They call the screenwriter's to let them know as well as the director's candidates. Ben Affleck jokes to Gulager that he should shoot his wedding, as the would-be director moonlights as a wedding video director.

Marshall Moesley, who wrote Wildcard works for a computer company. Rick Carr, the screenwriter behind Hanz Guberstein, is a customer service representative and brings his mom with him to the final screening. Marcus Dunstan and Patrick Melton wrote "Feast" together and came out to "take their chances," as Dunstan says. Overall, they have a good plethora of stories to tell.

Next comes the individual interviews with all producers and big shots on the project. Moesley is the first one to be interviewed. "It's an adult thriller," Moore adds. Craven says he was impressed by the writing. "It's the most different with the adultness of it," he says. The producers explain that they believe Wildcard needs more than Project Greenlight to make it. "I really appreciate what you've done," he says at the end of the process.

Next, Rick Carr, writer of Hanz Guberstein. Affleck says it's the most "creative and unique" of all the scripts they received. The idea came from being able to rewrite one's own existence; it was inspired by Stephen Hawkings A Brief History of Time. Affleck says it looks like it was written for Star Trek than for the project. He doesn't understand how he made it comedy, when the guy clearly is very intelligent and interesting. Moore was amazed he wasn't that funny in real life.

Finally, "Feast" screenwriters Marcus Dunstan and Patrick Melton come in for their interview. Craven believes the script takes on way too much and didn't think it was that great because it took on way too much too soon. These guys are clearly funny, laughing at their own jokes and trying to lighten the mood. Phillips notes these guys know what they are talking about as they are a byproduct of the generation of "velocity and ferocity," as Dunstan puts it. They even came together with a package, something Dimension would love; the studio wanted to take them on, even though the budget was of concern.

Craven believes Wildcard is the top of the crop whereas Moore points out that they need to make a profit. Soisson does point out that this isn't about picking the best script, but picking the best overall film from start to finish. Affleck really still loves Hanz Guberstein but Dimension is brought up that Feast is the one that they want. They believe the studio will jump on, that they are willing to make a small profit. "Not the reason I got into Greenlight," Damon rebukes Dimension's stand. The debate erupts that Feast and Damon gets very angry about it. He says he hates that Dimension feels like just making a profit because that's what the project needs this year or it may not be back for another reason. "I've never done a movie based on marketing skills."

"I would probably have to work hard to make it work for me," Craven admits on Feast Damon tells the studio that if Craven thinks it suck, doesn't that mean it sucks? "Basically, we're helpless," Damon sighs.