Back at the Bluebird, Deacon finishes his set and walks outside to find the heckler and friend. The heckler apologizes, saying that he was just messing with Deacon. And you know how Deacon's been needing to blow off a little steam? He decks the guy. Unfortunately, the guy is rather large, and when you add the friend into the equation, you get a big 'ole Tennessee fistfight. Cut to Rayna in bed, being woken up by a phone call. She answers, and learns it's a collect call from Deacon, who is being held in prison. She can press one to accept the call, or two to decline. And she DECLINES! Oh, girrrrrrrllllllll. Teddy wakes up and asks who it was, and Rayna says, "Nobody." And on the one hand it's kind of a jerk move for her not to at least answer, but on the other hand it's also a jerk move for him to call her given the current state of their relationship or lack thereof. Either way, it seems to indicate that it's going to be a really long time before these two finally make out.
At the publishing house, Gunnar does his flirting thing with Hailey and the upshot of it is that he asks her to go steady. And then they have sex in one of the writers' rooms. As it should be. We then cut to the jail, where Deacon has been released. He's got a few bruises on his face and a cut on his lip, and sees Juliette waiting for him. It's actually nice to see her be the one swooping in to save him, for a change. Deacon thanks her, and she says that friends bail each other out. And really, does he have not one guy friend who he could call? Like any of his bandmates? Anyway, it turns out that Deacon and Juliette are both pretty good at getting into trouble, which may be why they get along so well.
In the Palace of Evildoing, Lamar and Teddy are strategizing. It turns out Lamar wants to go negative on Coleman. Teddy tells him that Rayna is going to flip and Cole will release the hounds of hell. If they don't do it, Lamar argues, they'll definitely lose. He asks if Teddy wants to win or not. Teddy does want to win, which is probably not a positive development for his own well-being. Meanwhile, Rayna has just recorded her solo-written song. Bucky really loves it, and Rayna tells him to call Marshall Evans and let him know they just cut the first track for her next record. It's called "Buried Under," and plays as a few things happen. First, Deacon -- who appears to be on a break from his AA meeting -- calls Bucky and says to go ahead and use "American Beauty" in the commercial. He's going to let it go -- I guess it's in his rear view mirror. Then we see Juliette entering her new giant house, a modern mansion out in the woods with a really spectacular pool. Wouldn't it be great to just buy a new awesome mansion every time you were sad, even if it did kind of look like it was straight out of a '70s office park? And then dumb-ass Teddy meets Peggy right by the highway late at night. She tells him that Lamar is a genius and that the auditors just packed up and left, adding that he's going to be the best mayor Nashville has ever seen. We pan over to a photographer in a car, taking pictures of Teddy and Peggy that look awfully incriminating, in an extramarital affair type way. I hope you enjoyed your five minutes of being happy, Rayna Jaymes!