Meanwhile, Rayna sits in the hotel lobby with Watty and says that she wants to go ahead and meet with Scarlett and Gunnar. She hasn't worked out her stuff with Deacon yet, but isn't going to let his broody scowling determine her career choices. Watty thinks it's all great. Rayna's show is greater than ever, Deacon's doing great with Juliette, great great great great great. He adds that Rayna and Deacon have been tied together for a long time, and putting some distance in between them (metaphorical distance, since they keep managing to get stuck in elevators together) is a good thing. Rayna agrees/lies that it's better for both of them.
Glen then hunts Deacon down at the hotel bar, where he's eating peanuts and drinking tap water. He gives him three kinds of hell for convincing Juliette that she should be more of an artist, adding that Deacon and Rayna might have been a package deal, but Juliette's a solo act. Deacon remains calm, telling Glenn that he was as surprised as anyone about the "Consider Me" opener, but he wasn't going to leave her on stage alone. Glenn then goes for Deacon's broody jugular by asking if he's trying to turn Juliette into his replacement Rayna. Deacon says that Juliette is his boss and he's just doing what she wants, but Glenn tells him to stay in his lane, which is not a lane belonging to a boyfriend nor a manager but an easily replaceable hired gun. Deacon barely takes his eyes off of the TV, but a clenched jaw tells us that Glenn's hit a nerve when he says that Deacon isn't the person to talk about the distinction between doing and thinking, since all anyone's ever seen him do is think. Whatever crap Deacon has going on with Rayna, Glenn says, Juliette isn't part of his solution. And... nailed it!
And then it's time for another elevator ride. THE elevator ride! Rayna steps in and this time it's Deacon who sticks a hand in the closing door to get inside. This is NO ACCIDENT. Fed up with his brooding silence of the past few days, Rayna finally comes out with it and asks what the hell he's doing on this tour. Deacon maintains his silence for a beat then turns and just lays it on her. "It" is of course a serious elevator kiss. When you compare the Teddy kiss to the Deacon kiss, you can easily understand where Rayna is coming from with the twelve years of ambivalence in her marriage. Sadly, she can't let a good thing be, so stops this rather excellent kiss to confusedly ask once again what he's doing on the tour. The answer obviously is, "Waiting for opportunities to smooch the living daylights out of you, so be quiet and just enjoy it." He does finally say that he's done talking, which is a relief given how confusing their conversations tend to be. Much more pleasing for everybody to have a super-hot makeout sesh!