Back at the Bluebird, Gunnar is reading Scarlett's poems. He says they're songs, but she denies it. A lot of them are about her temporary breakup with Avery, which gives Gunnar the opportunity to say that, other than heartbreak and drunken sex, he's not sure what Scarlett sees in Avery. Scarlett says he's the one, which is OBVIOUSLY FALSE! Gunnar asks if Scarlett has ever thought about putting her poems to music and she's like. "Oh... well, sometimes I hear music in my head when I'm writing them, but... durrrrrrrrr." She is dumb in so many ways! Get it together, lady. No one's buying that you moved to Nashville to be a POET. Gunnar wants Scarlett to sing as he plays guitar. Wouldn't it be funny if their co-write turned out to be "Friday"? Scarlett's been poetically ruminating on which seat she should take for years!
With that, we are at Edgehill Republic Records! It's Rayna's reckoning day. She waits in the lobby and we see her little framed album, Sweet and Sorrow, alongside a big, giant poster of Juliette's All My Angels. Something tells me this isn't going to go well. Rayna is uber-professional as she approaches new label head Marshall Evans, listing her various accolades and noting that she has helped built this company from its humbled beginnings and stayed loyal even when other labels tried to woo her. Too bad for her, her record still isn't selling and "the older business models are irrelevant." Marshall tells her that she needs to find her place in a new market. Rayna's smile stiffens as she says, "So you're telling me after 21 years at this label, if I don't open for your little ingénue who wouldn't make it as one of my backup singers..." -- ostensibly because Rayna needs GOOD backup singers to drown out the sound of her own voice -- "that you're not going to support me?" Basically, yes. Marshall says that he needs Rayna's decision and she tells him that he can kiss her decision as it's walking out the door. The entire viewing audience erupts in a big whoop, and Rayna's manager does the opposite of that.