Music room. Will welcomes everybody to their first song-writing seminar. And his idea of instruction is to hand them all rhyming dictionaries and tell them to get writing. Santana already has a song she's been working on with Tina, and she'd like to sing it for the group. "This is a song I wrote for Sam, and it's called 'Trouty Mouth.'" Sam's smile quickly turns to a look of consternation, and it doesn't get better as Santana starts singing a sultry, jazzy number: "Guppy face. Trouty mouth. Is that how people's lips looks where you come from in the south? Grouper mouth. Froggy lips. I love sucking on those salamander lips. I want to put a fishhook in those lips so cherry red. If you tried hard enough, you could suck a baby's head." And then Lady Lips von Troutenmouthen has had enough. He cuts the song off and insists that they can't perform it at Regionals. And as much as Will doesn't want to squelch any student's creativity, he agrees that it's not really right for competition. But Puck has something to sing with a rockabilly sound that he feels could really give them the edge at Regionals. He wrote it for Lauren, to make up for offending her with "Fat Bottomed Girls." It's called "Big Ass... Heart." It's not quite as genius as "Trouty Mouth," but it does rhyme "plane tickets" with "rickets," which is pretty damn groovy. Will thinks that Pucks song might be a contender, but they're still not quite there.
Finn's locker. Quinn stares at him lovingly, and then asks what he wants to wear to prom. He's surprised to hear her mention the 'P' word, and she notes that as much as she's excited about Regionals and maybe even Nationals, winning those things won't put the two of them back at the top of the social heap the way winning prom king and queen would. The point of this is to show us that they still haven't gone public with their relationship, and that Finn is the one who's holding back. But after some guilt-tripping from Quinn, he agrees they can do that after Regionals. Finn claims his resistance is about protecting Rachel's fragile feelings. Fortunately, that won't be an issue for long, as Rachel has overheard much of this conversation from a nearby doorway. Commercials.
Dalton. Kurt is sitting alone in a room. He's got tons of boxes of costume jewelry in front of him, and he's dismantling shiny things to add some bling to the casket he's making for Pavarotti. Blaine enters. He wants to get started practicing their duet on the song he's picked out, which is Hey Monday's "Candles." Kurt's pleased that he's moving away from the Swallows' usual top-40 fare, and then asks why Blaine picked him for the duet. And Blaine pauses, and closes his eyes for a second, and screws up his courage, and admits that in the moment that he saw Kurt singing "Blackbird," he realized that the person he's been looking for had been right in front of him all this time. "You move me, Kurt, and this duet would just be an excuse to spend more time with you." And then he moves in for a kiss. Not a little peck or a sexless smooch, but the kind of big wet kiss any high school boy would give to the person he adores. And you better believe Kurt kisses back just as hard. And after what feels like an eternity of kissing, during which a significant percentage of the audience is squeeing just as loud as their choked up voices will let them, they break the clinch. Blaine, sounding a little sheepish, tells Kurt, "We should practice." Kurt, with joy in his eyes: "I thought we were." When did Kurt get smooth like that? And then Blaine dives back in for more, and we leave them mid-kiss. And for anyone who thinks Blaine's change of heart was too sudden -- just look back at any Swallows performance that included both of them and you will see how very hard Blaine has been crushing on Kurt all this time, even if he didn't want to admit it to himself.