Come Here, Wet Hog

Today,

in 2013,

I did the vulnerability.

Okay,

so 3.

Check the internet.

Video, like,

obtain Wi-Fi in Mazuin with local con ATNT Fiber with Al-Fi.

ATNT connected the change.

ATNT Fiber has limited the case, which is the service that covers Wi-Fi extended ATNT with carbon distinction.

This week is a very special episode.

If you joined us last week, we met the character Meltman in a little more detail since his emergence first in the most upsetting guessing game.

This week, we are doing a table read of a horror film which we devised last week all about Meltman.

So, have a listen.

Ben Mendelsohn is a very special guest joining us.

We hope you enjoy it.

If you like this podcast, did you know that we have a YouTube channel?

It's called just put Auntie Donna into Google, it'll come up.

Also, we have a Patreon, auntie DonnerClub.com is the way to get there.

Otherwise, search for Auntie Donner on Patreon.

I've been Zach Rouen, and I hope you enjoy this very special episode of the Auntie Donner podcast.

You're listening to the Auntie Donner podcast.

The greatest fucking podcast in the world.

Brody McAcker is sometimes a guest.

We hope you enjoyed the motherfucking podcast.

Hi everyone, thanks so much for coming to our reading of Meltman.

The new A24 horror film.

My name is

Zach.

I'm the director of Meltman.

I've got here

my co-writers, Meltman co-writers, Mark Bonano.

Hi, thank you for being here.

Broden Kelly.

Thank you for having me.

So basically what we're going to do now is we've written a couple of drafts of Meltman, which is horror.

We do have distribution from A24.

It's a metaphor for grief.

Some cool people attached.

Yeah, we've got some very cool people attached.

General Tager is in it.

Rain Wilson is going to be playing a serious part in it.

We did first offer it to, what's his name, from

Parks of Wreck.

He said no.

Nick Offerman.

We offered it to Nick Offerman.

He said no.

And then we went to Rain Wilson.

Ben Mendelson.

Ben Mendelssohn is in it.

Yes.

And will he be reading?

You hear?

My name is Ben.

Hey, mate.

How you going, mate?

Nice to see you, Ben.

Reading for the part of Chad.

And so basically a little bit about this story.

It's a metaphor for grief.

It's a horror.

Daniel Plainview is also in this film.

I just want to know.

Daniel Plainview's in it, yeah?

Yeah, Daniel Plainview.

Yeah.

So it is a metaphor for grief.

I think we've got that across.

It's a metaphor.

It's a metaphor for grief.

And capitalism.

Well, more grief.

Yeah, we lost the originally it was sort of a dual metaphor for capitalism and grief.

And then just in the redrafts, we kind of lost the capitalism stuff.

So there's peppering of capitalism.

It's a metaphor for grief, though.

It's a metaphor for grief.

Shall we?

Yes, absolutely.

I will be reading the big print, and I will also be playing a couple of characters.

Mark Broden will be playing some characters as well.

Yeah, I think we should just get into it.

Let's do it.

We will follow you up for feedback.

Very excited to be here.

Thank you for having me.

Thank you, Daniel Plainview.

I'm very excited to be reading for the part of the video.

You know the Daniel Plainview, mate.

How are you, mate?

Very well, thank you, Ben.

You haven't talked to the cops, have you, mate?

No, I have been

producing a couple of oil wells now.

I'm good on you, mate.

I've been drilling for oil, you see, and I abandoned my boy, and

but I have

you know, I've been forgiven for such a thing.

Oh, yeah, good on you, man.

All right, here we go.

Meltman

Exterior Farm Day.

It is old-timey

New England America.

A man

is standing in the farm and he is

herding some pigs.

His wife leaves the barn and approaches him.

Wife.

My husband, my husband, we must dry those hogs before the meltman arrives.

Oh, Jessicina Jeremiah, the meltman is but a myth.

So worried about him getting into your cupboards.

It's an old wives' tale, and I should...

Sorry, go.

Sorry, no, you go.

No, no, no, no.

I interrupted you,

and I apologise for that.

I'd like you to speak.

I know that the Meltman is but a pagan myth, and I try, I try to believe only in that which we have learnt about the Lord.

But I have seen the meltman with my own eyes.

He took our baby.

He took my first husband.

I am grieving for them.

Liar.

You're a liar.

Your family was taken by the plague.

These hogs are dry to the bone and they must be moistened.

Sundown.

Sundown.

Get them hogs dry.

Sorry, you go.

No, no, no.

I interrupted you.

I thought you were far away.

I didn't realize that you just speak with a sort of yelly voice at a low pitch.

It's all good, you go.

Yeah, and that you were about a meter away from me.

We good?

Yeah, yeah, yeah, we're good.

Sorry.

Sundown, get them hogs dry for sundown.

Would the sundown man not talk of dry hogs if not the fact that at the very least people are going missing because of with when their hogs are wet?

The sundown man is a fool.

He's a bitter fool.

He lost his family to the house.

I'm still here.

I know.

I know you are.

There you go.

Sorry.

But I am.

You know I think you're a fool.

There's nothing I haven't said to you that I feel like I can't say to my wife.

Oh, did I interrupt you?

No, you go.

Okay.

All I'm saying is, these pigs are filthy and they're bone dry.

Wetting the hogs won't summon the meltman.

Or

at the very least, let's roll the dice and see.

Fucking go for it.

It's worth checking it out.

I've got the hose here.

It's attached to the tap.

What did you say that for?

What?

What's a tap?

a tap is uh

you know

thing that you turn

okay listen i must go back to our i must go back to our um hut where a cottage where i will tend to our baby and also our virgin daughter who is but a virgin um and that is the way god wishes her to be i grieve for sundown we know we know

okay the wife walks away before turning one last time to talk to her husband.

Please, just dry the hogs.

She walks into the

interior barn.

Night.

The husband is feverishly drying his hogs when he notices one last wet hog, but his arms are tired and weak.

The wettest of my pigs,

Pig of mine eye.

I wish I could kiss you, I do, but the laws forbid it.

The laws forbid man and a pig wedding because of the pig freak men that result from it.

And your titties are large and full of pig milk,

which is wet.

And if I get that pig milk on you, goodness knows what will happen.

Everyone's saying the meltman will come, but meltman doesn't exist.

I feel like I can talk to you, Gooboo.

I feel like I can say things to you I can't say to my wife.

I can talk about the things I wish I could put up my ass.

I feel like, you know, just small things.

Things that'll come out again.

Tiny rocks.

It's like an OCD thing.

Gooboo Luboo.

Yes, you are wet.

Yes, you are

all the synonyms of wet.

Damp.

Um you know, moist, uh

searching, thinking, liquidy, uh

but I like you wet.

They want me to dry you, the sundown man in particular.

He comes, he stands a couple of meters away, speaks as if he's yelling from a great distance.

But you go boo, not you, you just hoff and hog hog and roll around in filth and

and just get all get all wet come have a shower with me

come shower with me under the moonlight let's get

fuck it fuck the world fuck god and all his commandments exterior come farm no

husband and gooboo are having a shower husband is down nude

he has a shower with Gooboo.

It's not sexual.

He just washes Goo Boo like a child.

Soap up, you swiny hog.

Soap up and get wet and clean and eat your own shit.

God, I wish we could wed.

Not for any sexual reasons.

It's because I feel like you understand me.

I'm wet, you're wet, the sun is dry, the moon is wet.

A wet moon.

Let's boil some sausages.

Come inside, have tea with me.

The wife is asleep.

And I know how much you love a wet sack of meat.

So come,

wet hog.

Come with me inside.

Interior.

Cottage hut.

Night.

The wet hog stands before the sleeping wife and virgin daughter and baby.

Licking his lips ready for a meal.

Husband is preparing some boiled sausages by a fire.

Gooboo Loo Boo, we will have many sons.

We will have ten boys and eight girls.

Let me list their names.

Shuboo Moogu.

Timothy the wise.

The wife wakes.

Jeremy Iron.

The wife wakes.

Sorry, I must have a different draft

draft of the screenplay because I've got ten more names I list before.

Oh, I'm so sorry.

No, no, this is right.

This is right.

The wife wakes, sits up.

He doesn't notice and continues to list names.

Timothy Sharamu.

Grifty the wise.

Shablob Dibbleb.

Ding Dong the brave.

Oh, you are too dry for my liking, gooboo.

Come with me to the tub.

I need to boil the water

for a bath.

Getting lukewarm.

Fetch me a ale from the ice box.

Gooboo, I've trained my pig.

I've trained this pig

to be dry, but also wet.

I must rest.

The day has been large and long, and the summers are

quite warm.

And I'm tired, and this pig is wet, and

I wish to rest now.

I wish to rest.

The wife looks at her husband and says, you can rest now, my husband.

Please stop talking to that pig, though, because that's really weird.

But my brother is about to arrive for a boiled meat dinner.

It's past night.

He'll be here in the morning.

Rest now, my husband.

Sundown, sundown.

Got a fucking sundown man.

It's been night for like two hours, bro.

I'm sorry.

Sundown man takes out his dick

and starts jerking.

Hey, get out of here.

I'm sorry.

Off I go.

Get your hard hog out of here.

There's wet hogs indoors.

Hard hog, wet hog.

Get out of here.

My brother is about to arrive with a ding-dong upon the door.

I invented the doorbell.

Exterior.

Exterior.

Back of the cottage.

Night.

As husband and sundown man continue to argue in the cottage, the wet hog goes to the ice box.

With amazing dexterity and skill, the wet hog opens the ice box, but there's something in the background.

An old nude man with

an old nude man with black dyed hair.

We hear his wails and his sharp breaths

as he approaches the wet hog and he says,

I smell a moist pig.

He looks in the window, sees the boiling sausage.

I smell a boiling wet sack of meat.

Exterior, farm, night.

The screams of pigs and families as Meltman enjoys his feast.

Titles.

Meltman.

Exterior.

New York City, day.

Ben Mendelsohn is walking down the street.

He walks into his office.

Interior, office, day.

Ben Mendelssohn is sitting with his boss, the guy from The Matrix that tells off Neo.

ben mendelsohn you have

been

doing too much

you're late all the time

sorry i i i we were i wasn't meant to play this part i'm doing it quick kid

you're working all the time ben mendelsohn

Oh a good idea, boss.

There you go, mate.

You need to decide if you want to be a part of this company or not.

Nah, this life's not for me, actually, mate.

I've had a gut full of it.

I'm out of here.

Sorry, you go.

No, you sorry.

Sorry.

I thought you were finished.

I'm out of here.

Well, let me tell you, before you decide,

ever since your wife died and you've been grieving for your dead wife.

Oh, that's right, yeah.

Ever since she died, you've not been as good at this job.

And we can track your computers.

You're always googling hog farms in New England.

Yeah.

Either you want to be a part of this company or you want to be a hog farmer, you got to decide.

I'm going to be a hog farmer then.

Montage.

I'll just read this quickly.

Montage.

Bemelusa packs up his car.

He gets his kids in the car, two kids.

He visits the grave of his wife.

He cries.

he heads down to New England and arrives at the same

farm that we saw from the opening.

Well, here I am at this house.

It's a good house.

No cops around.

No one's been talking to the cops.

Yeah.

Hello, stranger.

Hello.

What brings you to such a hog farm?

What?

I live here now.

What?

I live here now.

Oh,

why

you don't hear me?

I'm just

I'm just confused.

I was just sorry, you guys.

No, no, no.

No, no, if you've got more to say, please maybe explain why you

because I live here,

but I've been renting from Nelson Alexander.

Oh, yeah, I boy it.

You can stay here, but

would you like to live in the barn?

Is my favourite?

No, I bought it, so I'll live in the house.

I'm saying you can

move to the barn and sleep with the swine.

Yeah.

Who are you?

I'm the man who owns Gooboo Lubu.

Okay.

Is that a pig?

The wettest pig

ever seen.

Would you like to see how

uh

would you like to see how damp my swine can be?

Later, I'm gonna move in.

Mary Elizabeth Weinstead comes up.

You know her, Mary Elizabeth.

What's her name?

She's in heaps.

She's gonna be his love interest.

She comes up.

Oh,

there there you are, old man.

Come back to your old crazy people home.

I'm so sorry about this.

I'm a nurse at the crazy people home.

This is a crazy man.

He wasn't talking about Meltman, was he?

Oh, no.

You've been talking to the cops, mate.

Me?

Yeah.

Uh, no.

Listen not to this crazy woman.

She wants me to dry my pigs every night so that the mythical Meltman will not

let me finish.

Sorry.

sorry

the mythical what was I saying mythical melt man you're talking about drying pigs thank you it's crazy though yeah well

let him finish I'm dismissive I'm dismissive yeah I've I've been through grief

and you've been grieving you got a dead wife yeah I've been grieving too okay you gotta stop you gotta not stress oh what are you talking about you haven't had pigs for years.

Ever since they all mysteriously disappeared.

Oh.

And also your whole family was killed 400 years ago.

Come here.

And I have been grieving.

Come.

You look weary from your travels.

Come here.

Crazy man.

Would you like sausage?

I've been boiled in the hottest water you've ever seen.

This woman's saying that you're crazy.

I'm going to let her take you away.

I got like a real sexy nurse outfit.

Sexy enough that I look good in it, but not too sexy that it doesn't look believable that I'd be wearing it.

Alright.

Come here, crazy old man.

I'm so sorry.

Hey, enjoy.

Sorry.

I'll get the door in a sec.

I'm sorry.

Have I been knocking at an inappropriate time?

Yeah, sorry, wait.

Yeah, and then I go.

So Mary Elizabeth walks away with

the crazy old man.

She turns back and looks at

Ben Mendelsohn and does a little smile.

Bye.

See ya.

And walk away.

Bye, see you later.

Ben Mendelsohn does a little huff like, oh, what was that all about?

What was that all about?

And then he says it.

You've been talking to the cops, mate.

There is a knock at the door.

Ben Mendelsohn, who is out the front of the house, just goes up to the guy.

Hello.

Hello, I've been.

How are you?

I'm good, thank you.

How are you?

Good.

I've been walking around your lands hunting for quails, my boy,

um, uh, uh, DW or something.

DW,

uh, my with my boy Volkswagen from Arthur.

VW, the animation Arthur.

Yes, yes, and uh, and I've been I've been hunting for quail, and I was wondering if we could uh take a camp up on your lands.

Okay,

tell me how wet are your hogs?

I don't know, I just literally just got here.

My shit is in the car.

Sorry.

Sorry.

Here you go.

Sorry.

Hey.

Oh, no.

This is another one of my crazy patients.

No, no, I'm not.

Stop it.

Stop coming.

I'm so sorry.

She's the crazy lady from the village over.

And she is constantly telling people that they're crazy and then taking them off somewhere.

I'm sorry about this.

This is very confusing.

Oh, hey, I didn't realize it was you again.

You just looked.

Hi again, how are you?

If you're the new owner of these lands,

let me give you a partial water.

Oh, no.

Not more about the meltman.

Do not wet your hogs.

Okay.

Thanks, mate.

Keep your pigs dry as a bone.

The meltman?

Sorry.

No, you're not.

Sorry,

yeah, I know.

You go, you go.

Um.

What was I saying?

I was saying, uh, keep your pigs dry.

Um, don't moisten your hogs and most of all fry your sausages on a weber don't boil them oh melt oh Daniel Plainview you're so funny listen that's right listen the meltman is an old folk tale around these parts We had story time the other day in the common area.

We had someone who came and told the story of Meltman.

So all of the patients, they've gotten in their heads that Meltman still exists just because

whenever people leave their hogs where they die.

I get it.

I'm grieving.

I abandoned my boy.

He was just a bastard and a basket.

Oh, this is your I have several catchphrases.

Sorry.

I was...

Sorry.

Were you talking?

You do your catchphrase again?

I did them all.

I'm so sorry.

I just...

I'm sorry, you go.

You go.

You go.

You go.

Alright, no, I'll go.

Oh, this must be your children, General Taga, who signed on to this before she did.

General Tagger, who signed on to this before she did Wednesday.

Yeah.

Hi, nice to meet you.

And of course, your little boy,

that kid from

Room.

Yeah.

And, you know, the other one.

Yeah.

Oh,

such wonderful kids.

I didn't have, I had a kid once, but they were killed after I boiled a sausage.

I'm grieving about that.

Bye.

Bye-bye.

I've got to go to bed.

Mary Elizabeth

Weinstead and

Daniel Plainview walk back to the

mental institution.

But she turns around one last time and looks at him.

Hey, you're new around here these parts, yeah?

Yeah.

Well,

this is probably pretty crazy of me to say.

But

shut up with the meltman.

But

I'm also, to make a few extra bucks around the place,

I also am the sassy bartender at the local bar and we're doing karaoke tonight.

You want to come around?

That is a good idea.

Cut to Benny Liquid.

Sorry, that was me saying cut to, not the...

Sorry, you go.

No, what did you want to cut to?

No, I'm...

mary elizabeth i'm asking mary elizabeth i'm just i'm just reading what it's yeah yeah i know it's uh she says if this was a movie we'd cut to you at the bar now haha

and i'm just saying keep all liquid off your beams okay bye interior

interior see you later i will see you later stop just saying interior

okay

Interior.

No, exterior.

Car park of a dive bar.

Well, here I am at the car park.

He looks nervous.

This is the first time he's ever been on a date.

Is it a date?

Ever since his wife died, who he's grieving for.

The whole thing, this whole thing, it's a metaphor for grief.

I'm grieving at the moment, and I don't know if this is the right thing to do or if anyone in here has been talking to the cops.

Actually, it's more of a metaphor for like moving, like finding love after.

It's actually more of a, it's not quite grief, because that's Babadook.

This is more like finding love.

Sorry.

Who is this?

I'm just doing the big print

person that keeps reading big print in the movie that we're in.

Oh, who are you?

Me, I'm just a local farmer who's been walking around these parts looking for bushels and trinkets.

Hello.

By chance, did you purchase the Weatherbury farm?

Yeah.

The uh the whatever what's the name farm doesn't have a name.

Weatherbury farm.

It says it in the script.

Just read it.

It is.

Did you purchase the Weatherbury Farm?

Yeah.

Gee, I sure sure hope you keep those barred doors closed.

Why?

Well, I don't know if you've seen outside, but it is beginning.

Will you just stop interrupting me as I speak?

It's

one of the rudest things.

No, don't be sorry.

But you will be if you left your barn doors open, because

I...

My god, man,

drink your ale and keep a lock upon those lips of yours.

Why?

Because it's starting to rain.

They walk in, as they continue to talk, they walk into the bar, interior bar, night.

Drink a shot of whiskey with me, won't you?

Oh, what are you doing here?

How'd you get out of the medicine?

Stop.

Mary Elizabeth Weinstead is working behind the bar.

She's sassy, but hot.

Hey, hey, Ben Mendelson.

I'm so sorry about this guy.

He's gone.

He goes to the mental institution I'm a nurse at.

And there was a story about the pig wet pigs.

No, no, no, but I got it now.

I got it.

Let me tell you the tale of the meltman, dear boy.

I've heard it.

I've heard it.

What have you heard?

They will get their pigs wet when he comes.

But what does he do when he comes?

No,

he doesn't come.

Yes, what does he do?

He finally kills everyone.

Tell me, dear sir, have you experienced any sort of grief lately?

My family died 400 years ago.

But you got...

Are you ready to move on?

Are you ready to...

Because it's actually more nuanced.

It's not just grief.

It's about finding new love after losing someone.

And also, can you believe that we have to, you know, that any man can make his own fortune in this world?

And

you can buy, you know, you purchase things, and it's all

an economy.

Yeah, you know,

you know, what they're doing over in Russia is, you know, interesting, I suppose.

What is what is this?

Stop being such a loser.

I've signed you up for karaoke.

Oh, it's your turn.

Dear boy, karaoke is one of the most wonderful things you can do, and I'd love to hear you sing your favorite pop tune.

Ben Mendelson approaches the karaoke desk.

He is nervous.

He hasn't sung ever ever since his wife died.

Here's the book of songs.

They're in alphabetical order.

According to song name, not artist.

It's a bit confusing.

He picks his song.

Search through them.

So that means if you're looking for something by Taylor Swift, don't look under T.

Look under

S for shake it off.

He picks his song, which is...

I don't know.

We'll decide that.

Sorry, Sorry, so I should just say this is something we're leaving to...

Just say a song.

To say any song.

Do you want to pick one?

Just say a single angle.

Just a national anthem.

You can't do a national anthem.

Yeah,

they don't have the national anthem.

It's going to be about grief and moving on.

Not necessarily.

Oh, no, it's got to be, because that's what this is a metaphor for.

Life is a highway.

Alright, he picks Life is a Highway and sings it really, really good like that girl in Book Smart.

He's really, really good at singing.

And he keeps looking at Mary Elizabeth once said, Sparks are flying.

Cut to Interior Night.

Now it's just Ben Mendelson, Mary Elizabeth Weinstead, and the crazy British man.

I sure hope you've locked your barn doors, my boy.

Because I don't know if you heard the weather report, but there is a chance of rain.

Thunder.

Please, please, Liz.

Sorry, sorry.

There you go.

No, it's fine.

I'm sitting here by the fire enjoying my whiskey and rye.

You're lucky I haven't taken you back to the mental institution.

I don't go to the mental institution.

I'm starting to think maybe Mary Elizabeth is the only crazy one.

Maybe she puts people into the barn with the wet hogs and...

Oh, oh.

That's the twist.

Don't give it away.

Oh, okay.

Hey, hey.

Hey, do you want to come back to my house?

Do you want to come back to my house?

Maybe we could I could suck you.

We could fuck.

Oh, Mary Elizabeth.

I could suck you.

We could not real just in the movie like we have a and a suck and it's really beautiful and hot now it's good to move let me tell you sorry you go

now you were speaking sounds good to me interior interior house night um bear meddleson mary elizabeth winstead makes sweet beautiful love it's romantic more sensual than you were expecting Cut to later that night.

That was amazing.

You were so good at sex.

Were you that good at sex with your wife who's dead?

Yes.

Hey, stay the night with me.

Cut to the barn.

No, we will.

We will.

Just one sec.

Stay the night with me.

Okay.

No, say no.

No.

No.

Wait, wait, you've got to move on from your dead wife.

Come on, I love you.

Why won't you move on from your dead wife?

I'm not ready.

Cut to night exterior.

Barn night, a wet pig is getting all wet.

And here I am with a bucket of water I say to no one in particular but the knight

misses the most sopping wet swine specificly different person

This is not any of the other characters we've met

It's just some tuna likes make a pig's wet

I've snuck into this random bar

This random bar and with a bucket of grease and a bucket of soapy water.

Not to wash the pigs, but to make them wet.

Who are you?

He goes to the barn door, opens it up.

Who are you?

Who are you?

We don't see who's to the door.

He just says, who are you some more times?

No, I'm talking to another man who seems to have the same accent as me.

Oh, who are you?

Who are you?

I'm A flash.

A flash.

We see it's the Meltman.

He's old and naked and he has black hair.

The other dude screams and then the Meltman kills him.

Yeah.

Okay, so

listen, well, it's a cliffhanger because

what is revealed at the end is that that's Meltman.

The series.

Part one.

Part one.

Unfortunately.

Part two has not been commissioned and won't be made.

So we

initially did

intent, yeah, this and a little bit of capitalism.

And about moving on from grief.

Yeah, there was some capitalism stuff from an earlier draft that we didn't quite cut out.

But

it was important to connect threads.

I love that one.

That's a good question.

Dialogue style.

Like it was like a David Mammood or a

Sork and there was like, but in Sork and they talk interject and no one ever, it's so it feels unreal.

Like it's heightened.

This felt like what actually happens when you talk over the future.

So we got what we were going for with that?

Yeah.

My one question, if that's all right um ask it to the panel yeah my one question to you bro to anyone who who was listening to the script we can talk later um please send your emails if you don't want to talk now i did just have one question there is a moment there was a couple of moments where um the big print accidentally talked over characters now obviously that that's big print means just like descriptions and stuff will that make sense but it's just a character i thought something to take back i i thought it was a formatting issue because it just seemed like, especially Mary Elizabeth's character,

was saying things like interior barn.

And it was in the dialogue, it said like Mary Elizabeth interior dialogue was the dialogue.

And I think that was on me.

Final Draft is a new program that I'm working with.

And I think I've struggled to do some formatting.

There was one point where I did want the character to say like exterior.

barn and and and it became confusing because that creative choice I made got all muddled up in the, you know, in what was, I think, a formatting issue.

I loved it.

I thought it was really good.

My one thing, if like for time, I would cut the

amount of crazy people that the nurse has to go and take back to the city.

Yeah, because for me, it's...

The twist at the end in the next movie will be that she's the crazy one.

That's very clear.

Yeah.

It's really clear.

Yeah, yeah, yeah.

And I believe she's carting off the crazy people to

a wet pig hole where it has like hard to do.

I've seen Sword 2.

You remember Sword 2?

I don't want to give away the twist of Sword 2.

I think it's okay.

If you haven't seen Sword 2 or Shatter Island, I'm going to give away the twist of both of them.

So you know Sword 2, how it turns out the Becca lady was in on it now.

And you know how Shatter Island has seen Shatter Island?

You know how it turns out he's crazy.

So that's the double twist.

So it turns out she's like Shatter Island and also she's in on it and she's the one that brought back Meltman.

But do this in a script I guess is what I'd say.

That's for the second one though.

That's for the second one that unfortunately hasn't been commissioned.

But just in this film, too many mental people being taken away to a mental institution.

Do you think this feels like a complete film, or does it feel like we just got through Act One and just did a 2B continue?

No, and then everyone died at the end of the day.

Yeah, that was good.

I really liked it.

There is, I think what Broden is saying in that one of the major flaws is that every time a character gets slightly developed,

one starts to do

like, yeah, like, you know, you start to learn about the character.

Maybe their story's going somewhere.

In particular, the guy from the start who owns the farm.

For him to just be suddenly and without reason, be cutted off to a mental institution.

But you understand the horror trope there.

Yes, yes, I do.

Yes, I do.

And I think it's fine to happen once.

It does happen a lot.

But for every time a new character's introduced,

the film stops becoming about the myth of the meltman and more just about.

But they're warning him, and the reason he doesn't prepare for the meltman is because he thinks they're all mental.

I just don't think it's dramatic or dynamic when a woman keeps carding off every character to a mental institution

before they've had a chance to say or do anything.

Anyway,

send your feedback in.

Yeah, yeah, look, I get that.

Thank you for.

And anyone listening, because we're going to put this out as a podcast.

We are putting this out.

Yeah, and having said that, this is the shooting script, and I am happy with it.

Me too, I think it's beautiful.

So, send the feedback regardless of its flaws.

You know, every masterpiece has its flaws, every magnum opus has things that you would change.

Yeah, so my criticisms of the script, I think, are what make it so beautiful.

Totally, totally.

Thanks so much for coming to the film.

I've invested too much of my own money in this film.

I'm worried.

I'm worried.

Honestly, I've got to start thinking of it as money spent, not money that I'll get back.

No, man.

No.

And we have to film by next week if we want to keep General Ortega because she's got to go off and do season two on Wednesday.

All right.

Thanks, guys.

Thanks so much.

Enjoy and send your feedback through on our socials.

Thank you.

You've been listening to the Auntie Donner podcast.

Thanks for joining us for another rip episode brought to you by auntie DonnerClub.com.

See you next week.