Back at Neo Art and Logic, with thirteen weeks until production, Mike Leahy (one of the producers come in). They have budget meeting to sit down and discuss the realities of the film. "This is the most important part of the producer's project," Joel Soisson says. They have a script that's worth $20 million, and they have to whittle it down to two million dollars "If we go and do the three million dollar Feast, let's not make line cuts, let's use a machete," Soisson jokes. "It's going to be gutted."

They want to get the script in shape, first, before being able to go in and try to get all the money needed to make it a great film. It's a better way to go about it to get the money than to do it the opposite way demanding money.

At the first script meeting, Soisson went in with an agenda from the budget side and creative side. They want to decrease the amount of creatures to decrease the price. Gulager's asked a question, and he flounders, with his creative vision. "John by no means inspires confidence," Soisson sighs. There's three weeks to do script rewrites and not a minute more, because they have to convince the studio to still back it.

Melton and Dunstan work twenty-four hours a day on their script in shifts. Where one of them will work for 12 to 14 hours, then pass it on to the other for another 12 to 14 hours shift; this is a consistent 24 hours of scriptwriting, which can be a bit confusing but is most effective if they want to get their script done in the three weeks allowed for pre-production.

Gary Tunnicliffe is going to create the monsters for Feast and has visions of what will be in the movie. However, when Gulager had another vision and saw Tunnicliffe's vision as alien-based. "Less of the alien-thing," Dunstan jokes to him. "Everybody has a different take on it," Gulager explains. "Today's meeting was good," Tunnicliffe says, planning to get it to look like what he wants rather than what they are trying to do, because they merely think it'll look good on screen.

Another meeting is discussed about the rewrite. Rona and Moore were on hand. "Without Andrew, it'll be hard to get the money for the film," Moore says. "Every step of this line we're walking a thin line between comedy and horror," Rona bursts there bubble, "This is a scary movie with comedy in it. You're making a horror film." Gulager compares Feast to Jurassic Park, but he isn't giving anybody a clear vision of where the film is going. Thus, everybody is waiting for Gulager to step up and give a vision of what the point of this film will be. Again, he flounders, "You want me to say something?" Rona ends up hanging up, angered by the lack of an actual meeting or Gulager's input.

Melton and Dunstan talk about how Gulager isn't being a leader. They find it frustrating, because they feel they had the answers Rona wanted, and it makes them all look bad. He talks to Gulager, who didn't really understand what the big fuss is, and again, makes excuses for his lack of leadership. He also tries to pin the blame on his fear of "suits" and people who don’t understand him.

Two hours later, Gulager is advised to call Rona and talk to him. Gulager tries to get someone else to call him; he's given Rona's number, but decides not to call today. He says he'll call tomorrow but doesn't seem so confident and we watch as the days go by and he doesn't call him. "I still have the phone number in front of me, and I'll probably call him Monday," he deflects.