But Jim's attention is briefly rerouted when he hears what can only be described as a "ruckus" coming from a nearby couch. Jim tells Taudrey that he's looking for a man named Silas Bodnick, and Taudrey lies about not knowing him even though that's exactly who is on the couch, causing the ruckus. Silas and Jim make eye contact for the first time across the room, and Taudrey continues, "If you're going to stay here in Push, Nevada, take your time. Take careful steps." He wants to know why she would say that. She responds, "Because there's a secret, Jim. And like all secrets, it's not quickly told." He stands up and offers her the corsage, asking, "So, can I have this dance?" Taudrey takes the flower and then turns him down, warning him, "You move too fast for me." And she walks out in slow motion, to illustrate that actual, kinetic human being speed is too fast for her or this show so far. The Money Man from the desert has been H&R Cockblocked on his first visit to Push.

Daytime in Push, Nevada. Jim approaches the front door of the Versailles Casino to the strains of a baroque-sounding piece of classical music I'm sure is, like, Bach's "Suite and Fugue on $1,045,000 in D Major" or some such other clever, clever thing. Jim stops at a service desk in what appears to be a very traditional-looking casino and engages a man wearing an elaborate dickey (hee! But not that that) and speaking with an exceedingly bad French accent quite intentionally, much to my amusement. "Hello, bonjour. Can I help you sir, monsieur?" Jim flashes some ID and restates his business for every trucker, hooker, and non-French-dickey-clad casino concierge who will give him the time of day. The concierge tells him to speak with "the accounting department, who I'm sure will comply with your every wish." He indicates two men sitting at a nearby bar, using a folded-up piece of paper to play that table football game that you play when you fold up paper when you're a boy, rather than that fortune teller game that you play when you fold up paper when you're a girl. All Jim wants to know is who Silas Bodnick is, and we flash to the selfsame Silas Bodnick, walking purposefully in a black tuxedo jacket and a string tie into the safe deep below the casino. Business is conducted, as one of the folks upstairs at DECA Surveillance LLC sneers at a monitor, "What an ass." The spinning wheel of the closing of the safe is quickly juxtaposed against a spinning roulette wheel upstairs, and a disconsolate Steven Soderbergh smacks his forehead in embarrassment and exclaims, "Now that's the visual flair that wins a man an Oscar," before writing his own proposal for Bodnick's Eleven to be his inclusion into the Project Greenlight canon. Bodnick, meanwhile, walks onto the main floor of the casino and barks, "It's Bodnick…what the hell is your problem?" into a cell phone just as he walks past Jim. Dealer? I'd like to put twenty dollars on "Contrivance," if I may. Thanks. Thanks ever so much.