Nashville
You're Gonna Change (Or I'm Gonna Leave)

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Friday Night Flights

Meanwhile, Rayna and Bucky go to Liam McGuinness's warehouse studio in what is apparently a rather dicey part of town. Rayna is not wearing the appropriate shoes for this visit. She confirms with Bucky that they have an appointment, but has to knock a whole bunch before anyone answers the door. Liam McGuinnis appears, clearly terrifically unimpressed. When Rayna says that they're looking forward to talking with him about possibly producing her new album, Liam declines even to hear her music. He says he took this consultation as a courtesy, but doesn't think they do the same thing musically -- Rayna is "moms and SUVs," which is a language that Liam doesn't speak. He does seem to be fluent in dick, though, especially when he tells her that there won't be a charge and shuts the door in her face. THAT is his version of a courtesy?

Back in the land of orchestrated romance, Juliette and Sean are having lunch together. He says he really likes her video for "the song with the telescope," and she has to explain to him that this is not an actual date. Sean knows that, but thought they might try having fun anyway and get to know each other a bit. He never should have opened that door, because what Juliette really wants to know is why he's such a terrible football player. We get a little Loretta Lynn thrown in as the scene changes, just to underscore the sass.

Avery then shows up at Deacon's house to deliver a casserole from Scarlett. Pink macaroni, perhaps? When Avery says that Scarlett worries, Deacon -- who is cleaning out his gutters -- says that he spent a few hours in jail, not a month on his deathbed. He adds that he's fine, and wasn't drinking either. Avery asks if Deacon knows Marilyn Rhodes, and Deacon responds with, "Marilyn coming after y'all?" That's a bit of predatory language, isn't it? Avery explains about the opening gig, and of course Deacon knows Reed and says that he'll put in a good word. Deacon then tells Avery not to waste his time or money on a manager, and continues to throw crap from his gutter in Avery's general direction. When Avery says he's always had the impression that Deacon didn't like him very much, Deacon throws gutter crap slightly further away and says he has no idea why Avery would think such a thing. Didn't he also talk about using Avery's demo as a coaster?

And then we cut back to Liam's studio, to which Rayna has returned the following morning. This time she's wearing shit-kicking boots instead of stilettos, which is our first indication that she's going to fare a bit better. When Liam opens his door and sees Rayna, he's relatively more polite but says that he's not sure what else they have to talk about. She points out that they never had the chance to talk in the first place, since he shut the door in her face. In the dark he probably didn't have the opportunity to get seduced by her beautiful, beautiful hair. Rayna tells Liam that he made a snap judgment about her and her music and, quite respectfully, it was a load of crap. The "load of crap" accusation piques Liam's interest, and he takes a few steps closer to her, thus allowing her to reveal her secret weapon -- an actual appreciation of his music. She's familiar with a live show he did in Belfast, which she listened to in her SUV, while driving her daughters to school. It must have taken all of her restraint not to actually snap while saying that. She hands him a CD and asks him to listen to it before making a decision. He invites her in so they can talk for real. Fingers crossed that the conversation doesn't veer into Rayna/Deacon inscrutable territory!

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Nashville

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