucking scumbag. Don't you DARE ever accuse me of running around and fucking every floozy that bats an eyelash at me. That's your job. For better or worse the only person inside me since we started this mockery of a relationship is you, the few times you've managed to get it up. Lucille storms out of the restaurant, Tony stunned. Some of the closer patrons heard parts of the argument and glance over with raised eyebrows. Before she leaves, Lucille turns back and yells from across the dining area. LUCILLE I'm keeping this one, by the way. The waiter returns and places a bottle of wine on the table. WAITER Enjoy, monsieur.

SCENE 8 EXT. STATE CAPITAL - DAY SENATOR WILSON, 40s, handsome and well-dressed, his WIFE by his side is flanked by his ENTOURAGE. A HORDE of reporters run up the steps to meet them. A YOUNG WOMAN races up the steps and pushes her way through toward the SENATOR. His BODYGUARDS seize her. YOUNG WOMAN: I'm pregnant, asshole. There's a momentary stunned silence before the photographers camera flashes explode. REPORTER #1: Senator, is this woman carrying your child? SENATOR WILSON: She's lying. I've never seen her before. YOUNG WOMAN: How can you say such a cruel thing? REPORTER #2: Mrs. Wilson, did you know about your husband's affair? The senator's wife opens her mouth to speak, then turns an clenched face to her husband. SENATOR WILSON: I tell you, she's nothing more than an unfortunate pawn used by one of my opponents to discredit me. YOUNG WOMAN: I can't believe I once loved you. MRS. WILSON: (whispers in the Senator's ear) You bastard. SENATOR WILSON: Where is her proof? Ask her that. YOUNG WOMAN: I have proof. It's right here. Holds out an envelope. YOUNG WOMAN: Is DNA good enough for you? The reporters go move as one and descend on the senator as he and his wife are rushed toward a waiting limo. INT. LIMO The senator's wife glares at him. SENATOR WILSON: I suppose that's the end of my run for president. MRS. WILSON: You son of a bitch. You planned the whole thing. How could you humiliate me like that? SENATOR WILSON: I told you I didn't want to run but you wouldn't shut up. Oh, you could just see your tight ass firmly entrenched in the White House. MRS. WILSON: This is reprehensible. I won't stand by you in this. I won't. I'm going to disavow myself completely. SENATOR WILSON: Are you talking about divorce? MRS. WILSON: Swift and final. The senator gazes out of the window of the limo and mouths SENATOR: Wilson by a landslide.

FEEDBACK 16 Fast paced and tense. Good job. I think you might add even more punch to this if you gave one or both of them some dialogue that makes us sympathize with him/her just a little. Otherwise, well done!

FEEDBACK 2 Love it! There's something very fun about a highly dysfunctional couple trading barbs with well-practiced wit and velocity. The only stumble for me is at the end: 'floozy' and 'bats an eyelash' are more gendered terms that wouldn't really apply to any suitors of hers. I think her monologue here could be more creative, to keep up with the excellent words before. It also took me a few reads to realise what 'I'm keeping this one, by the way,' refers to. I initially thought it was the champagne bottle or something. Maybe if you had her gesture to her womb or something. Keep it up!

Scene 5 Int. girls bedroom –day Sarah, 16, sits on her flowery bed while putting on rosé nail polish. A short knock on the door. Sarah: “yes?” The door opens and Ben (45), wearing a suit, pops his head in. Ben: “Sarah, you coming?” Sarah: “Dad, I don´t feel well.” Ben: “Why aren´t you dressed? You´re making all of us come late!” He enters the room. Sarah: “It´s Priscillas big day. She doesn´t need me there.” Ben: “Come on, she practised for this since she was four. You´ve got to be there!” He opens her closet. Loads of flowery dresses inside. Ben: “Here, all these dresses from your recitals! Don´t tell me you don’t have anything to wear.” Sarah: “I´m not feeling well.” Ben: “Did I ever say this?! I was there at every single one of your recitals, every single one.” Sarah: “first row- always you, Dad.” Ben: “And now it´s Priscillas turn! Get ready. Now!” He throws some of the dresses onto the bed. Sarah lifts her nail polish but doesn´t move. Sarah: “I´m not coming.“ Ben: “look, Princess, that is not an option. We, as a family, have some responsibility towards another. My responsibility is to raise you and your sister to be as healthy and successful as you can possibly be. And I´m doing a dang good job at it. Your responsibility is to show up for school, homework and practise. “ Sarah: “But I do that! Every day! Plus all the recitals and tours you book, all the competitions and auditions. I´m SO sick of it!” Ben: “Ah, so that´s what your ailment is: sick of practise! Well guess what: today it´s not you playing the grand piano, it´s your little sister. And I think you´re just a wee bit jealous.” Sarah: “I´m not jealous! I whish you´d leave me alone already and go focus on Priscillas career.” Ben: “You´re worried that Pris is more talented?” Sarah: “No.” Ben: “ She´s a bit better than you where at that age, but that´s only because I make her work even harder.” Sarah: “She´s only twelve. Let her have a life…” Ben: “You´re the perfect example: all the work you put in, it´s all paying of.” Sarah: “Dad-“ Ben: “You´re the living proof that I´m right. Both of you are talented. I´m just sorry I didn´t start you when you where four. Think where you could be by now!” He get´s excited, throws more dresses at her. Ben: “So get going now! I wanna see you look nice and fresh downstairs in five minutes. None of this sisterly jealousy crap, please.” Sarah: “Dad-“ Ben: “You want proof that you´re still my favourite: I´ll get you in at the Carnegie Hall auditions. It won´t be easy, but I´ll get you there.” Sarah: “Dad-“ Ben: “No need to thank me! We´ll double the practise, of course. You will earn it yourself.” Sarah: “I´m pregnant, asshole!” She throws the pink nail polish at him. It barely misses and lands splashing on the door, spreading a pink flower on the white door.

FEEDBACK 6 Thanks Paula, this is a great scene. I really liked the oblivious dialogue of the accomplishment-obsessed dad. It seemed like if reading and not knowing the prompt beforehand, Sarah's dialogue didn't really lead in to her reveal at the end. Maybe make her a little more visibly nervous? And have her annoyance progress a little more in the dialogue (since she enhances her reveal with the expletive)? Also, it's a little difficult to decipher if she is really sick or just jealous. Thanks again.

FEEDBACK 7 Wow this was a tense one. Nice work. I thought the dialogue was sharp and snarky throughout. Great job capturing the bite and emotion from both sides. I caught the "keeping this one" line the first time and thought it added a lot of punch to their backstory and to the scene.

feedback 10 Really great dialog. I love that. I agree with Nicholas that you might need to add more visible nervous of Sarah. Also I think that you can delete some frames about the roles or make them shorter. (man and daughter talked about that in life for sure many times) and another thing that bothered a bit is receptiveness of efforts, practice. You can reduce some of them as well. really good job, thank you

Scene 4 INT. LIVINGROOM – NIGHT CLAIRE (29) and SAMANTHA (30) are sitting next to each other on a large sofa in front of the television. Claire, on one side, is fidgeting in her seat while playing on a tablet. On the other side, a bored Samantha looks inexpressively at the TV. In the opposite couch, JAMES (27) is enjoying the show. Samantha gives a long and loud sigh. JAMES: Shh. SAMANTHA: Don't shush me. This is boring. JAMES: Downton Abbey is NOT boring. SAMANTHA: How can you like this? JAMES: What's not to like? There are lords and maids and drama... and look at those dresses. I would kill for that frock. SAMANTHA: Loose a couple of stone and maybe it'll fit you. JAMES: Ha-ha, very funny. Do you want anything from the kitchen? SAMANTHA: Yes, a melon scooper to gouge my eyes out. JAMES: How about a cork? Claire, you want something? CLAIRE: What? No, nothing. James leaves the room. SAMANTHA: Okay. Spit it out. What's the matter? CLAIRE: Huh? Nothing. SAMANTHA: I know you. You are hiding something from me. CLAIRE: I'm not. SAMANTHA: If we want this relationship to work we need to be honest with each other. Is my brother bothering you? CLAIRE: James? No. He is really kind and-- SAMANTHA: Because if he is I'll tell him to leave. I don't care if his flat burned down, he can go live with my parents. Let's see if they let him play with candles there. CLAIRE: No. Don't. SAMANTHA: So? CLAIRE: Nothing. Well... actually... SAMANTHA: I knew it. There is something wrong. Is it me? Am I too possessive? CLAIRE: Come on Sam, don't start. SAMANTHA: I knew this would happen if we moved in together. CLAIRE: I love living here. SAMANTHA: But you don't love me any more. CLAIRE: Of course I love you, silly. But there is something I need to tell you and I don't-- SAMANTHA: Is it work? Is your boss bullying you? CLAIRE: Will you let me-- SAMANTHA: I will hurt him, you know. CLAIRE: Stop. Let me speak--- SAMANTHA: Well, tell me! James enters the room carrying a tray with margaritas. CLAIRE: I'm pregnant, asshole! James makes a 180 degree turn and swiftly leaves the room. SAMANTHA: WHAT? How is that possible? Who...? Samantha looks furiously towards the receding James rushing towards the kitchen. SAMANTHA: James Edward O'Connell, get back in here!

Feedback 6 Hey Ricardo! Good to meet you here :-) I already liked the scene when I didn´t know who had written it (assuming it was a female). I think it has potential to become the premise of a comedy series! two and a half women? To me the brother character sounds almost a bit gay... Anyway: I think you could improve it by giving them something else than a TV show to talk about. If someone says: "it´s boring" -that leads easily to the scene becoming boring because nothing is at stake. I understand you want to raise the stakes from almost banter to suddenly very high. But for me the first bit about what they like (and whom) could be much more revealing about their characters and differences. The second part when the brother is gone and one is interrogating the other seems to be written extra annoying, but not motivated by character or situation. Feels a bit like you just make Samatha go on and on to justify the required "asshole" line. (something I probably did too) Then one last thing: if James hears she´s pregnant, he´d know who the father is, right? -wouldn´t he maybe drop the margaritas?

Hi Nicholas! Thanks for the comment! Yes, I totally wrote that assuming everyone in the "audience" knows the line and is waiting for it. Which is correct in this case, right? But for shame: if it really looks like Sarah might be jealous, I must have done something wrong. I wanted the father to have a very false interpretation of her mood. And because he´s so wrong, she blurts out the truth... Anyway, if this isn´t visible; my fault.

Hey Alexander! Thanks for your feedback! I agree with you that this can be reduced! I didn´t want her to build up to "exploding", though: I felt it´s better if the true feeling bursts out suddenly. By your last comment, I think you mean the repetition of the word practice? I agree on that!

Scene 05 INT. LIVING ROOM - DAY BILL (20s) slouched on the sofa in his underwear, clicks through channels. The CLICK of the front door. He sits straight, sweeps away bits of chips. CHERYL (20s) clops in, hand on one hip, stares at him. CHERYL You been lookin' for a job or you been slobbin' around all day? BILL I been tryin', but good jobs are hard to find. CHERYL You don't need no fancy job. Just a deliverin' one will do. Office supplies--or cookies. BILL That's just not me. I'm an artist. CHERYL So you keep sayin', but I don't notice a lot of people agreein'. Bill looks hurt, crosses arms across chest. BILL We still have some money left, don't we? I need more time to find myself. CHERYL We don't have no more time, we'll be needin' the money soon. We're gonna have an extra mouth to feed. BILL What? Don't tell me your Mamma's gonna come stay with us. CHERYL No. I'm pregnant, asshole. BILL What!? You're pre--pregnant!? How did that happen? CHERYL Do I need to draw you a picture? You still remember how it's done, don't you? BILL But, but, but... CHERYL Stop bumblin'. So now you know. What're you gonna do 'bout it? BILL (pause) I think I'm gonna lie down. He throws himself back on the sofa.

Feedback 06 Hi, Nicholas Such a splendidly vitriolic scene. How did they get together enough time to "do the deed", I wonder? You have some great lines and it's loaded with conflict--I just have some difficulty believing the character's relationship... "the few times you’ve managed to get it up" doesn't seem to gel with his proclivities--perhaps some come back from him would be in order. It's going to end in murder somehow, isn't it?

INT. BATHROOM MORNING MEGAN (25) sits on the floor in her pink footie pajamas, her head is cooling on the wall beside the toilet. JAKE (O.S.): Happy Valentines Day! JAKE (28) peeks around the corner of the bathroom door, eyes watering as the smell hits him. JAKE (CONT’D): My poor honey bun. I can’t believe that you’ve been sick for a week. MEGAN: Tell me again what our master plan is? He is dressed for work, dark suit, dark tie and oxfords. Stepping forward he crouches to massage her temple. JAKE: We’ve been talking about it for 2 years, I think you know it better than me. MEGAN: Please... JAKE: We get married in a year. Save all of our money for 5 years. Buy a small apartment. Have a baby boy in 8 years and a baby girl in 10. I’ll be promoted to manager. You’ll be able to a stay at home and write songs. Our kids will be home schooled. In 20 years we’ll retire early... MEGAN (sweetly): I’m pregnant, asshole. JAKE: Your... MEGAN: ...pregnant. Tell me our plan again. Beat. JAKE: We’ll have a baby in nine months. A boy. Or a girl. Get married in a year. Save all of our money. You’ll stay home and write songs... She flies into his arms and covers his face in kisses.

Forgot to mention that this is SCENE 5

SCENE 9 INT: A poor small apartment. 7 pm. There is a mess everywhere. Fat woman Ann (37) sits in a chair dressed in old bathrobe. Her hair is dirty and not combed. She stares straight in front of her in amazement. The door opens and a her husband NICK (43) comes into the room. His cloth, face and hands are dirty with machine oil. NICK: Hey! Your husband came back and wanna eat and drink some bear. He sees Ann in a chair looking through him. apparent in a mess. NICK: you lazy cow. . ANN: Nick, Today happened a miracle. NICK: you smoked some weed, is that miracle? ANN: today ANGELS came to me, and said, that I am chosen. I will give a birth to the GODS son. I feel that I am pregnant. NICK: Pregnant? How? we did not have sex, for how long? ANN: I am not pregnant from you, asshole, but from the GOD! NICK: You mean BOB? That sun of a bitch, was spinning around. I gonna teach you how to fuck with my friends. He takes his belt from his jeans and swings it with all his anger. ANN: No!! She waves her hand trying to protect herself. Invisible power throws NICK away and he flies through the whole apartment and crashes to the wall. ANN looks to her hands with a big surprise. ANN: Jesus I’ve got the power! Does it mean ….. I want the house! She snaps her fingers and immediately apartment turns into nice house. ANN: WOW! I want HUGE HOUSE on the ocean! (another snap) EXT: the yard of a palace in front of the ocean. ANN runs from the opens doors and enjoys lovely ocean view. ANN: red Ferrari, golden Bently, white Mersedes. (snap, snap, snap) NICK follows her and looks in amazement at Ferrari, BENTLY, Mercedes . EXT: CLIFF with great ocean view (same time) ANN well dressed, all in gold and diamonds, raises her hands to the air, screaming: ANN: I want to be the richest woman on the planet! HA-HA-HA (laughs) 2 Security guards brings to her NICK. Guard: Mam, that man telling that he is your husband. ANN: What? Throw that piece of shit away! Guards takes away resisting NICK ANN: I need a lover, many lovers! TOM CRUSE! (snap) (TOM Cruse appears with smile) No, too old! Brat Pit! (snap) (Brad Pitt appears with smile too) too skinny! Leonardo DiCaprio! Leonardo appears with reverence) . ANN (count) : let’s have an party right now!. Yacht here! EXT: top of the HUGE yacht. 1 hour later (music, cocaine, champagne, naked men and woman, famous actors, crazy party). All of a sudden 2 voices sounds from the sky. VOICE1 (VO) that is the mistake. Look. The same name, the same address, but the town is different. Where were you eyes? VOICE 2 (VO) Sorry, old papers, some letters erased. VOICE1 (VO) Excuse me, ladies and gentlemen, we’ll correct everything ANN (open her face in cocaine): Correct What? Who dare to speak with me? Puuff! she disappears! Everyone screams in excitement! INT: A poor small apartment. 7 pm. Ann in her dirty bathrobe. Still with cocaine on her face looks around in a panic. In front of her stays her husband in a dirty robe with belt in his hand. ANN: Oh no, NO, NOOOOO (she screams) NICK: you are stupid cow, I’ll show you, who is a piece of shit!

Dear Paula Fancy meeting you here of all places. Thanks for your feedback. Glad you liked the scene. Concerning James, he is gay so good catch there. Also, the scene is rushed as I was trying to keep as short as possible, so I agree there is a lot to be improved in terms of exposition and characterisation. And yes, I conceived this scene not as stand alone but as part of a larger concept, so in the cinema of my mind it works. About James dropping the tray, I thought of it, but sounded a bit cliche. I thought his turning and escaping to the kitchen would be more humorous considering that he knows how his sister will react when she learns that (spoiler alert) he is the father! Cheers!

Feedback 2 My man Roy. You constructed a nearly flawless scene. The build up to the punchline was well done, concise and very realistic. I also you have two clearly different voices in Bill and Cheryl. What I don't understand is Bill's reaction. Does he lie back down on the sofa because he couldn't care less or because he is overwhelmed? I would also make them a bit older, at least late 20s. Still, very nice scene.

Scene 5 INT. RESTAURANT – BACK OF THE HOUSE - DAY Two breakfast waitresses meet up at the dishwasher with armfuls of plates. Melinda stands watching Amy, who is chewing something, scrape her dishes into the garbage. Next Amy grabs a piece of un-touched toast from a small plate before Melinda dumps her plates. Melinda: You can’t do that. Chewing happily, Amy responds. Amy: Do what? Melinda: Eat that. Amy: What, this? It’s toast. I eat toast. Melinda: That is so gross. That was someone else’s toast. Amy: So what? They didn’t touch it. Melinda: I know this isn’t the first time you’ve done that. I know you’ve been eating off other people’s plates back here. Amy: So? It’s just going to waste. Melinda: Yea, your waist. Look at you! You really need to stop eating so much. Amy: What the…? Leave me alone. My eating habits don’t concern you. Melinda: Amy. All I’m saying is that I have noticed that you are getting a little… round around the edges. Amy chucks the piece of toast into the garbage. Amy: I’m pregnant, asshole.

I love this scene! short and moving. nice work!

He's overwhelmed--I think. Thanks, old chap.

Feedback 4 Yeah I liked this a lot. I could have used another beat between his confusion and her saying she's pregnant. When you add the asshole to the end, it requires a stronger previous line IMO. Perhaps having him complain a bit more obsessively about the mom (ie what does she always do that drives him insane) would make the asshole land a little better.

Feedback 5 I love switching it up and using the I'm pregnant asshole line in a sweet way. That's definitely a much bigger challenge so way to try something riskier. That said, it felt a little off here. Maybe if she tossed out a what if we didn't stick to that plan, and he didn't understand what she was trying to imply, it would feel a little more grounded. (IE she asks how he feels about having a kid now, and he's like no we've got the plan, and she says but what if something unexpected happened, and he's like it's a plan you can't abandon the plan. Then her I'm pregnant asshole can still be sweet but stem from a bit of frustration.)

Thanks Tillery, great feedback. I like the suggestion and agree, it does sound more grounded.

I love the quirkiness of this scene. LOL, I have to say I couldn't stand to see all the waste that people leave behind. My thrifty nature would have me bagging it. Well done. Made me smile.

Scene 1 INT. OFFICE -- NIGHT Mike, a screenwriter, sits at his computer randomly typing away at his magnum opus, as Shelly, his super bendy yoga instructor girlfriend, bursts through the door. Shelly: I'm pregnant, asshole. Mike: Your asshole is pregnant? Shelly: No. You never listen. I'm pregnant, and I'm calling you an asshole. Mike: That's new. He gets up and moves toward her. She shies away, and goes toward the door. Shelly: I knew you wouldn't understand. I'm leaving. Mike: I can see that. When will you be back? Shelly: I won't be coming back! What part of leaving don't you understand? Mike: Why would you do that? Shelly: Look. We had some fun, a few laughs, and some good times, but shit just got real. Mike moves to block the door, and Shelly bumps into him. Shelly: Get out of my way! Mike: No. He kisses her, and she breaks down crying.

SCENE 5 INT. CORPORATE BOARD ROOM – DAY A room full of executives listen to their CEO outlining plans for the next quarter. CEO: A lot of changes are on the way, folks. Things that will turn stuff upside down. In the back of the room, SUSAN and WALLY trade whispers as the CEO turns to scrawl on the whiteboard. WALLY: I called you last night. SUSAN: And? WALLY: I wanted to see you again. We had a really sweet time. Thought we could go out again. SUSAN: Wally, your reputation precedes you. WALLY: What’s that mean? SUSAN: That I know about your office escapades now. I’m on to you. WALLY: Fine. I do float around a bit. I admit it. But – SUSAN: But what? WALLY: But I’m changing. I really do like you, Susan. SUSAN: God, I’ve heard that too many times. The ‘really’ is the worse part. Like it’s a shock. ‘You’d never guess it, Shelly, you’re likable. I actually like you.’ WALLY: What’s gotten into you? SUSAN: In case you forgot, you did for starters. WALLY (paranoid): Susan, keep it down. SUSAN: I’m pregnant, asshole. WALLY: How? SUSAN (loudly): When we had a ‘really sweet time,’ remember? The room can’t help but hear. A boring meeting has now become tense and steamy. SUSAN: That’s right. I’m pregnant, assholes. How’s that for changes next quarter?

FEEDBACK 01 Really great! Loved the whole setting that made the dialogue so much more intense. Only thing I would change is add a little more build up to the "I'm pregnant" line with him asking why she won't drink the champagne or something. It would give it a little more impact. Really great overall though great job!

FEEDBACK 02 Loved this!! I loved how you made the prompt the first line and the end line was fantastic, the best ending I've read on here yet! I would maybe just add a parenthetical to emphasise if he was being sarcastic or just whispering it to himself, otherwise this is brilliant! Great job.

Scene 9 INT. LIVING ROOM - DAY The house is impeccably clean, but that doesn’t stop SELA (29) from pacing around, perpetually dissatisfied as she compulsively spruces up. She’s straightening pictures on the walls, and straightening them again. LOGAN (31) lounges nearby, glass of wine in one hand, the TV remote in the other. SELA Honey. Sweetie. I know you’re tired, but could you please… please get up and… I don’t know… something! Help me with this. Oh-... you know what we need to do? We need to go ahead and get that bigass bookcase out of the spare room. Come on. Get up. Logan takes a sip of wine and doesn’t seem to have any intention of moving. LOGAN Actually, I’m gonna sit my ass right here and relax. Like you should be doing. SELA No, I should be cleaning this damned house… you know, every bit of fabric in here still reeks. You just had to fry the catfish last week. LOGAN You love catfish. SELA Wh-... I know! But not when I keep smelling it in the couch cushions! Logan finally sets his wine glass down, getting up to approach his wife from behind, wrapping his arms about her. He kisses her shoulder. Rocks her gently. LOGAN You need to chill out. SELA No, I don’t. LOGAN How about this. I’ll give you a massage. Run you a hot bath. Pour you a glas of wine. Yeah? SELA ...I’m pregnant, asshole. LOGAN (feigning annoyance) Ugh, right. Right. Forgot. So, scratch the wine. SELA ...But we’re still good for that massage, right? And the bath? LOGAN Of course.

Feedback 6 Hi, vicdamonejr. :) You've gotten me to root for Susan in a very short amount of time. I enjoyed this a lot - I could hear the irateness and disgust in her whispers, and I could hear Wally's lax, self-satisfied, well-rehearsed tone. Wally seems like the kind of guy every straight woman has known and hated at least once, which is what I think makes this scene so relateable.