Joel worries John will wake up in a nightmare worrying his film will bear the fate of the other Project Greenlight films. The next day, they all sit down together to try and figure out what to do to increase the screenings and cuts. "I was surprised by the numbers, because the movie played better than it tested," Andrew explains. Laurie, the woman running the screening results, discusses how the monsters aren't explained and that the movie has plot holes in it. The appearance of the monsters also were an issue. "The people that didn't care about it [the origin of the monsters] rated it high," Mike says. Bob and Harvey have advised that maybe they should just make the monsters aliens, that they came there, ate and left. This way it's easier to explain rather than how to explain a whole origin of species. "We have not lost any confidence in the movie," Andrew reassures them. "Bob wants to put up more money. He also talked about releasing the movie wide. He also talked about a release date."
"Go fix the monsters," Chris tells them. They have to roll their sleeves up and get some ideas on the table to get the ball rolling. "We're still kind of going over that," John says. Marcus throws out some ideas, but most aren't taken seriously. He goes every which way with his ideas. "We still haven't addressed where they're coming from and what they are," Mike says. "They're delivering pages on the hour," Joel says of the rewriting, "Soon we'll have something for Bob."
"We wrote six openings," Patrick says, "We're just giving them options." John and Mike look through them, and John doesn't know which one even works. "I don't think we like the idea of it being an alien," Patrick sighs, "That's been done before."
They hear back from Bob on the new openings, and he has one he favors. They think a coyote will find a carcass, and he's getting ready to eat it and a monster eats him. They decide to put a budget together and get the shooting back into production over the summer to get everything done. "The real future depends on the Disney/Dimension divorce," Mike says.
In New York, Matt and John meet up to talk about everything. "I beg him to come to New York," Matt Damon, "Because I'm shooting a movie." Matt talks about how Don Cheadle, while they were shooting Oceans 12, watched all the sort films that came in and how Don really liked John's short film. "The interview was a disaster, but it's not about the interview, it was about the short film," Matt explains. "They were superior to anything I've ever seen come out of that web site. You were just clearly the guy to do it." John says, "Any movie that gets done is amazing." Matt says, "I'd definitely consider working with John again. I definitely believe in John."
"Right now we are making a movie for a studio that may not exist in the next few weeks," Mike worries, "With him [Bob] leaving, we don't find ourselves in a good position with Feast. We still have no idea what the future of the film will be." Andrew calls them to say thanks for everything and before the divorce officially happens. He talks to everyone, including John, and tells him he's "a true filmmaker." He says he wishes he was there to give him a hug for all his hard work. "Andrew was very gracious and kind," John says humbly.
