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Austin. UT. Clock tower -- but without, you know, any crazy people shooting from the top of it. Warehouse. Paul and David, the doc dorks, come over to check out progress on the kids' footage. But first they have to give the kids a T-Mobile text message-y phone-y thing, ostensibly to contact the dorks of docs if they have any pressing issues during editing. Sure, the phone is pure product placement, but probably necessary in the housemates' case, since Lacey is always on the phone to that gimpy boyfriend of hers. Paul looks away, embarrassed at having to do a commercial. "I am a real documentarian! I am very prominent in the film community in...well...the Central Texas metroplex." Wes tries to type into the device. Please. He wouldn't know QWERTY if it jumped over his lazy white dog. (Hysterically, it just took me a half a second to figure out how to spell QWERTY.) Danny broken-face-overs that they're nervous because soon the Austin Film Society is going to be checking out their footage, so this visit is to get ready for that.
They all sit down, and Paul asks what they think is the best stuff they filmed. Mel thinks it's the campsite banjo nonsense with Hellogoodbye, and we get a flashback of it. Mel says that the band opened up to them, and then camera-whores that she thinks it's a good, touching moment and that the banjo song is a good song. Not really, but you know...nice boobs. Neh puts forth the proposition that the Enon interview in the parking garage wasn't somehow the most boring interview of all time. We see a flashback clip of the most boring interview of all time. Wes says that his favorite bit is when Halifax was singing and the lead dude sweated down on him and you could see a line of sweat on the lens and Wes is so gay. "It's sick," he says. Yes, it is. Paul says that they should pick someone to spearhead cutting down their twenty-five hours of material into fifteen minutes. Rachel then camera-flabs what we know times a billion: their trip depends on this documentary being done and goodish. She thinks that'll mean they'll "deserve" a little vacation. All they deserve is a swift kick in the balls. And yes, I'm including Rachel in that as well. Especially. Paul tells them to have their shit done in a week.
Neh camera-hallucinates that he thinks some of these people are going to be in a position to help him in his career. Ha. Well, sure. If he wants to make country music documentaries or, maybe, I don't know, join the Austin Film Society. Wes camera-ghosts the same thing about Neh, concluding that he's going to let that pressure on Neh's career help him sleep at night. Ha. We see Wes asleep on the Giant Round Bed of Gay while Neh edits.
Editing room. Neh shows Wes and Lacey the stuff he's cut. Lacey can't stop herself from injecting some drama, so she suggests to Neh that Danny may be mad because he wanted to cut the Hellogoodbye stuff since he shot it. Wes stands up for his man, saying that Danny can "want" to do it all he wants, but that Danny's a shitty editor and that it'll look like crap. Wes goes on to tell us that his only duty during the editing process is going to be to come in and fill people's drinks or say "hi," and that the only time he's going to even go into the room is if he's bringing a girl in there. So, in other words, he'll never go in there.