SCENE 1: Bill feeds on Sookie's blood as they make love by the fireplace in the parlor of his house.
Cut to opening credits to the tune of "Bad Things" by Jace Everett
SCENE 2: Bill wipes the fog from his bathroom mirror. He is clearly reflected in it, as is Sookie, who is in the bathtub.
Sookie: Wait a minute. I thought you were supposed to be invisible in a mirror.
Bill: We started most of the myths about ourselves many centuries ago.
(Bill walks toward the bathtub, which is surrounded by lit candles.)
Bill: If humans thought that we couldn't be seen in a mirror, it was another way for us to prove that we weren't vampires. And that way, we could stay hid.
(Bill steps into the bathtub.)
Sookie: So what about holy water?
(Bill splashes some bathwater with his left hand.
Bill: Just water.)
Sookie: Crucifixes?
Bill: Geometry.
Sookie: Garlic?
Bill: It's irritating, but that's pretty much it.
Sookie: Whoa. I feel a little weak.
Bill: Of course you do. I fed on your blood. You should take some vitamin B-12 to replenish.
Sookie: Will I need to do that every day?
Bill: If you don't mind, yes. And no garlic.
(Sookie chuckles slightly.)
Sookie: Is it always like this?
Bill: No, it is not.
Sookie: I never thought I'd be able...to...
Bill: I am honored that you chose me.
(Sookie and Bill look into each others' eyes. Sookie's smile has disappeared as she experiences a flashback to her childhood.)
Flashback Uncle Bartlett (thinking): Her tiny little legs. Flexible and smooth.
(Young Sookie is dressed in a purple top and hair-band. She looks up to see Uncle Bartlett sitting in a chair.)
Uncle Bartlett: How's the homework comin'?
(Young Sookie sits on a sofa opposite Uncle Bartlett. She has an open book on her lap, and a pencil in her right hand.)
Young Sookie: I hate math. Gran usually helps me.
Uncle Bartlett: Maybe I can help.
Uncle Bartlett (smiling; thinking): Her skin is perfect. So soft.
Uncle Bartlett: Come sit on my lap so I can see you better.
(Young Sookie seems unsure, but she gets up and, bringing her book and pencil with her, sits on Uncle Bartlett's lap. He holds her around her waist as she climbs onto his lap, and he lets go of her once she's settled. Young Sookie begins writing in her book, holding her pencil with her right hand.)
Uncle Bartlett: I'm good at this. It's easier than you think.
Uncle Bartlett (thinking): No hair anywhere on her body.
(Uncle Bartlett pulls young Sookie's hair away from her neck as she continues with her homework.)
Uncle Bartlett (thinking): Oh my.
Uncle Bartlett: Uncle Bartlett loves you, sweetie.
(The flashback ends. Sookie and Bill are still in Bill's bathtub.)
Sookie: It was just...touching. Wasn't nearly as bad as what happens to some girls.
Bill: Did you tell anyone?
Sookie: Gran. She ran him off and never spoke to him again. Her own brother.
Bill: It wasn't your fault.
Sookie: I know that. But...here I am. I mean...just had one of the most important experiences...in a girl's life. And... It was so, so perfect. Great. I hate that...I can't...not...think about him.
(Bill pulls Sookie to him and pulls her toward him, with her back up to his chest, and holds her. They lean back.)
Bill: You think about whatever you think about. It's OK. You're safe with me.
SCENE 3: The lower half of Lafayette's face is seen through the black-and-white viewfinder of a video camera. Dance music plays in the background.
Lafayette: You <snip> gonna have to be...patient.
(Lafayette steps away from the video camera. He is wearing a hooded jacket. He unzips it and removes it. He is shirtless.)
Lafayette: There's good things comin' your way.
(POV of an observer in Lafayette's living room. The video camera is on a tripod. Lafayette is wearing a gold lamé baseball cap. His jeans, around which is a large gold belt, sag enough to reveal a gold lamé whale tail.)
Lafayette: This ain't Christmas morning...
(Lafayette begins dancing suggestively in front of the video camera.)
Lafayette: ...and you're all jacked up on caffeine, rippin' off that cheap Wal-Mart paper to get your...blender. Naw...
(Someone opens Lafayette's front door as his back is turned.)
Lafayette: Whole lot of creativity went into this package and I want you to...
(Jason, sweaty and dressed in a gray undershirt and a dark blue ball-cap worn backwards, enters Lafayette's living room and watches Lafayette as he unintentionally gives Jason a prime sh*t as he slides his pants down, revealing his butt.)
Lafayette: ...enjoy.
Jason: Whoa!
(Startled, Lafayette hikes his pants up and turns around. Jason turns and starts to leave.)
Lafayette: <snip>.
Jason: Back up the truck, man.
(Lafayette has picked up a wine bottle by its neck with his right hand, and points it at Jason.)
Lafayette: Don't <snip> creep, bitch. You're <snip> creepin'. What the <snip> you doin' here?
Jason: I just need to get some more V.
(Lafayette tosses the bottle aside. It does not break.)
Lafayette: I need you to run your ass out of my <snip> damn doorway, 'cause I'm <snip> workin'.
Jason: Come on, buddy. I just need a little.
Lafayette: I told you not to take too much.
Jason: Yeah, I know.
Lafayette: Uh, huh. And you wind up in the hospital. I said keep quiet about where it came from, and you <snip> ran off at the mouth to Tara. Then you got vamped up and <snip> threw a cop around. You can't handle the <snip>...(sarcastically) buddy!
Jason: Look, I'll pay however you want. I'll even show my wiener on your website.
Lafayette: You can take your little stumpy white <snip> and get the <snip> up out my joint. That's what I want.
(Jason and Lafayette stare at one another.)
Jason: And what you gonna do? Hmm? You gonna call the law?
(Jason sneers at Lafayette, and bends down to open the door of an end table. Lafayette grabs Jason in a full nelson and pulls him away from the end table.)
Jason: <snip>. What'cha got?
Lafayette: Don't <snip> <snip> me, <snip>. Hear me? 'Cause I will <snip> your ass up. You get me?
Jason: Yeah. OK.
(Lafayette releases Jason from the full nelson.)
Lafayette: Get the <snip> up outta here.
(Jason stumbles to the front door, opens it, and exits, then pops his head through the door.)
Jason: Oh, can you at least tell me where I can find some more?
Lafayette: Go to the <snip> morgue, 'cause that's where you're goin'. Get the <snip> outta here.
(Lafayette slams the door and peers through the mini-blinds over a window in the door.)
Lafayette: Bitch.
SCENE 4: The Old Compton House. Bill, wearing a white long-sleeved henley shirt, presses a panel on a wall that is actually a door to a small room. Sookie is with him, wearing the striped blue shirt Bill wore when he spoke to the Descendants of the Glorious Dead. He kneels down, and opens a trap door with a gold-fringed rug attached to it.
Bill: This is where I spend my days.
Sookie: Does anyone ever get in there with you?
Bill: This is not a place for you.
Sookie: So we can never sleep beside each other.
Bill: No one else knows where I rest.
(Bill and Sookie kiss. He steps into the empty space under the trap door and closes it.)
SCENE 5: Lettie Mae's kitchen. Lettie Mae pours a cup of coffee into a chipped yellow mug with a crudely drawn pink pig and the word "PARTY" on it. An unknown announcer preaches the Gospel over either the TV or a radio and plays in the background for the duration of the scene.
Unknown Announcer (off-camera): What does it mean to accept Jesus as your personal savior?
Tara (off-camera): We'll write a check for the electric and put it in the water envelope, then stick the check for the water bill in the electric envelope.
(Lettie Mae pours some vodka into the chipped coffee mug.)
Unknown Announcer (off-camera): Say the words "I accept Jesus as my personal savior..."
Tara (off-camera): They'll both think it was a mistake and call about it. Then we'll be in the clear for another month.
(Lettie Mae walks into the living room with her coffee and vodka. Tara is already sitting on the sofa.)
Lettie Mae: I need four hundred and forty-five dollars.
Tara: No way, Momma. We are broke.
(Lettie Mae walks toward an older, cracked leather chair and sits in it. The living room, lit by the morning sun through the windows, seems clean, yet bottles of various shapes and sizes are on the coffee table. A pack of cigarettes lays next to a large ashtray with several cigarette butts in it.)
Lettie Mae: I need it to exorcise the demon that's livin' inside of me.
(Lettie Mae sips her coffee cocktail.)
Tara: You need to do what normal people do. Stop drinkin' and go to AA meetin's.
Lettie Mae: I'm not a group person, and the demon knows that.
Tara: Does the demon know you spike your coffee? I can smell it from here.
Lettie Mae: I can't help it. The demon told me to finish off everything in the house today.
(Tara stands up and walks to to the kitchen, grabs something, walks back to the living room and sits on the sofa.)
Lettie Mae: It doesn't want me to get exorcised.
Tara: Yeah, next time you and your demon have a little chat, you can tell it to go out and get a damn job.
Lettie Mae: The demon has a job. Going after people that are weak but still have faith. It's a jealous demon and it knows how close I am to Jesus. That's why it picked me.
Tara: Oh, my God.
Lettie Mae: Don't you dare take the Lord's name in vain!
(Lettie Mae and Tara share the silence, then Lettie Mae leans toward Tara.)
Lettie Mae: Tara, honey...I know I wasn't the best mother. I <snip> up a lot and I'm sorry. I want to do this for the both of us. That's why I talked her down fifty dollars. Please help me with this. Please.
Tara: Momma. Put down that coffee and look at me.
Lettie Mae: It's the demon drinkin', not me.
Tara: Gimme that!
(Tara stands up and tries to grab the coffee mug from Lettie Mae.)
Lettie Mae: What the...? Don't spill it!
Tara: Momma!
(The coffee cocktail spills onto Lettie Mae, and she sucks up whatever amount has spilled onto her.)
Lettie Mae: It's the demon! It's the demon!
SCENE 6: The Stackhouse home. Sookie opens the front door of the house, still dressed in Bill's striped blue shirt, and her white nightgown is draped over her left arm. She closes the door, and hears noises coming from one of the rooms. She turns toward the living room and walks in the direction of the noises, and sees Jason carrying a paper grocery sack and two silver candlesticks. He is sweaty, and seems surprised to see her.
Sookie: Jason!
Jason: <snip>.
Sookie: What are you doin'?
Jason: Huh? Nothin'. Nothin'.
(Sookie tosses her nightgown aside. Jason walks up to Sookie and notices the fang marks on her neck.)
Jason: Huhhhh. You went ahead and did it, huh? My own sister. Nothin' but a damn fang-banger. Now, you saved it all these years for a <snip> vampire?
Sookie: Bill is a gentleman.
Jason: He bit you!
Sookie: He doesn't hit me, which is more than I can say for you!
Jason: I tried to apologize for that, but you wouldn't let me!
Sookie: What are you doin' with that Gran's candlesticks?
Jason: I'm just, uh...takin' half o' what's mine.
Sookie: It were her wedding present from her mother.
Jason: Yeah, well, I need the money.
Sookie: For what? You have a job and a house!
Jason: Sook, it's none of your business!
Sookie: Uhn-uh! Gran might have spoiled you rotten, but I won't! This is my house now! You put those things down and get out!
(Jason looks at Sookie and walks around her, still holding the paper sack and candlesticks. Sookie tries to take the sack from him, and the sack tears open, spilling onto the hardwood floor other silver items, and a pearl necklace.)
Sookie: You were gonna sell her jewelry?
(Empty-handed, Jason opens the front door and leaves.)
SCENE 7: A dog resembling a collie lays on the dirt in front of Sam Merlotte's house trailer as Tara approaches off-camera.
Tara (off-camera): Hey, dawg!
(Inside the trailer, Sam is trying to make some repairs underneath a counter. The screwdriver he's using slips, cutting his hand in the process, and he bleeds.)
Sam:<snip> damn son of a bitchin' <snip> <snip> trailer!
(As Sam rocks back and forth, Tara walks in and leans over the counter, looking down toward him. He looks up at her.)
Sam:What are...what are you doin' comin' in here like you own the place?
(Tara walks back to the door and knocks on it.)
Tara: Better? (Smiling) Or you want me to call?
(Tara walks back toward the counter.)
Tara: "Hi, Sam, it's me, the girl you've been <snip>. Mind if I drop by to interrupt your cussin' spell, say 'hi' to you and your cute little dawg?"
Sam:Yeah, I do mind. Last time I saw you, you left me high and dry in some fleabag motel in the middle of the night.
Tara: I had to...
Sam: That wasn't the first time. I don't have time for that kind of <snip>!
Tara: Well maybe I'm not in that big a hurry to get somethin' goin' with my boss.
Sam:Then why the hell are you here? And it was your big idea to have sex, not mine.
Tara (yelling): Don't act like you didn't want it!
Sam (yelling): I hired you after you got fired from every other place in town! Now, you throw bein' your boss in my face? Don't treat me like I'm some kind of <snip>!
Tara: Did you honestly think I'd sleep with you if I thought that?
(Sam comes out from under the counter and stands up. He is wearing a watch on his left wrist.)
Sam:I have no idea what the <snip> you think, Tara, but I'll tell you what I think: I think you better give me one good reason not to throw you outta right now!
Tara: I'm no good at this.
Sam:Try harder.
Tara: Sam...I'm sorry. I don't know how to be with somebody. I never...maybe I'm un-boyfriend-able.
(Sam looks at Tara, and shakes his head.)
Sam:Aw, I'm just in a <snip> mood.
Tara (off-camera): 'Cause o' me? I don't want that.
(Sam walks away from the counter and from Tara toward a window.)
Sam:No, it's not you. It's just...this trailer's fallin' down around me.
Tara: Well, at least you're not livin' wit'cher mother.
(Sam turns to face Tara.)
Tara: Hey, do your folks ever ask you for money for some stupid-ass <snip> they dreamed up that you think is crazy?
Sam:My family's not close.
(Sam goes beneath the counter and resumes his repairs.)
Tara: You're lucky. You need a Robertson screwdriver.
Sam:How would you know somethin' like that?
Tara: No daddy and a drunk mom. All the fixin' fell to me.
(Tara looks around Sam's trailer.)
Tara: Place would look good with a...with a little work.
(Tara and Sam exchange looks. Tara's cell phone rings, and she answers it.)
Tara: Hello? [pause] Speakin', who is this? [pause] What?
SCENE 8: The bank. Lettie Mae is wearing a dress, her hair with strands sticking out in several directions, and is seated at a desk. Behind the desk is Gus, a suited older white male loan officer. On his desk is a small sign with "CONSUMER LOANS" engraved on it.
Gus: Well, I'm sorry, Mizz-rizz Thornton, but it is against bank policy to extend a loan for an exorcism.
Lettie Mae: We both know what's goin' on here. You won't give me a loan 'cause you're a bigot.
Gus: Many of our clients are African-American.
Lettie Mae: You sayin' that just proves my point! I ain't talkin' about the color of my skin, but you is.
Gus: W...well, now that is simply not the case. We have recently accepted a client who is a vampire-American.
Lettie Mae: I don't care who give loans to if not Lettie Mae Thornton. You are prejudiced against me because I am a Christian.
Gus: What? No, I teach Sunday school.
(Lettie Mae gets up and leans over the desk.)
Lettie Mae: Uh, huh! Then you know what I'm talkin' about! The whole world is against us! They even try and take away Christmas! This is your chance to stop that persecution in its tracks! Show Jesus you have a charitable nature!
Gus: Well, a bank is not a charity.
Lettie Mae: Maybe Mister Gus...just don't...like women, is that it?
(Lettie Mae walks behind the desk. The left shoulder of her dress has slipped down quite a bit, exposing her shoulder, as well as her left bra strap and the very upper part of her left bra cup.)
Gus: No, what...I mean, yes! I...
Lettie Mae: Then let's you and me work somethin' out. My landlord don't mind if a get a little...
(Lettie Mae attempts to sit on the loan officer's lap.)
Lettie Mae: ...behind in my rent.
(Two bank tellers and a customer notice Lettie Mae as Gus protests.)
Gus: Oh...I think we need to terminate this conversation.
Lettie Mae: There may be snow on the mountaintop, but there's fire in the valley!
(Tara bursts in through the bank's door.)
Tara: What the hell, momma?
(Lettie Mae walks in the direction of Tara, but walks by her toward the tellers and customers. Gus stands up.)
Lettie Mae (to the tellers and customers; yelling): This white devil tried to sexual harass me! I'm gonna sue his narrow ass!
(Lettie Mae turns to face Gus and Tara.)
Gus: I assure you, ma'am, I...
Tara: What are you doin' here?
Lettie Mae (yelling): Tryin' to borrow money, 'cause I got a daughter who want me to live with a demon inside of me!
Tara: Momma, there is no demon. You just have an addiction.
Lettie Mae (yelling): I can feel it in me right now! (to the others in the bank) Nobody believes me?!
(Lettie Mae faces Tara, shifting her weight from one foot to the other.)
Lettie Mae (yelling): I do not want to live like this no more!
(Lettie Mae looks at Tara, and seems ready to cry.)
Lettie Mae: I can't!
(Tara looks at Lettie Mae, and also seems ready to cry.)
SCENE 9: Lettie Mae's house. Tara opens the door, and she and Lettie Mae walk inside. Lettie Mae seems unsteady on her feet.
Lettie Mae: I gotta go lay down. That demon is gnawin' at me somethin' awful.
(Lettie Mae and Tara walk through the hall into the kitchen.)
Tara: You need to drink some water.
(Tara stops at the sink, filled with dirty dishes, as Lettie Mae continues walking. Tara heaves a soft sigh, and fills the sink with water. Tara stoops down to open the cabinet below the sink, and pulls out a large Brillo box. Tara opens the Brillo box and pulls out a scrubbing pad, then some cash.)
SCENE 10: Merlotte's Bar & Grill. Sookie is wearing a green scarf tied around her neck, its knot on the right side of her neck, as she grabs an order from the kitchen and takes it away. Sam is behind the bar, and Lafayette is cooking as Royce, Wayne, and Chuck, the three rednecks Lafayette b*at up in S01E05, walk in. Lafayette, wearing a black bandanna on his head and a gray t*nk top underneath his white apron, takes notice of the three as they sit themselves down at a table. Lafayette leaves the kitchen and enters the dining area, and Sam walks up to Lafayette and stops him.
Sam:Oh, whoa, whoa, whoa, whoa! I'm payin' you to cook, not b*at on customers.
Lafayette: Then I want a <snip> raise.
(Lafayette looks at the the three rednecks as Sam replies.)
Sam:I'll think about it, but 'til then, no trouble, OK? We're gettin' busy.
(Terry Bellefleur, wearing a light blue shirt and carrying a red bus tub, walks up to Sam.)
Terry: Tara called. She ain't comin' in.
(Terry Bellefleur leaves.)
Sam:What? Aww...hell, we're already short a waitress.
(Sookie returns, walking quickly past Sam up to the kitchen window.)
Sookie: Don't worry, Sam. We'll make it work.
(Sam leaves, and Lafayette turns toward Sookie.)
Lafayette: Well, <snip> damn! Look at'chew! All p*rn-a-licious. What kind of crazy mix you done and got yourself into?
(Sookie has turned to face Lafayette. She smiles broadly.)
Sookie: Can't I just be in a good mood without it bein' a big deal? It's a pretty night outside, and I'm glad to be enjoyin' it with my friends.
(Sookie takes another order from the window and walks past Lafayette.)
Lafayette: Um, hmm.
(Sookie walks past Sam, whose head turns as Sookie walks with the food into the dining area.)
(Randi Sue, dressed in a multi-colored sleeveless top and Daisy Dukes, sits by a public telephone next to a green door at Merlotte's. She is talking with Jason, and has a bottle of Corona beer in her hand.)
Jason (off-camera): Yeah?
Randi Sue: Hey. It's me.
(Jason, still dressed in his sweaty gray t*nk top and backward-worn ball-cap, walks into his house, closes the door, and walks to the kitchen.)
Jason: Hey. Who's me?
Randi Sue: Randi Sue. Like you don't knooooooooooow.
(Jason has his cell phone cradled to his right ear as he puts something in his left jeans pocket.)
Jason: Oh, hey, hey! How's it goin'?
(Jason washes his face in the kitchen sink.)
Randi Sue (off-camera): Well, I'm at Merlotte's...
(Randi Sue crosses her legs.)
Randi Sue: ...and I'm just waitin' for you to come on down and, um...buy me a drink.
(Jason walks across his living room, removing his ball-cap and tossing it onto the floor. He begins to remove his shirt.)
Jason: Oh well, uh...I ain't comin' to Merlotte's tonight.
Randi Sue: You ain't avoidin' me, are you? 'Cause that's <snip> not gonna fly, cowboy. Not after the other night!
(Jason has removed his shirt. He has a small towel draped over his left shoulder as he walks back to the kitchen.)
Jason: I know, of course not. It's just that I'm goin' into Shreveport tonight, that's all.
(Jason sprays anti-perspirant under his arms.)
Randi Sue: Can I come?
Jason: Sure. Um, I was thinkin' about goin' to that vampire bar. You know where it's at?
(Jason grabs a slice of pizza from a pizza box on the breakfast bar. Randi Sue is silent as she leans forward and back at the public phone.)
Jason (off-camera): Hello?
Randi Sue: Uh, uhn. I may not know much, but I do know better than to associate...
(Jason walks from the kitchen to the door, with the slice of pizza clenched between his teeth.)
Randi Sue (off-camera): ...myself with people of low moral character.
(Jason does not remove the pizza from his mouth as he replies.)
Jason: Uh, huh. OK.
(Jason opens the door and leaves his house.)
Randi Sue (off-camera): I hope you enjoy spendin'...
(Randi Sue is standing up by the public phone.)
Randi Sue: ...eternity in hell!
(Randi Sue grabs her purse.)
Randi Sue: <snip>!
(Randi Sue hangs up the phone, adjusts the front of her top, picks up her Corona, and walks away.)
(The bowl of a spoon is being heated in an open flame over the stove at Merlotte's. A heavy black glove is worn on the hand that holds the spoon.)
Lafayette (off-camera): Ahh!
(Lafayette takes the spoon and places it in a bowl of soup sitting in the kitchen window. The heat of the spoon produces a small sizzle, and a small puff of smoke rises from the bowl of gumbo. Terry Bellefleur, his watch on his left wrist, is next to the kitchen window, but is facing away from it. Upon hearing the sizzle, Terry Bellefleur then turns to see Lafayette at the kitchen window, removing the black glove from his right hand.)
Lafayette: Terry. Can you run that to them crackers, please?
(Terry Bellefleur approaches the kitchen window and takes the bowl away.)
Terry: Sure thing.
Lafayette: Thank you so much.
(Arlene is placing two mugs of beer on her tray. She wears a pink watch on her left wrist.)
Sookie (off-camera): Don't you look nice tonight.
(Arlene looks over her left shoulder at Sookie and smiles. Sookie seems quite perky this evening.)
Sookie: I love how you did your hair.
Arlene: Well, thank you! Honey...that scarf is double cute!
(Sookie smiles.)
Arlene: There's somethin' different about you. You need to tell me what is goin' on. Is it a man?
Sookie: I'm not really comfortable discussin' my personal business. Especially not here.
Arlene: Well, everyone else's personal life is open to you.
(Arlene chuckles. Sookie's broad smile is downgraded to just a smile.)
Arlene: I forgive you 'cause I know you can't help that, but it does make being your friend kinda lop-sided.
(Arlene's jaw drops.)
Arlene: Please tell me it was Sam, not that vampire.
(Sookie smiles broadly again.)
Sookie: Yes, it was Bill! And I think I might be in love with him. Oh, don't tell anybody, OK?
(Royce has been b*rned by the heated spoon in his gumbo. He drops the spoon onto the floor.)
Royce: Ahh! <snip> damn it! <snip>!
(Lafayette, watching from the kitchen window, does not appear to gloat.)
Lafayette: Sook, order up.
(Sookie walks to the kitchen window. Arlene takes the tray with the beers, and walks over to René, who is sitting at the bar, resting his head on his right hand, staring upward.)
Arlene: Sookie has been with that vampire!
(René looks briefly at Arlene, then returns his attention upward.)
René: Aw...that's jus' bar talk.
Arlene: She told me herself.
(Sam, behind the bar, looks at Arlene and Arlene looks at Sam.)
Arlene: Oh my Lord! Suppose she gets pregnant. How in the world can she nurse a baby with fangs?
(Sam looks upset.)
René: You jus' be her friend. She need one now more than ever.
(Sookie is delivering an order to a customer at one of her tables.)
Sookie: There you go. You're gonna love that okra special. It's so fresh, it'll hop right off your plate!
(Sookie turns and walks away from the table and Sam approaches her.)
Sookie: Oh, don't go anywhere. I need two more pitchers of Bud.
(Sam rips the green scarf from Sookie's neck, exposing her fang marks.)
Sookie: Hey, you keep your hands to yourself, Sam Merlotte!
(Sookie hits Sam with her open hand and pushes him away from her.)
Sookie: You have no right to touch me!
Sam:You're a damn fool, you know that?
(Lafayette watches the scene between Sookie and Sam from the kitchen window as diners, including Chuck, watch from their seats.)
Sookie: What I do on my own time is no concern of yours...(looking at the diners)...or any of y'all's. Yes! I had sex with Bill, and since every one of y'all's too chicken to ask, it was great! I enjoyed every second of it. And if you don't like that, you can just fire me!
(Sookie slams her tray onto Sam's chest and walks away).
SCENE 11: The parking lot of Fangtasia. A few people talk to one another near a parked car. Jason walks quickly to the door. Outside the door is a red velvet rope, separating him from Pam, dressed in black, her arms akimbo, her hair down around her shoulders. Jason is dressed in a dark blue short-sleeved shirt, unbuttoned halfway, and looks around nervously before speaking to Pam.
Jason (quietly): Hey.
Pam: Your momma know you're out in the big city?
Jason: Well, my momma's dead.
Pam (unmoved): So am I. Let me see some ID.
(Jason pulls out his ID and hands it to Pam. She looks at it, and looks somewhat quizzically at Jason, still keeping her cool exterior.)
Pam: Jason Stackhouse from Bon Temps?
Jason: Uh, huh.
Pam: You related to Sookie by any chance?
Jason: Uh, yeah. She's my sister. Well, how do you know her?
Pam: She stands out. Do you?
Jason (nervously): Uh, no. (smiling shyly) Maybe. In other...ways.
(Pam gives the ID back to Jason.)
Pam: Why are you here?
Jason (looking around nervously): Why? Well, you know, I was...I heard it was cool. I wanted to...check it out, see what's up. I'm one of those open-minded kind of guys. Yeah.
(Jason seems to be caught in a trance as Pam stares into his eyes and glamours him.)
Pam: Tell me why you came here.
Jason: I want some vampire blood.
(Pam raises her left eyebrow.)
Jason: What time do you get off work?
Pam: You came for my blood?
(Pam chuckles slightly.)
Pam: Yeah, you're right. You're nothin' like your sister.
(Jason seems puzzled as Pam's glamouring ends and she exposes her fangs to him.)
Pam: Go on in.
(Jason walks around Pam to the door.)
Pam (in Jason's right ear as he passes her): And good luck gettin' out.
SCENE 12: Uncle Bartlett is putting some trash into a garbage can behind his old, white house at night. Insects chirp in the background. A single light illuminates the area where the garbage cans are, at the foot of a wheelchair ramp leading up to the back door. With effort, he turns his wheelchair around and slowly pushes himself up the ramp. On the wall at the left of the top of the ramp seems to be a sign with "NO SMOKING" in red letters. Uncle Bartlett continues pushing himself, and he looks up and sees Bill standing before him, and stops.
Uncle Bartlett: I don't keep cash in the house.
(A full moon is visible behind Bill as he stares at Uncle Bartlett.)
Bill: Oh, I'm not here for money...
(Uncle Bartlett allows his wheelchair to roll backwards to escape from Bill, but Bill is already behind him, and stops Uncle Bartlett's wheelchair.)
Bill: ...I'm here for Sookie!
(Bill exposes his fangs and he bends around to bite Uncle Bartlett from behind.)
SCENE 13: Tara and Lettie Mae are walking on an unlit road at night.
Tara: Damn! I'm gettin' eaten alive out here!
Lettie Mae: You want to meet the devil, you wait at the crossroad.
Tara: Yeah. That was a mile back.
Lettie Mae: For Miss Jeanette, you gotta go past where the devil's at.
Tara: That is the biggest load of <snip> I ever heard. You're gettin' as bad off as Lafayette and his juju.
Lettie Mae: My poor sister. I pity havin' to raise a sexual deviant.
(A dark figure, hunched over, leaning on a cane, comes out from the bushes along the road, to the left of Tara and Lettie Mae.)
Lettie Mae: That runs in families, you know, like demons.
Old Crone: You showed up.
(Tara and Lettie Mae stop walking, and turn their heads toward the voice. They see an old crone holding a lit lantern in her right hand.)
Old Crone: I figured that demon o' yours wouldn't let'cha.
(Tara and Lettie Mae walk toward the old crone.)
Old Crone: You must be Tara. I'm Miss Jeanette. You ready? Fully prepared, body and soul, for this exorcism?
(Tara and Lettie Mae stop within a few feet of Miss Jeanette.)
Lettie Mae: I ain't ate anything all day, like you said.
Miss Jeanette: Have you made your peace?
Lettie Mae: Is it gonna hurt?
Miss Jeanette: Of course it's gonna hurt. It's like childbirth. Except the demon don't wanna come out. And it ain'cher body that could get ripped up. It's your soul.
Tara: Uh...
Miss Jeanette: In olden days, folks paid my grandmama usin' tobacco and livestock. But today it's cash. In advance.
(Tara takes money from her purse and hands it to Miss Jeanette, who counts it, and puts it in her purse. Miss Jeanette's hair is closely cropped to the shape of her head.)
Miss Jeanette: That demon...will not inhabit you after tonight.
Tara: Let's get this <snip> over wit'.
(Miss Jeanette stares at Tara, then turns around, lifts the lantern, and walks into the woods. Tara and Lettie Mae follow her. Insects chirp loudly as Miss Jeanette shows them to an old bus, the inside of which is dark, illuminated only by candles. Tara enters first, looks around and notices various bottles, plates, and plants inside the bus, as well as an antique metal bathtub, and some shelves with jars. She also sees a cot with a pillow and blanket, on which rest six small stones. Tara turns around to see Lettie Mae has entered the bus, with Miss Jeanette behind her.)
Miss Jeanette: Lettie Mae, you're gonna need to undress now.
(Lettie Mae hands her purse to Tara and begins to undress.)
SCENE 14: Merlotte's. Sookie has regained her perkiness, but not her scarf. She is talking to Lafayette at the kitchen window.
Sookie: It felt like...it felt like every single care or worry or sadness I ever had was just...flowin' out of me into him. And, yeah, that hurt at first, but...then when I relaxed, it didn't hurt at all.
Lafayette: I was always too scared to let 'em bite me. I don't know, Sook. I just think that, when there's blood involved, a line been crossed.
Sookie: Oh, I definitely crossed a line, but...I'm glad I did.
(Sookie takes into her hands an order from the window.)
Lafayette: Well, you go on ahead, hooker, with your bad ass! Good for you! It ain't possible to live unless you crossin' somebody's line.
(Sookie chuckles and leaves the kitchen window with the food order.)
Lafayette: Skank.
SCENE 15: Fangtasia. Eric sits in his large chair on the stage as his customers enjoy their evening. Eric is looking at his Blackberry as a blond woman in a black shirt approaches him.
Blond Woman: Excuse me?
(Eric looks up from his Blackberry.)
Blond Woman: May I take a picture of you?
(A male vampire with tattoos on his arms and long black hair is behind and to the right of the blond woman. Eric puts down the small devise and faces the blond woman. He spreads the fingers of his hands and touches the fingertips to one another in front of him, and exposes his fangs.)
Eric: You may.
(The blond woman takes a pink camera phone from her purse, opens it, and points it at Eric to take his picture. With lightning speed, the long-haired vampire grabs the blond woman's camera phone and smashes it to pieces against a nearby table to her left, glaring at the blond woman, not exposing his fangs.)
Long-haired Vampire: No pictures!
Blond Woman: He said I could take it.
Eric: I did not say you could keep it.
(Eric and the long-haired vampire smile and laugh at the blond woman, and she walks away.)
(A blond female vampire dressed in black rubber is dancing in one area of the club, as Jason turns his head away from a male vampire dancing in another area. Jason sits alone at the bar. He seems sweaty and nervous.)
Jason: Pretty good dancer.
(Longshadow, the bartender, approaches Jason.)
Longshadow: Can I get you another?
(Jason finishes the last of his bottle of beer.)
Jason: No. But I will have somethin' stronger.
(A young brunette carrying a large purse is walking behind where Jason sits and turns her head toward him as Jason says "stronger." Longshadow leans toward Jason for clarification of his drink order.)
Jason: Not Tru:Blood, but really strong. You know what I'm sayin'?
Longshadow: We've got Kentucky straight bourbon, whiskey. Hundred proof. It'll turn the lining right off your stomach.
Jason: Uh, yeah. Somethin' stronger than that. But you know, a different color?
(The young brunette looks around.)
Longshadow: Just tell me what the <snip> you want, little boy!
Jason: Somethin' closer to the color of the walls in here.
(The young brunette walks up to Jason.)
Young Brunette: There you are, hon!
Jason (to Longshadow): You know what I'm sayin'.
(The young brunette grabs Jason by his left arm.)
Young Brunette: Come sit with me.
Jason (to the young brunette): No.
Young Brunette: Come sit with me!
Jason: I don't want you. Hold on a minute?
(The young brunette pulls Jason away from his seat at the bar.)
Young Brunette: I know what you're looking for.
(The young brunette leads Jason to a table away from the bar.)
Jason: <snip> damn.
(The young brunette and Jason sit at the table.)
Jason: It's hotter'n hell in here.
Young Brunette: No, it's an icebox. You're sweating for another reason, aren't you?.
Jason: I could use some V...
(The young brunette looks around.)
Young Brunette: Hey, V8! I don't think that they serve that here.
(The young brunette looks at Jason with a stern look.)
Jason: Why the <snip> would I want V8?
(The young brunette grabs Jason's face with her left hand and looks him in the eye.)
Young Brunette: Hey, shut up! Listen: they can hear really well, all right? So, let's talk about it later. All right?
(Jason stares at the young brunette as she releases her grip.)
Young Brunette: C'mon. Let's get out of here before you get us both k*lled.
Jason: I ain't goin' nowhere until I get what I came for.
Young Brunette: Hey!
(The young brunette pats her purse and gives a knowing look to Jason. Jason points at her purse.)
Jason (whispering): Purse? (louder) Let's do it.
The young brunette and Jason get up and leave.
SCENE 16: Merlotte's. Sookie is taking a pitcher of beer to Royce, Wayne, and Chuck's table. A purple, yellow, and green neon sign behind her reads "ABITA BEER".
Royce (thinking):What kind of stupid bitch would go and do something like that?
Sookie: Something like what, Royce?
Royce: <snip> a vampire.
Wayne: <snip> a vampire? Hell, no! I like my meat alive.
(Wayne, Royce and Chuck smile and laugh. A "whoosh" sound is heard, and Diane, Liam and Malcolm, the three vampire "nesters", enter Merlotte's. Everyone in Merlotte's notices. Diane approaches a young man seated with a woman at a booth and leans over him as the woman cowers.)
Diane: Well, hey there, sugar.
SCENE 17: A lake. Someone is opening the trunk of a car in the darkness. The car is parked not too far from a dock to the lake, seen in the foreground. The trunk lid is opened, revealing the body of Uncle Bartlett. He is bleeding from the right side of his neck. We see Bill standing, looking at Uncle Bartlett's body. Bill leans over into the trunk.
SCENE 18: Merlotte's. Sookie looks worried, and Sam walks into the dining area, where the three vampires are.
Malcolm: Get us three Tru:Bloods.
Sam:Y'all need to go somewhere else. This is a family place. Locals only.
Malcolm: Well, we just closed on a place up the road, so that makes us official citizens of Renard Parish. We're the new locals.
Sam:My place, my rules.
Malcolm: Discrimination against vampires is punishable by law in the great state of Louisiana. Personally, I don't give a <snip>...
(Malcolm looks around the dining area, and sneers.)
Malcolm: ...but I ...am...thirsty.
Sam:You...are...not...welcome here.
(Diane chuckles. She is still at the booth, running her fingers through the young man's hair.)
Diane: That <snip> only works in a private home.
Malcolm: Oh! How nice to see you again, Sookie!
(Malcolm walks toward Sookie. Diane frowns, pushes the young man aside, and leaves the booth.)
Malcolm: You are looking delectable as always.
Sam (to Sookie): You know them?
(Sookie looks directly at Malcolm as she replies to Sam.)
Sookie: We've met.
Malcolm: Well, well!
(Malcolm notices the fang marks on Sookie's neck.)
Malcolm: It looks like Little Miss Holdout has given up the goods. Brava! Did he leave enough for the rest of us?
Sookie: I am his.
Malcolm: Well, he is not here, is he? And while Bill's away, Malcolm will always play.
(Malcolm exposes his fangs to Sookie. She gulps.)
At the lake, Bill is on the dock and looks downward as he drops Uncle Bartlett's body into the lake. Suddenly, he looks up, and runs away with lightning speed.
Back at Merlotte's, Sookie's confrontation with Malcolm continues as she pushes him away from her.
Sookie: Don't you think for one second I'd ever have anything to do with you! I'm sure you were trash while you were alive, and now you're just dead trash!
Malcolm: I'm gonna drain you so slowly, you're gonna beg me to k*ll you.
(Terry Bellefleur runs from a booth in the back toward Malcolm, screaming.)
Terry: Jihad this, <snip>!
(With lightning speed, Diane grabs Terry and throws him across the room. Terry lands at the pool table in the gaming area. Sam breaks a pool cue in half over his leg, and points the thick part of it toward Malcolm.)
Malcolm: You are a dead man.
Sam:Maybe. But I'm gonna take one of y'all with me.
Sookie: Sam!
(Sam runs toward Malcolm with the pool cue as Liam takes the makeshift stake from Sam, hurling it like a javelin to the stack of glasses behind the bar. A woman screams. Liam has Sam on his back over the bar, his right hand around Sam's jaw.)
Liam: I'm gonna reach down your throat and yank you inside out by your <snip>.
Sookie: Please! Leave him alone!
(With lightning speed, Bill runs into Merlotte's and walks toward Malcolm, Diane, and Sookie.)
Bill: Stop this! Now!
(Liam releases his grip on Sam.)
Bill: You're here for me, not them!
Malcolm: We had to get your attention, and I do believe it worked.
Bill: What do you want?
Malcolm: You never call me back. Now, if I remembered what feelings were, mine might be hurt.
(Diane rushes to Bill with lightning speed, and strokes his cheek with her hand.)
Diane: Join our nest, Bill. Forget these blood sacks.
Liam: Yeah, mainstreamin's for <snip>.
(Diane puts her arm around Bill and runs her fingers through his hair.)
Diane: Let's party like we used to, huh? We used to have so much fun.
(Sookie looks sadly at Bill and Diane. Bill looks at Sookie, downcast.)
Bill: All right. Let's go.
Sookie: What the hell are you doing?
Bill: I should be with my own.
Sookie: But you're not like them. You're better than they'll ever be!
Bill: I am not human, Sookie. I am vampire.
(Bill and Sookie exchange a long stare. Liam and Diane leave Merlotte's, followed by Bill and Malcolm. Royce points to the door.)
Royce: Well, that ain't right, him comin' in here like that! Ain't right them things even exist.
Unknown male voice #1: Well, it is a full moon tonight.
SCENE 19: A gas station. Jason is pumping gas into his truck. Suddenly, he turns around.
Jason: Let's take the V and go to a roadhouse.
(The young brunette Jason left Fangtasia with is standing outside his truck with him. She smiles.)
Young Brunette: Not so fast, dude. The setting is crucial. Y'know, just breathe deep. Think about somethin' that you like. Sunrise on the gulf.
Jason: I never get up that early.
Young Brunette: Well, something beautiful then. You know, whatever you think is relaxing...and nice.
Jason: How about you?
Young Brunette: I'm Amy Burley. Pleased to meet you.
Jason: Jason Stackhouse. Where you from?
Amy: Storrs, Connecticut, originally. You know, I knew that you'd drive a truck. I knew it. I bet you work outside, too, huh?.
Jason: Maybe. Or maybe I run a store at the mall. Naw...no, really, I'm a doctor.
Amy: Ah! What's your specialty?
Jason: Legs. I'm a leg doctor.
Amy: Well, doc, I love this truck. I do. It's authentic. You know, it's how a truck should be. None of that stupid extended-cab-four-wheel-drive-just-to-go-to-the-mall crap.
Jason: Yeah. How much V you got?
Amy: How far to your place?
Jason: Get in.
(Jason and Amy leave the gas station in Jason's truck.)
Jason (from inside the truck): Yee-haa!
(The truck speeds away.)
SCENE 20: Miss Jeanette's bus. Lettie Mae's exorcism is underway. Miss Jeanette is arranging small stones in a pattern on Lettie Mae, who is laying on her back on the cot, naked except for her bra and slip. Tara watches Miss Jeanette from behind, her arms folded.
Tara (off-camera): Where'd you learn how to do this?
Miss Jeanette: I learned from my momma. And she learned from hers and so on, going back a thousand years.
Miss Jeanette: Now, we're gonna lure this demon out! And then...
Tara: Lure it out? With a bunch of rocks? Uh, huh. Don't you need a Ouija board and some chicken bones?
Lettie Mae: Tara, shut up!
Tara: It's my money!
Lettie Mae: But it's my demon!
Miss Jeanette: Look!
Miss Jeanette: (to Lettie Mae) I know you love your daughter...(to Tara) and I know you love your momma, or else you wouldn't be here.
(Miss Jeanette redirects her attention to setting the scene.)
Miss Jeanette: But this is a serious situation. For all of us.
(Miss Jeanette sprinkles some powder over Lettie Mae.)
Miss Jeanette: Demons can k*ll. And this one will, given half a chance.
Tara: Aw, hell...
(Miss Jeanette turns to face Tara.)
Miss Jeanette: Y'all need to calm down!
(Tara sits down and folds her arms, staring at Miss Jeanette. Miss Jeanette returns the stare, then continues with her preparations, picking up a flat, nearly triangular-shaped, stone with two round holes of different sizes in it, and a smaller hole that does not appear to go all the way through the stone.)
Miss Jeanette: The sacred Crone Stone. It's been in my family since Africa. My generation was twelve kids. But the stone chose me.
(Miss Jeanette turns around to a table behind her and removes a cloth covering from a cage. An opossum is inside the cage.)
Tara: Aw, hell no!. You ain't puttin' that thing on my momma.
(Tara gets up and moves toward Miss Jeanette, who turns to face Tara and stops her with her arm.)
Miss Jeanette: Soon as that demon leaves your mother, it'll be lookin' for a new place to stay! Come on!
(Miss Jeanette makes Tara sit down.)
Miss Jeanette: We all gonna have to be still. Don't even breathe! Let it find the 'possum.
(Miss Jeanette places the Crone Stone on Lettie Mae's stomach, and Lettie Mae gasps as the Stone touches her. Miss Jeanette hums in monotone as she picks up a native-looking bongo drum and beats slowly on it. Her tempo increases and slows.)
Miss Jeanette:
Sing a Crone Stone Song.
Sing what land made me.
Dream tinker is my drum.
I hold the power of the Stone.
The Water.
The Leaf.
The Dirt.
Stone. Water. Leaf. Dirt.
Sing a demon song.
Sing the night who made you dark and wet, hungry and cold, trapped in darkness forever, lonely for the light.
(Lettie Mae begins convulsing and screaming. The Crone Stone, as well as the smaller stones, remain on her body.)
Miss Jeanette:
You are safe here.
Safe and welcome.
Safe and welcome.
By the power of the stone, I bid you depart and join the world of light!
(Lettie Mae continues her convulsing and screaming, as Miss Jeanette utters words from an indeterminable tongue. The opossum squeals. Miss Jeanette turns to fetch the cage, and pushes the cage (with the opossum still inside), into the metal bathtub, filled with water. The opossum, not fully submerged, thrashes in its cage, but Miss Jeanette grabs a stick and forces the cage underwater. Lettie Mae's convulsing and screaming have stopped as well.
SCENE 21: Terry Bellefleur is sitting on the floor in a room in the back of Merlotte's. Arlene kneels in front of him. Terry seems shell-shocked as he speaks to her.
Terry: I froze up. I let everybody down. I didn't do nothin'.
Arlene: This ain't Baghdad, Terry. It's Merlotte's, OK? Ain't nothin' anybody coulda done.
Terry: I'm supposed to.
(Terry appears to be choking back tears.)
Arlene: Shhhh.
(Terry's eyes are closed, and he nods slightly.)
(Meanwhile, in the dining area, Royce is standing up at his table, with half of the broken pool cue in his hand, talking with Wayne and Chuck. Behind him, at the bar, is Sookie.)
Royce: I know where that house they bought is at. About four miles away. Right at the edge of town.
(Sookie brings a pitcher of beer to Royce's table.)
Royce: It'd be easy to sneak up on 'em.
Sookie: If you think you can sneak up on a vampire, then y'all are dumber in the head than a hog is in the butt.
Wayne: <snip> a vampire don't make you no expert.
Royce: You're contaminated from normal people.
Sookie: What would you know about normal people?
Royce: I know they don't <snip> dead things.
(Wayne and Chuck laugh.)
Sookie: You mess with Bill Compton, I promise: you will be a dead thing.
(Sookie looks hard at Royce, and walks to the bar. Sam is behind the bar, and Arlene is looking at tickets.)
Sookie: Sam, we gotta do somethin'. These rednecks are gettin' riled up. They're talkin' about going after the vampires.
Sam: That's not my problem.
Arlene: I hope they k*ll 'em all.
Sookie: Bill is not like them.
Sam: He went with 'em.
Sookie: To get them away from here.
Sam: Doesn't matter. He belongs with his own kind.
Sookie: Oh my God, are you listening to yourself?
Sam: Whatever goes on between you and him's your business, but I do not want him in my bar.
(Sookie walks away from the bar and hears Royce's thoughts.)
Royce (thinking): Weren't for little Stackhouse bitch, there wouldn't be no vampires comin' around here at all. Round 'em all up at daybreak and sh**t the sunlight into 'em.
(Sookie walks to the back of Merlotte's.)
SCENE 22: Jason's house. Rice Krispies and Cocoa Puffs are on the counter beside Jason's refrigerator. Jason opens the refrigerator and takes out two beers. Jason twists off the top of one of the bottles and hands it to Amy.
Amy: I went to Wellesley. I was supposed to do pre-law but I said "screw it". I studied philosophy instead and that <snip> the parental units off big time, as if the meaning of life's just irrelevant, right?
(Jason twists the top off the other bottle, as Amy drinks from hers.)
Jason: I got two years at vo-tech studyin', um...landscape technology.
(Jason leans his back against the refrigerator and takes a swig of beer as Amy walks to his sofa.)
Amy: Finally I couldn't take anymore of that artificial lockjaw lifestyle, so I hit the road.
Jason: Lockjaw? Like, rabies?
(Amy sits down on the sofa and sits her beer on the coffee table. Jason sits beside her, with his beer in his left hand. Jason realizes he's sitting on a football, removes it, and holds it in his right hand. Amy grabs a box of matches from the coffee table, strikes a match against its side, and lights a pillar candle on Jason's coffee table.)
Amy: No, it's talking with your teeth clenched together so you don't get lines in your face. [talking with her teeth clenched] "Amy, please tell me you're not having sex with that dis-GUS-ting man."
Jason: Well, people who talk that way 'round here don't want anyone to know they got their teeth knocked out.
Amy: Where are your CDs?
Jason: They're over there.
(Jason points to the left of the back door.)
Jason: Where's the V at?
(Amy walks to Jason's stereo.)
Amy: God, I love your place, man. It's very un-self-conscious. So off-the-grid.
Jason: It was my parents' house. Haven't really done much with the place since they passed.
(Amy has selected a CD.)
Amy: That's even better. I mean, this place goes back to like a more legitimate time, you know, before everything got totally out of whack.
(Amy places the CD in the stereo.)
Amy: Your parents are part of Gaea. You know what Gaea is, right? Theory of Gaea?
Jason: Yeah!
(Music sounds from the stereo. It is not loud.)
Amy: The earth is a living organism. Makes weather, which is good for us. Plants give us the chemicals we need. Everything is connected. But you know that.
(Amy walks back to the sofa, and sits down.)
Jason: Yeah, I don't like how they keep takin' stuff away. Like Pluto's not a planet anymore and a brontosaurus stopped being a dinosaur. You can't say somethin' stopped being what it's always been.
(Amy smiles at Jason.)
Amy: Do you live by yourself?
Jason: Yeah. Come on, let's do the V's.
(Amy opens her purse.)
Amy: Slow down, baby. Do you even know how this stuff works?
(Amy pulls out a purple bag from her purse. Jason shakes his head.)
Jason (softly): No.
(Amy scoots off the sofa and kneels in front of the coffee table.)
Amy: It's blood. It carries oxygen to our organs, right? That's what makes them function. So it keeps us goin'.
(Amy takes out a small plate from the bag and places it on the coffee table.)
Amy: It's like gas in a car engine.
Jason: OK.
Amy: Vampires, they don't need oxygen. Everything just runs directly off the blood.
(Amy takes out a prescription pill bottle, and a mortar.)
Jason: Ah, like those cars that run on corn.
(Amy holds up a vial of V and looks at it.)
Amy: I've had this blood for like...forever, so we're gonna need to take some steps to keep it from coagulating.
(Amy places the vial of V on the coffee table and takes other items from the small purple bag, also placing them on the coffee table.)
Jason (whispering): Coagulating...!
(Amy holds up a small round jar.)
Amy: Aspirin. Thins it.
(Amy opens the jar of aspirin, and places two in the mortar.)
Amy: We'll get the full effect faster, and more intense.
(Amy opens the vial of V, puts a dropper in it, and withdraws some of the V. Jason gets off the sofa and kneels beside Amy as she places a single drop of V onto each of the white aspirin pills. The V quickly turns each pill blood red.)
Amy: You just know this is what Holy Communion is symbolic of. This is the real deal here. None of that lame-ass empty ritual. This is nature's greatest gift.
(Jason smiles as he watches Amy grind the V-soaked aspirin pills with a pestle.)
Jason: I thought they'd get all mushy.
Amy: No. See, the V adapts. It wants to be in us.
(Amy scrapes the red powder from the mortar with a blunt Kn*fe, and places the powder in two small doses on the small plate. Amy bows her head and prays.)
Amy: We honor Gaea, and seek the deepest relationship to her.
(Amy looks at Jason, who wasn't praying. Jason bows his head, and Amy does likewise.)
Jason: Uh, yeah. Me too. And Pluto can start bein' a planet again, connected to stuff.
(Amy still prays.)
Amy: By taking the blood of the night into our bodies, we water the flowers of our souls.
(Amy opens her eyes and turns her head to Jason.)
Amy: Nothing is real. Everything is permitted.
(Jason nods. Amy takes a small red straw and snorts one of the doses of V. She raises her head. Jason takes the straw and snorts the other dose of V, and looks at Amy looking at him. They smile. The sounds of birds and insects chirping are quite loud as Jason's living room becomes a red blur, with Amy coming in and out of focus. Amy kisses Jason's lips.)
SCENE 23: Sookie is outside Merlotte's on her cell phone.
Sookie (to herself, quietly): Dammit, Bill. Please pick up.
Bill's pre-recorded voice greeting: Bill Compton.
Generic pre-recorded female voice mail message: To leave a voice message, press "one" or just wait for the tone.
(The tone sounds.)
Sookie: Bill, this is the third time I've called. A lynch mob is going after those vampires. You gotta get outta there. Call me back, now!
Generic pre-recorded female voice mail message: When you finish recording, you may hang up or press 'pound' for more options.
(Sookie looks at her phone, and closes it.)
SCENE 24: Jason is shirtless, staring directly in front of himself. He raises his arm and looks at the back of his hand and its outstretched fingers, then the palm side. He notices his reflection in the mirror on his door. It does not reflect Jason's surroundings, showing instead the bright, sunshiny outdoors. His reflection seems to lean toward us, and he suddenly turns his head around, looking around his bedroom from his seated position on his bed. Amy enters from behind, and kisses his neck as he looks upward. Jason falls back on his bed, Amy climbs on top of him and kisses his lips. Amy raises herself up, and lifts her left hand, her palm facing Jason. He places his right palm to her palm, and he looks at their hands, seeing sparks flying. They clasp their hands together.
Jason: Whoa.
(Amy has noticed the effect as well.)
Amy: I know, right.
(They look into Jason's dresser mirror, and sparks fly between Jason's and Amy's bodies.)
SCENE 25: Tara is already outside of Miss Jeanette's bus as Miss Jeanette and Lettie Mae step out.
Tara: I can't believe I spent four hundred dollars to watch you drown a damn possum. You better not have done anything bad to my momma.
(Lettie Mae walks slowly toward Tara.)
Lettie Mae: Is my demon gone forever?
Miss Jeanette: That one is.
Lettie Mae: I got another one?
Miss Jeanette: No. You belong to yourself now. But we're gonna have to do somethin' about your daughter.
Tara: You ain't gonna do nothin' for me.
Miss Jeanette: Your demon...isn't the same kind as your mother's. But it's definitely livin' in you.
Tara: Now you think I got a <snip> demon? Bitch, you as <snip> up as your bus.
Miss Jeanette: That's that demon talkin' right now. And deep down inside, you know it's true.
Tara: No, I do not.
Miss Jeanette: I can help you.
Tara: I don't want help. I don't need it. And I sure as hell can't afford it.
(Miss Jeanette slowly walks up to Tara.)
Miss Jeanette: Do you have many friends? Do you have trouble keeping a job? You have your own place? You have a boyfriend? How long have you ever been with the same man?
(Tara doesn't look at Miss Jeanette, nor does she answer her.)
Miss Jeanette: Um, hmm.
(Miss Jeanette turns and walks toward the bus.)
Miss Jeanette: Find me when you're ready.
Tara: Let's go. Come on, Momma.
(Tara grabs Lettie Mae's arm and they walk away.)
SCENE 26: Bill Compton's house. Sookie enters through the front door, still in her Merlotte's uniform. The house is unlit.
Sookie: Bill?
(Sookie closes the door behind her.)
Sookie: Bill?
(Sookie walks to a paneled wall, just off the front hall. She presses the panel, and a door opens, revealing the space leading to Bill's sleeping place. She enters the small space, kneels, and opens the carpet-covered trap door, finding nothing. She walks into the parlor. Books with snuffed candles on them are on the coffee table. The blanket, on which Sookie and Bill made love, remains in front of the fireplace. Sookie sits on the sofa.)
SCENE 27: The next morning. From a wooded area, Royce, Wayne and Chuck approach a lone house with a veranda and a red car parked in the dirt driveway. The three stop, and crouch in the wooded area. The three are wearing the same clothes they did the night before at Merlotte's. All are armed with unlit Molotov cocktails. Royce adds some pieces of a Styrofoam cup to his.
Chuck: What are you doin'?
Royce: Turnin' this <snip> into napalm. I ain't takin' no chances.
(Chuck smiles.)
Royce: All right, boys. I'm gonna take the front porch. You boys go around back to the back windows.
Chuck: Which windows?
Wayne: Don't matter, <snip>!
(Wayne hits Chuck on his upper left arm, and Chuck falls.)
Chuck: Hey! You'll <snip> spill it!
Royce: Hey, hey! You wait 'til you hear me break the glass. All right?
(Wayne nods. The three run toward the house with the homemade bombs.)
Royce: Go! Go!
(Wayne and Chuck run to the back of the house. Royce lights his b*mb and throws it through the glass of the front door of the house. Royce runs to to the back of the house as Wayne lights his b*mb.)
Wayne (turning toward Chuck, who is off-camera): Hurry up!
(Royce runs to Chuck just as Chuck has ignited his b*mb and prepares to throw it.)
Royce: Go!
(The next sh*t shows Royce with Wayne (wearing a ball cap, unlike Chuck or Royce), as Wayne throws his b*mb through a back window.
Now, Chuck is again preparing to throw his b*mb, and as he does so, the rag fuse of the b*mb ignites his right arm.)
Chuck: <snip>!
(The three run away from the house, Chuck holding his right arm out away from him.)
Royce: Stop running, dip<snip>!
(Wayne tackles Chuck and they roll on the ground. Royce keeps running. Wayne smothers the fire on Chuck's arm, and they run away from the house. Flames and a thick black smoke rise upward into the dark blue sky, and odd, otherworldly screams are heard.)
SCENE 28: A peaceful lake. Cousins Andy and Terry Bellefleur are fishing in a bass boat.
Andy Bellefleur: Bet you didn't do much fishin' in Eye-rack.
Terry: No fish in the sandbox.
Andy Bellefleur: No wonder they're so <snip> off at us. We got channel cats and Shreveport <snip>.
(Terry seems to have noticed something onshore.)
Andy Bellefleur: I miss this.
(Terry stands up in the boat.)
Andy Bellefleur (off-camera): Gettin' up before dawn like when we were kids...
(Terry makes the m*llitary clenched-fist gesture for "freeze".)
Andy Bellefleur: ...watch the sun comin' up...
(Andy notices Terry's fist still in the air, as Terry places his left index and middle fingers to his nose and then moves his left hand horizontally to his left. Terry nods once, lowers his left hand, and continues looking toward shore. Andy looks in the same direction now. A man runs naked along the lake's shore.)
Andy Bellefleur: That was Sam Merlotte!
(His fist lowered, Terry sits down.)
Terry: Yup, I done that before.
Andy Bellefleur: Where the <snip> was he goin'?
Terry: Where has he been? Nobody cares.
(A ring-tone similar to the theme from "Hawaii Five-O" sounds, and Andy takes out his cell phone.)
Andy Bellefleur: Detective Bellefleur...aw, <snip>!
SCENE 29: The tintype of Bill with his wife and children during his pre-Civil w*r life is in the foreground. Sookie rises from her sleep on Bill's sofa as a siren sounds in the distance. Sunlight streams through the foyer as she runs to Bill's sleeping place, the secret door still open. But she does not find Bill. Cut to a sh*t of red and blue flashers flashing on top of a police car. A fire engine is nearby. Police and firefighters walk or stand around the b*rned, smoking remains of Malcolm, Diane, and Liam's house. Sheriff Dearborn is speaking with a firefighter.
Firefighter: As soon as we complete our portion, you can get in there and start investigatin'. It's probably arson, I'll say that.
Sheriff Dearborn: Now we know one way to get rid of 'em.
(A car honks off-camera, and Sheriff Dearborn turns in its direction. Sookie is driving her yellow early 1980s Honda Civic up to the scene. Some onlookers are present, as is a news crew (white van, with the number "3" and the letters "WQM" visible). A police officer walks down from the house.)
Unnamed Police Officer #1: Special of the day: Country-fried Vampire.
(Sookie, now out of her car, makes her way to the b*rned house.)
Unnamed Police Officer #2: This'll take the heat off of them having to find out who's killin' those women.
(The two police officers continue talking as Sookie runs past them to Sheriff Dearborn and Andy Bellefleur.)
Sookie: Is Bill in there?
(Sookie passes between the sheriff and detective and stares at the house.)
Sheriff Dearborn: No way of knowin'. They're awful messy...
(Two firefighters unload a charred coffin from the house.)
Andy Bellefleur: ...but there was four of 'em.
(The two firefighters place the charred coffin next to three other charred coffins.)
END
01x07 - Burning House of Love
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Telepathic waitress Sookie Stackhouse encounters a strange new supernatural world when she meets the mysterious Bill, a southern Louisiana gentleman and vampire.
Telepathic waitress Sookie Stackhouse encounters a strange new supernatural world when she meets the mysterious Bill, a southern Louisiana gentleman and vampire.