Art, with more heat than is usual for him, tells Patrick about the people under him: A "decorated sniper" in the Iraq War and an Army ranger with probable PTSD and alcoholism (that's Tim, and despite the description, swoon); a "lady Marshal" who brought in two of the top fifteen fugitives, "but she's always trying to prove herself." He goes on that he thought she'd be the one to take over from him, but now she's left her husband, so "it's gonna be fun to monitor her emotional state," and Raylan, who's been investigated so many times "Internal Affairs has him on speed-dial," and has a father in prison for murdering two people, including a state trooper, "and his daddy killed somebody else last night in prison, and I get to be the one to tell him about it!" I don't blame you for complaining, Art -- that's a mouth and a half full of exposition as it is. Patrick gets up to go, but reminds Art that he just gave him a two-hundred-dollar bottle, and Art replies that he intends to enjoy every drop. I'm not quite sure why Art seems so atypically hostile, but if there's anything we know about this show, it's that it's in about as much of a hurry to reveal people's backstories as Boyd is to make conversational points. Credits.
Art apparently has just broken the news to a fairly stunned Raylan; he goes on that Arlo didn't say much when questioned, but the victim was a "Sam Porter" of the Dixie Mafia, who was a trustee with the prison. When he sees Porter's photo, Raylan places him as having been there when he showed Arlo the bag, but "the bag" doesn't mean anything to Art, and soon he's asking Raylan this: "On a scale of one to a shitload, how much do you need to tell me?" Get it out before he retires, Raylan. (Sob.)
Cut to Raylan plopping the bag and license in front of Art. Raylan helpfully tells us that it's a "Panamanian diplomatic" bag, and Art gets the idea, since Arlo is unlikely to be forthcoming, that they try to track down Truth to discover the bag's significance. This is why he gets paid the big bucks -- for now. (Sob.) (Okay, I'll stop. But it's upsetting!)
Time for another little socioeconomic symposium in Boyd's office. Johnny thinks that Ellen May's conversion is further evidence that Preacher Billy is to blame for the drop in their sales, and Ava now seems far less inclined to pooh-pooh the idea, but Boyd still doesn't want to hear it, and tells Johnny to find him another answer instead of worrying about a tent in the woods. After Johnny limps out as petulantly as is possible to do, Ava suggests that Boyd's being a little hard on Johnny, and it might not be a bad idea just to find out what they're dealing with, but Boyd tells her in no uncertain terms he doesn't like churches. She lets it go, which is fine, because while I'm sure Boyd could recite an oral history of his feelings about religion, enough happens in this episode as it is.