Deacon says that Rayna took her knocks, and Juliette argues that she'd like some knocks of the variety that one gets in a Belle Meade mansion. Maybe if she'd had those kind of knocks, she could appreciate real cheese. Though Deacon tries to ask more about Juliette's mom, she deflects the question and asks what he's writing about. She guesses that it starts with a "Ra" and ends with an "Ayna," but Deacon says that this one is just about him. And then they go to have sex.
And then it's time for the school talent show! Rayna obligingly autographs a CD as Teddy gets a text that Billy can meet with him. But everything is trumped by Lamar, who shows up with two giant bouquets for the girls. At least he's an involved grandparent, I guess? As the girls head backstage, Rayna tells Lamar to get out. She brings up the check with all its stipulations and asks why he's so invested in her giving up her career. Lamar says that Teddy's in the middle of a campaign (which Lamar orchestrated), and the girls are at the age where they need their mother. He adds, "You better than anyone should know about that." Rayna does not appreciate her dead mom being thrown in her face, and she tells Lamar to go home and, while he's at it, to go to hell. Hell is, like, his cottage on the lake. For Lamar Wyatt, I'd think it's not much of a punishment.
Cut to post-coital Deacon and Juliette. He's wondering how this (meaning sex) keeps happening. I mean, she does practically give him a lap dance every time they're in the same room together. Juliette "jokes" that she's irresistible, then adds that it didn't help her much at the Bluebird. Yes, the Bluebird, where Deacon sang with Rayna. Juliette says that she's always wanted to sing there. Well then why hasn't she? I mean, granted, she might not have too much actual cred with real musicians, but I feel like it wouldn't be all that hard to arrange, even with a manager as potentially inept as Glenn.
When Juliette asks why Deacon called up Rayna instead of her, Deacon first looks at her like, "Duh." He says that he didn't do it to hurt her, and Juliette lies that it didn't hurt her. She adds that sometimes she'd like to be that girl worth choosing. Oh, Lord. Deacon points out that he did just bang her, and she says, "I don't mean this. I mean the music." I'm quite puzzled about whether her primary motivation is to have him in her band or as her boyfriend. Juliette says that if Deacon thought she was in the same league as Rayna, he'd go on tour with her. Deacon is bristling at the "exclusive" part of the contract, and says that it's the equivalent of "going steady." Remember that he's the 40-something in this relationship, or non-relationship as it were. Juliette makes a case for how good it could be -- out on the road, playing sold out venues, co-writing. They both agree that "Undermine" was pretty special, and Juliette thinks it's just the beginning. She asks, hypothetically, what he'd do if he had to make a decision right now. Deacon says that it doesn't sound half bad, which manages to be fully non-committal while still making Juliette happy. Maybe he's the one who should run for mayor.