True Blood
Executive Summary
Poster
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Overview
Genres: Drama, Fantasy, Romance, Mystery, Horror, Comedy, Thriller, Supernatural, Crime
Setting: Contemporary, Northern Louisiana
Overview: In the enigmatic town of Bon Temps, Louisiana, 'True Blood' unfolds as a tale of love, danger, and self-discovery. The story begins with Sookie Stackhouse, a peculiar waitress who can hear the thoughts of those around her. Her life takes an unexpected turn when she meets Bill Compton, a mysterious vampire. As they navigate their forbidden love, Sookie uncovers a sinister plot involving vampires and humans. Amidst supernatural threats and social tensions, the characters embark on a journey of self-acceptance and understanding their place in a world divided between the natural and the supernatural.
Themes: Love and Relationships, Identity and Self-Discovery, The Supernatural and the Unknown
Conflict and Stakes: The primary conflicts revolve around Sookie's interactions with vampires, her protective instincts towards her family and friends, and the dangers she faces in a supernatural world.
Overall Mood: Dark, mysterious, and romantic
Mood/Tone at Key Scenes:
- Scene 1: Tense and suspenseful as Sookie is attacked outside the bar.
Standout Features:
- Supernatural Romance: The intriguing romance between Sookie and Bill, set against a backdrop of supernatural elements.
- Mystery and Intrigue: The unfolding mysteries and secrets surrounding the characters and their connections.
- Character Dynamics: The complex relationships and conflicts between the characters, adding depth to the story.
- Dark and Atmospheric Setting: The eerie and mysterious atmosphere of Northern Louisiana, enhancing the supernatural elements.
- Genre Blending: The seamless blend of romance, mystery, drama, and supernatural elements, appealing to a diverse audience.
Comparable Scripts:
- True Blood
- The Vampire Diaries
- Buffy the Vampire Slayer
- Twilight
- The Originals
- Teen Wolf
- Shadowhunters
- The Mortal Instruments
- The Vampire Academy
- Vampire Knight
- Rosario + Vampire
- Dance in the Vampire Bund
Writing Style:
The screenplay features a mix of styles, with a dominant focus on supernatural and suspenseful elements. The writing is characterized by sharp dialogue, complex characters, and a blend of human and supernatural themes. There is a strong emphasis on creating tension and suspense, often through the use of atmospheric and surreal settings.
Style Similarities:
- Alan Ball
- Quentin Tarantino
- Joss Whedon
Pass/Consider/Recommend
Consider
Explanation: The True Blood screenplay demonstrates strong character development, particularly in its portrayal of the protagonist Sookie Stackhouse and the introduction of the vampire Bill Compton. The screenplay effectively establishes the supernatural/horror genre and the unique setting of a small Louisiana town. However, the pacing is uneven, and the supporting character arcs could be further developed. The screenplay has the potential to be a compelling and engaging narrative, but could benefit from additional refinement and focus.
USP: This captivating supernatural drama weaves a tapestry of intrigue, romance, and suspense, set amidst the allure of a small-town Louisiana backdrop. The unique ability of protagonist Sookie to hear the thoughts of those around her adds a layer of depth and intimacy to the narrative. This USP will resonate with audiences seeking a blend of supernatural elements, relatable characters, and a voice that is both sharp and engaging. Fans of vampire lore and those seeking a fresh take on the genre will be drawn to this series, which explores complex themes of acceptance, prejudice, and the nature of identity.
Market Analysis
Budget Estimate:$30-40 million
Target Audience Demographics: Young adults aged 18-35, fans of supernatural romance, mystery, and drama with a darker edge.
Marketability: The blend of supernatural elements, romance, and mystery appeals to a wide audience, with potential for a dedicated fan base.
Strong character development and intriguing plotlines offer depth and engagement for viewers.
The unique setting and exploration of complex relationships add layers of interest for viewers.
Profit Potential: Moderate to high, with potential for merchandise, spin-offs, and a dedicated fan following.
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by sharp dialogue, vivid descriptions, and a blend of realism and supernatural elements. The author creates a unique and engaging world with complex characters and intriguing themes, maintaining a consistent tone and style throughout the screenplay.
Best representation: Scene 2 - A Crowded Encounter. This scene is the best representation of the author's voice because it effectively combines vivid descriptions, sharp dialogue, and supernatural elements to create a captivating and mysterious atmosphere. The clerk's transformation from indifference to ferocity, the shopper's discomfort, and the tension between the characters add depth and complexity to the scene, highlighting the writer's ability to create intriguing conflicts and engaging dialogue.
Memorable Lines:
- Clerk: I’ll fuck you and then I’ll eat you. (Scene 2)
- Tara: Oh my God, I'm not serious, you pathetic racist! I don't have a baby! (Scene 4)
- Maudette: I videotaped it. With the vampire. Wanna watch? (Scene 7)
- Tara: Oh my God. You are a huge parody of yourself, and you don’t even know it. (Scene 15)
- N/A: Sookie is violently attacked in the parking lot, leaving the audience shocked and fearful for her safety. (Scene 25)
Characters
Sookie Stackhouse:A 25-year-old waitress with telepathic abilities, protective of her family and drawn to the mysterious vampire Bill Compton.
Bill Compton:A charming and enigmatic vampire who catches Sookie's attention and raises questions about her own identity.
Sam Merlotte:The owner of Merlotte's bar, concerned for Sookie's safety and harboring feelings for her.
Tara Thornton:Sookie's friend, strong-willed and protective, with a complicated relationship with Jason.
Jason Stackhouse:Sookie's brother, impulsive and involved in questionable activities, leading to conflicts and danger.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - Tru Blood Stop | Sensual, Playful, Tense | 8 | 7 | 8 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 2 - Vampires at the Convenience Store | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 3 - A Crowded Encounter | Surreal, Sympathetic, Embarrassed, Calming | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 4 - Tara Quits Her Job | Sarcastic, Confrontational, Humorous | 8 | 7 | 8 | 9 | 9 | 7 | 9 | 8 | 8 | 8 | 6 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 5 - Unwelcome Advances at Merlotte's | Sarcastic, Dramatic, Humorous | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 6 - Kitchen Banter at Merlotte's | Sarcastic, Humorous, Serious | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 7 - Revelation in the Night | Sensual, Intriguing, Dark, Provocative | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 8 - Sookie Meets Bill | Excitement, Mystery, Romantic, Dark | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 9 - Tension and Suspicion | Dark, Erotic, Tense, Mysterious | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 10 - Sookie's Intervention | Tense, Suspenseful, Dramatic, Intense | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 11 - Dark Confrontation | Dark, Intense, Suspenseful, Erotic | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 12 - Confrontation in the Parking Lot | Tense, Confrontational, Intense, Dark | 9 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 13 - Encounter in the Woods | Tense, Intimate, Humorous | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 14 - Sookie's Return | Tense, Dark, Mysterious, Intense | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 15 - Night at Merlotte's | Serious, Light-hearted, Flirty | 8 | 7 | 8 | 8 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 16 - Dream Encounter | Intriguing, Mysterious, Tense, Romantic, Dark | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 17 - Sunbathing Interrupted | Tense, Dark, Emotional, Suspenseful | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 18 - Maudette's Murder | Tense, Dramatic, Mysterious, Intense, Emotional | 8 | 7 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 19 - Unwanted Advances | Tense, Emotional, Intense, Suspenseful | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 20 - Jason's Confession | Suspenseful, Intense, Dramatic | 8 | 7 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 21 - Pressure from the Past | Tense, Dark, Emotional, Intriguing | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 22 - Trouble at Merlotte's | Tense, Angry, Awkward, Sarcastic | 8 | 7 | 8 | 9 | 8 | 6 | 8 | 7.5 | 8 | 8 | 7 | 8 | 8 | 7 | 7 | 9 | 8.5 | 8 | 8 | |
| 23 - Sookie Meets the Mysterious Bill | Tense, Emotional, Intriguing, Intense | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 24 - Sookie's Conflict of Independence | Tense, Emotional, Defiant, Intense | 8 | 7 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 25 - Attack in the Shadows | Tense, Suspenseful, Dark, Violent | 8 | 7 | 9 | 8 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 6 | 9 | 9 | 9 | 9 | |
Scene 1 - Tru Blood Stop
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
"Strange Love"
by
Alan Ball
revised 11/12/06
based on the Southern Vampire Novels
by Charlaine Harris
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 1.
INT. CADILLAC ESCALADE - NIGHT.
THROUGH THE WINDSHIELD: We’re barreling down a TWO-LANE ROAD
through the woods, a little faster than is comfortable - or
safe. Illuminated only by HEADLIGHTS, which play tricks with
SPANISH MOSS hanging from tree branches. No other cars are on
the road. “Y'ALL'D THINK SHE'D BE GOOD 2 ME” by C. C. Adcock
blares on the STEREO.
INSIDE THE CAR: A handsome FRAT BOY (21), sits in the
passenger seat, a little buzzed. All-American, but with that
particular wild streak certain privileged Southern boys have.
He’s hot, and he knows it.
His 20-year-old SORORITY GIRL date is driving, also buzzed,
her free hand reaching for his crotch. She’s pretty in a
conventional way, has a dazzling smile and a flawless body.
The kind of woman who will marry well. If not Frat Boy, then
someone just like him. As she unzips his jeans:
FRAT BOY
(mock surprise)
The hell are you doing?
SORORITY GIRL
I’m bored.
FRAT BOY
(grins)
You get bored pretty easily.
SORORITY GIRL
Only with you, darlin’.
She reaches inside his pants and he leans back, really
enjoying this, until he spots
THROUGH THE WINDSHIELD: A PORTABLE ELECTRIC SIGN on the side
of the road reads WE HAVE TRU BLOOD.
FRAT BOY
Holy shit.
EXT. GRABBIT QUIK - NIGHT.
A CONVENIENCE STORE on a two-lane state road in Northern
Louisiana. A used DODGE and a newer GM PICKUP in the parking
lot. No other buildings nearby. The PORTABLE ELECTRIC SIGN is
planted out front.
SORORITY GIRL’S WHITE CADILLAC ESCALADE drives past,
SCREECHES to a halt. Backs up and PULLS INTO THE PARKING LOT.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 2.
NAN FLANAGAN (O.C.)
We’re citizens.
Scene 2 - Vampires at the Convenience Store
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
CLOSE ON A PORTABLE TV SCREEN: ANDERSON COOPER is
interviewing a pale, conservative-looking SPOKESWOMAN. The
more she looks like Ann Coulter, the better. Media-savvy, she
speaks rapidly, with authority. SUPERIMPOSED beneath them,
along with the CNN LOGO: NAN FLANAGAN, American Vampire
League.
NAN FLANAGAN
We pay our taxes. We deserve basic
civil rights like everyone else.
ANDERSON COOPER
But doesn’t your race have a sordid
history of exploiting and feeding
off innocent people? For centuries?
NAN FLANAGAN
Three points. Number one: Show me
documentation. It does not exist.
Number two: Doesn’t your race have
a sordid history of exploitation?
We never owned slaves, Anderson, or
detonated nuclear weapons. And most
importantly, point number three:
Since the Japanese perfected
synthetic blood, which satisfies
all our nutritional requirements,
there is no reason for anyone to
fear us. That’s why we decided to
make our existence known. We simply
want to be a part of mainstream
society.
ANDERSON COOPER
Yes, but... aren’t you technically
dead?
NAN FLANAGAN
(laughs)
I’m here, aren’t I?
ANGLE ON a CLERK, watching, the slightest of smiles on his
face. He’s part Asian, part psycho; razor sharp cheekbones
and long, limp black hair. He looks flat out evil. He shoots
a contemptuous glance at
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 3.
ELSEWHERE IN THE STORE, a pudgy GOOD OLE BOY (40s) stands at
the COLD DRINK SECTION, staring at the contents of the
refrigerated case, unable to make a decision.
A BELL RINGS as the DOOR OPENS and FRAT BOY and SORORITY GIRL
ENTER, LAUGHING, high.
SORORITY GIRL
Hey. You have Tru-Blood? For real?
FRAT BOY
You get vamps in here? I didn’t
even think we had any in Louisiana.
The Clerk eyes them coldly, like he wants to kill them both
and is just considering different ways do it.
CLERK
(indecipherable accent)
You didn’t know that New Orleans is
a mecca for vampires?
SORORITY GIRL
(fascinated)
Oh... so the Anne Rice books are
right.
CLERK
Hardly.
FRAT BOY
Seriously, New Orleans? Even after
Katrina? Didn’t they all drown?
CLERK
Vampires cannot drown. Vampires do
not breathe.
(then, malevolent)
We actually like the water. When it
is warm.
Frat Boy and Sorority Girl are suddenly frozen with fear.
So is Good Ole Boy in the cold drinks section.
FRAT BOY
(quietly)
Dude. No harm intended. We’re just
a little drunk.
CLERK
(smiles)
Nice. I could use a cocktail.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 4.
He leans toward them, feral. Evil. Now they’re terrified.
Good Ole Boy starts inching toward the door.
Then the Clerk LAUGHS - a dorky, juvenile laugh.
CLERK (cont'd)
(Southern accent)
Score! I totally had you guys.
SORORITY GIRL
That’s not funny.
Frat Boy is angry, then smiles.
FRAT BOY
No, Kelly, it is kind of funny.
SORORITY GIRL
Mike!
FRAT BOY
(to Clerk)
Hey, do you pick up a lotta chicks
that way? Fangbangers?
GOOD OLE BOY (O.C.)
(Southern accent)
I didn’t think it was funny.
The three kids throw him a dismissive glance.
FRAT BOY
We don’t care what you think.
(to Clerk, lowly)
Dude. Do you know where we can
score any V-juice?
SORORITY GIRL
Gross, Mike, no way! I knew this
girl who knew this girl who did
vamp blood during Greek Week and
she like, clawed her own face off.
FRAT BOY
(to Clerk)
No seriously, I’ll pay good money.
GOOD OLE BOY
Okay, you two need to leave.
FRAT BOY
Fuck you, Billy Bob.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 5.
GOOD OLE BOY
(pleasant)
Fuck me? I’ll fuck you, boy. I’ll
fuck you and then I’ll eat you.
He smiles, and a pair of sharp FANGS extend, with the barely
audible CLICK of bone sliding into place. It’s as if someone
just loaded a weapon.
Now the others are petrified. Sorority Girl grabs Frat Boy
and they scramble out, jump into their car and PEEL OFF.
The Clerk is frozen with fear. Good Ole Boy moves toward him
slowly, puts a SIX PACK on the counter. BOTTLED BLOOD. The
LABEL reads TRU-BLOOD. O positive.
GOOD OLE BOY (cont'd)
You ever pretend to be one of us
again and I’ll kill you. Got it?
He pulls an AMERICAN EXPRESS CARD out of his wallet. Shaking,
the Clerk starts to ring him up.
MAIN TITLES
EXT. MERLOTTE’S - NIGHT.
A cozy-looking ROAD HOUSE. NEON BEER SIGNS in the windows, a
FULL PARKING LOT. A tall but simple NEON SIGN reads
MERLOTTE’S BAR & GRILL
We HEAR Mary Chapin Carpenter singing “DOWN AT THE TWIST AND
SHOUT.”
Scene 3 - A Crowded Encounter
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 7
The MUSIC and CONVERSATION are LOUD as we MOVE THROUGH THE
PREDOMINANTLY WHITE CROWD of rural Louisiana folk. We FIND a
thirtyish MAN, a few pounds overweight, sitting with his WIFE
and TEENAGE SON. As we MOVE TOWARD HIM, he looks up at us and
we HEAR HIS THOUGHTS, treated to sound HOLLOW AND SURREAL:
MAN (V.O.)
...I’m just going to have one beer
tonight Jesus one beer that’s
all...
REVERSE ANGLE on SOOKIE STACKHOUSE (25), blonde, fit and tan.
Pretty but wary. Life has left scars on her - scars we may
not be able to see but can somehow tell are there. She smiles
sympathetically at him as she puts a BEER down in front of
him, then puts down a BASKET OF FRIES in front of
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 6.
The Man’s WIFE. Carefully made up. The wrong haircut for her
face. We HEAR HER THOUGHTS, treated to sound HOLLOW AND
SURREAL [as will be all THOUGHTS WE HEAR, from here on]:
WIFE (V.O.)
...better not gripe about me eating
fries not after what I did for him
last night...
BACK ON SOOKIE, wishing she wasn’t hearing these people’s
thoughts. Puts a BURGER down in front of
Their TEENAGE SON. Smart, restless, slightly androgenous.
He’s thinking
TEENAGE SON (V.O.)
...I cannot wait to get the hell
out of this podunk town...
BACK ON SOOKIE, sympathizing with him.
SOOKIE
Make sure you do, and before it’s
too late, because every year you
wait? You just get more and more
stuck here. Believe me, I know.
All three of them stare up at her, surprised. The Teenage
Son’s face goes white.
Sookie, deeply embarrassed to have revealed herself this way,
can’t get away from the table fast enough.
SOOKIE (cont'd)
I’ll get yall some ketchup.
REVERSE TRACKING ON SOOKIE as she spins and walks away from
the table. We start to HEAR A CACOPHONY OF THOUGHTS, from
every single person in the bar. Sookie stops walking, closes
her eyes. Takes a deep, calming breath. The DIN OF OTHER
PEOPLES’ THOUGHTS FADES AWAY. Satisfied, Sookie opens her
eyes, gives herself a little smile as SHE WALKS OUT OF FRAME.
Scene 4 - Tara Quits Her Job
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 9
A WAL-MART type warehouse store. TARA THORNTON (26), wearing
a royal blue SMOCK over her jeans and tank top, leans against
a column, bored. Tara is African-American, smart, impatient
and beautiful - but she’ll be damned if she’ll let you see
it. A snooty matronly SHOPPER approaches in a flurry of Laura
Ashley and frosted hair.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 7.
SHOPPER
Excuse me. I’m looking for that
thick, translucent plastic
sheeting, the kind they hang in
front of the doors of walk-in
refrigerators?
Tara stares at her.
TARA
Uh... we don’t sell that here.
(helpful)
You could try Home Depot.
SHOPPER
(irritated)
I tried them already, they sent me
here. I cannot believe you don’t
have that stuff, I don’t even know
what it’s called.
TARA
Sorry.
SHOPPER
You’re supposed to have everything.
TARA
Well, we don’t have that stuff,
that you don’t even know what it’s
called.
SHOPPER
(doesn’t like Tara’s
attitude)
Your website says this is the most
well-stocked store in five
parishes. I just drove over an hour
from Marthaville.
TARA
Uh-huh. Does our website have a
phone number?
SHOPPER
I suppose it does, but -
TARA
So it never occurred to you, before
you drove an hour, to pick up the
phone and call us to see if we
stocked whatever the hell it is
that you’re looking for?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 8.
SHOPPER
Well, I think if a business chooses
to classify itself as -
TARA
How old are you?
SHOPPER TARA (CONT’D)
I don’t see how that’s - You gotta be at least forty,
right? Old enough to know
that you can’t trust most of
what you read, especially in
an ad.
SHOPPER
It was not an ad, it was a website.
TARA
Why didn’t you just find it online
and have it delivered to your
house? Or were you just looking for
an excuse to wear those ugly
clothes?
A beat.
SHOPPER
I’d like to speak to your manager.
TARA
Fine.
(bellows)
Waylon!
As she pulls her smock over her head:
TARA (cont'd)
Trust me, you are not getting me
fired. I am quitting. You were just
the fucking catalyst, and for that,
I ought to thank you.
SHOPPER
You are a very rude young woman!
TARA
Oh, this ain’t rude. This is
uppity.
A blue-smocked, white STORE MANAGER approaches. Tara hands
him her smock, then SLAPS his face.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 9.
TARA (cont'd)
(goes ghetto)
That’s for patting my ass too much.
I’m ’on’ get my baby’s daddy, who
just got outta prison, to come and
kick your teeth in.
STORE MANAGER
(scared)
Jesus, Tara, please don’t --
TARA
Oh my God, I’m not serious, you
pathetic racist! I don’t have a
baby!
As she walks away, furious:
TARA (cont'd)
Man! I know yall have to be stupid,
but do you have to be that stupid?
INT. MERLOTTE’S - NIGHT.
“SOULFUL GARAGE” by Southern Culture on the Skids plays on
the STEREO. Sookie leans against the bar, checking her
orders. Behind the bar, SAM MERLOTTE (30) mixes drinks. Sam
is small but strong, with strawberry blonde hair and blue
eyes that immediately put you at ease. He moves his head in
time to the music as he works; this is a man who likes his
job. A PHONE behind the bar RINGS; Sam picks it up.
SAM
Evenin’, Merlotte’s... hey, Tara...
Sookie shoots him an apologetic look.
SAM (cont'd)
Yeah, she’s right here...
As he hands the phone to her:
SOOKIE
Sam, I’m so sorry, she knows not to
call me at work -
SAM
(a smile)
Sookie. It’s okay. You don’t abuse
the privilege, like Arlene does.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 10.
ARLENE FOWLER, a waitress with flaming red hair, rushes by
with a tray laden with FRIED FOOD. Arlene’s in her early
forties and she’s in complete denial about it.
ARLENE
I heard that.
SAM
Well, I wish you would hear that.
ARLENE
Oh please, Sam. I have kids!
And she’s gone.
SOOKIE
(into phone)
This had better be an emergency.
Scene 5 - Unwelcome Advances at Merlotte's
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
INSIDE Tara’s meticulously maintained 1985 MERCEDES-BENZ 280.
Tara drives, pissed, “OVER YOU (BUMP MIX)” by Vallejo blaring
on her STEREO.
TARA
(into her cell phone)
It is. I just quit my job.
Intercut as necessary with Sookie at Merlotte’s:
SOOKIE
Again?
TARA
I can’t work for assholes!
SOOKIE
Well, I’m glad you can afford to be
so picky, Miss Say-hello-to-the-
rest-of-us.
TARA
Oh shut up. Sam is not an asshole,
and he’s totally in love with you.
SOOKIE
(shocked)
Tara! He is my boss.
TARA
Jesus, Sookie. You need to lighten
up.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 11.
SOOKIE
You know I hate when you use the J-
word. I have to go!
TARA
I’m coming there right now, I need
a Margarita. A big one.
SOOKIE
Bye!
She hangs up as another waitress approaches the bar. This is
good time girl DAWN GREEN (29), an attractive brunette who
doesn’t expect too much out of life and is quite pleased with
what she gets.
DAWN
(to Sookie)
Mack and Denise Rattray are just
about to sit down in your section.
Sookie’s face darkens; this all she needs tonight. Sam
notices.
SAM
Come on, Sookie, don’t let ‘em get
to you. They’re not worth it.
Sookie smiles a very weak, very fake smile at
Her POV: MACK and DENISE RATTRAY slide into a booth. They’re
somewhere between 30 and 50, hard-living, aggressive. Denise
is wearing an ill-advised halter and short shorts. Mack spots
Sookie, smiles back, waves. He looks like he might be crazy.
BACK ON SOOKIE: Her lifeless smile remains, but her shoulders
drop visibly.
JUMP TO:
INT. MERLOTTE’S - MOMENTS LATER - NIGHT.
ON SOOKIE, holding her pad, trying to be cheerful.
SOOKIE
What can I do for yall tonight?
ON MACK, smiling up at her, thinking
MACK (V.O.)
- wrap your sweet lips around my
slim reaper that’s what you can do -
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 12.
ON SOOKIE, revolted, but struggling to not show it.
MACK (cont'd)
(eying her suggestively)
How ‘bout we start with a pitcher
of Bud.
SOOKIE
(avoiding his eyes)
Aaaaaall rightie. Anything else?
She glances at
ON DENISE, staring at her flatly.
DENISE DENISE (V.O.)
Onion rings. With mustard. - God she’s pathetic like a *
dog that’s been kicked too
many times -
Sookie looks back at her, hurt, then:
SOOKIE (cont'd)
(too perky)
Coming right up.
She turns and practically runs from the table. Mack watches
her ass as she goes.
DENISE
I think she’s retarded.
Scene 6 - Kitchen Banter at Merlotte's
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
MOVING THROUGH THE KITCHEN, PAST ARLENE, on her cell phone,
sneaking a smoke:
ARLENE
Honey, if Rene tells you you’re too
young to watch a scary movie on
HBO, then I’m siding with him...
(then, irritable)
I know he is not your father. But
your father does not want to live
with us any more, remember?
We FIND LAFAYETTE REYNOLDS at the grill. Lafayette’s in his
20s, African-American, solidly built, not in the least bit
feminine, even though he’s wearing LIPSTICK and EYE SHADOW,
subtly and rather artfully applied. Under his WHITE COOK’S
APRON, he’s in club wear. He almost dances as he cooks,
moving loosely to music only he can hear.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 13.
THROUGH AN OPEN PASS-THROUGH: Sookie appears in the service
alley, clips her ORDER to a line, unhappy.
SOOKIE
Onion rings. And if you drop a few
on the floor, that’s fine with me.
LAFAYETTE
(flirty)
Sookie, you looking all Jessica
Simpson, with that tan, that pink
lipstick. You got a date?
SOOKIE
(not in the mood)
No, I do not have a date. When I
wear makeup, I get bigger tips. I
get even bigger tips when I act
like I don’t have a brain in my
head.
Lafayette LAUGHS. He’s probably high.
LAFAYETTE
Yes, girl, that is it. These damn
rednecks are suckers for packaging.
SOOKIE
Because otherwise they’re all
scared of me.
LAFAYETTE
They ain’t scared of you, honey,
they scared of what’s between your
legs.
SOOKIE
(dead serious)
Lafayette, that’s nasty talk. I
won’t listen to that.
Arlene has finished her phone call.
ARLENE
Do you even know what’s between a
woman’s legs, Lafayette?
Dawn appears in the service alley next to Sookie.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 14.
LAFAYETTE
I know that every man, whether he
is gay or straight or George
fucking Bush, he is terrified of
the pussy.
DAWN SOOKIE
What the hell are we talking (shocked) *
about? Lafayette!
ARLENE
Oh, please. Everybody is not gay.
And not everybody wants to have sex
with you.
LAFAYETTE
You would be surprised, Arlene.
People you know. That’s all I’m
saying.
DAWN
Well, I don’t want to have sex with
you.
ARLENE
Me neither. And I don’t think
Sookie does either.
SOOKIE
No. I’m sorry, Lafayette, but I do
not.
LAFAYETTE
(laughs)
Yall bitches do not know what
you’re missing.
DAWN
No, honey, you don’t know what
you’re missing.
Scene 7 - Revelation in the Night
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
CLOSE ON A TV SCREEN: MTV’s “NEXT.”
WIDE ANGLE. MAUDETTE PICKENS, a trashy-looking young woman of
26, lays naked on her vinyl sofa, as a naked athletic MAN
kneels before her, his back to us, his face buried between
her legs.
FROM THE SIDE, OVER HER THIGH: We can see the Man’s eyes
looking up at Maudette as he goes down on her; his eyebrows
jump up and we HEAR his muffled LAUGH. He’s in heaven.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 15.
This is Sookie’s brother JASON STACKHOUSE (28). His good
looks and mischievous grin get him into a lot of trouble, and
most of the time get him out of it as well.
ON MAUDETTE’S FACE, her head thrown back. She YELPS a couple
of times.
Jason suddenly pulls back, stares at something on her inner
thigh that fascinates him. He frowns, looks up at her.
JASON
What is this?
MAUDETTE
Oh! It’s just - mosquito bite.
INSERT ON MAUDETTE’S INNER THIGH: Two clear PUNCTURE WOUNDS,
on their way to being completely healed.
JASON
(creeped out)
You had sex with a vampire?
MAUDETTE
Okay, once. I went to that vampire
bar in Shreveport, he picked me up.
(off his look of distaste)
Look, I was broke, and he paid me a
lot of money.
Jason leans back, studies her. It’s unclear what he’s
thinking.
JASON
You a hooker, Maudette?
MAUDETTE
No! I was just really broke at the
time.
JASON
‘Cause I don’t pay for it. Never
have, and never will.
MAUDETTE
Well, I don’t charge for it
neither! He offered me a thousand
dollars to bite me, what was I
going to do, say no to a thousand
dollars?
A beat.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 16.
JASON
What was it like?
MAUDETTE
(shivers)
Scary. But hot.
JASON
I read in Hustler, everybody should
have sex with a vampire at least
once before they die.
MAUDETTE
Once was enough for me. He was too
rough. I mean, I like to be rough,
sometimes, but...
JASON
(intrigued)
You do?
MAUDETTE
Sure. Why not? It’s not going to
kill me, and if it does, well then
I won’t care, will I?
She says this with such an unpleasant mix of resignation and
cynicism that Jason stares at her, wondering how he ever
found her attractive... until:
MAUDETTE (cont'd)
I videotaped it. With the vampire.
Wanna watch?
OFF JASON, nervous about what he might see, but knowing that
he wants to see it. We HEAR “HANDCUFFED TO A FENCE IN
MISSISSIPPI” by Jim White.
Scene 8 - Sookie Meets Bill
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
Tara sits at the bar, depressed, nursing a MARGARITA. Sam is
making drinks for Sookie, who waits at the service area.
TARA
My life sucks.
SOOKIE
Tara, don’t you be feeling sorry
for yourself. That’s just lazy.
TARA
But why can’t I keep a job?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 17.
SOOKIE
Maybe because you can’t keep your
mouth shut.
TARA
Bitch, who asked you?
As Sam places the drinks on Sookie’s tray:
SAM
How you doing, Sookie?
SOOKIE
Well, I’ve had better nights. But
I’ve had worse nights too.
SAM
Anything I can do to improve this
one for you?
Sookie looks at him, caught off guard. He smiles warmly and
frankly at her, having finally worked up the nerve to maybe
show her his true feelings. The moment is suddenly charged,
and then...
ON SOOKIE, feeling something, something big, something
unexpected. As we swiftly CIRCLE AROUND HER, MUSIC AND
CONVERSATION FADE, replaced by A MIX OF PEOPLE’S THOUGHTS,
which is more subdued, calmer, sounds further away.
Sookie instinctively turns around and steps into
CLOSE ON SOOKIE, looking at
HER POV: The FRONT DOOR IS JUST CLOSING. Either somebody just
left or they just came in.
BACK ON SOOKIE, wondering why she just felt such a jolt of
excitement. Behind her, Sam is watching something, alert.
MUSIC AND CONVERSATION FADE BACK IN, and Dishwalla’s “UNTIL I
WAKE UP” starts just as SOOKIE’S EYES WANDER OVER TO...
HER POV: Seated in a booth semi-shrouded in darkness is a
strangely handsome MAN. This is BILL COMPTON. He’s 166, but
looks 30. Dark hair, dark eyes. Old-fashioned sideburns.
Rugged, but with an air of refinement. He’s looking straight
at us.
ON SOOKIE, staring at Bill, B.G. MOVING SLOWLY behind her.
CLOSER ON BILL, observing her. His expression doesn’t change -
no smile, no leer, nothing. There’s something unnaturally
calm about him. It’s unsettling, but also sexy.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 18.
Sookie quickly turns around, excited.
SOOKIE
Oh my God. I think Merlotte’s just
got its first vampire.
SAM
(quietly, eyeing Bill)
I think you’re right.
SOOKIE
Can you believe it? Right here in
Bon Temps? I’ve been waiting for
this to happen ever since they came
out of the coffin two years ago!
She grabs her tray and heads off. We LINGER ON SAM, his face
a mixture of concern and sadness.
ON SOOKIE, walking toward us, secretly thrilled.
Her POV: MOVING TOWARD BILL, who watches us, eerily calm.
SLOWER MOTION ON SOOKIE, realizing suddenly how handsome he
is, and wondering at how comfortable she feels with him
looking at her...
MOVING CLOSER TO BILL, his stillness seeming like a deeply
centered confidence, nothing darker.
ON SOOKIE, ramping back into real time as a nervous LAUGH
escapes her, she’s so damn excited.
MOVING CLOSER STILL TO BILL. He almost smiles at Sookie’s
obvious enjoyment, then...
There’s a momentary FLASH OF REGRET in his eyes, the whites
of which are really white.
Sookie arrives at his table, trying not to be giddy.
SOOKIE (cont'd)
Hi, what can I get you tonight?
BILL
Do you have any of that synthetic
bottled blood?
His voice is deep and rich, yet soft and still, with a slight
Southern drawl. Sookie is surprised at the effect it has on
her, but doesn’t dislike it.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 19.
SOOKIE
No, I’m so sorry. Sam got some a
year ago, but nobody ever ordered
it, and it went bad. You’re our
first. Vampire.
BILL
(the slightest of smiles)
Am I that obvious?
SOOKIE
Oh, I knew the minute you came in.
(then, looking around)
I can’t believe nobody else around
here seems to.
BILL
(nods toward Sam)
He does.
ON SAM, looking back at Bill as if to say, “I’m watching
you.”
SOOKIE
Oh, don’t worry about Sam. He’s
cool. I know for a fact he supports
the Vampire Rights Amendment.
BILL
How progressive of him. Perhaps I
will have the chance to count him
as a friend.
A moment, as they just look at each other. A strange peace
seems to exist between them, which Sookie may have never felt
before, although she doesn’t know why it’s there.
SOOKIE
Oh! Can I get you... well, is there
anything else you drink?
BILL
Actually, no. But you can bring me
a glass of red wine so I’ll have a
reason to be here.
SOOKIE
(a goofy laugh)
Well, whatever the reason, I’m glad
you are.
She smiles; he actually smiles back.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 20.
MACK (O.C.)
Don’t mind Sookie none, Mister.
She’s crazy as a bedbug.
Sookie turns beet red, as Mack Rattray leans over the back of
the adjoining booth. Bill watches her closely, observes her
reaction.
SOOKIE
(embarrassed)
I’ll just get your wine for you -
She walks away, working to mask how upset she is. Bill turns
to watch her go, wishing she hadn’t. Behind him, Mack Rattray
leans further over the back of the booth, extends his hand.
MACK
I’m Mack Rattray, this here’s my
wife Denise.
DENISE
Hi!
Bill remains completely focused on Sookie for several beats
before turning back to the Rattrays.
BILL
Good evening.
And for the first time, we see some real darkness in him.
Scene 9 - Tension and Suspicion
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 7
FROM BEHIND THE COUCH: Jason and Maudette’s bare backs are
visible; she’s draped on his shoulder. FLOATING UP we can see
ON THE TELEVISION they’re watching: Maudette is naked, HER
HANDS BOUND to a large HOOK in the ceiling above her, as a
hairless, sinewy VAMPIRE with multiple TATTOOS fucks her from
behind, running his hands up and down her body like a
virtuoso harpist on speed. He moves with superhuman power and
grace, reveling in the erotic drama being created.
ANGLE ON JASON, seated in front of the TV, watching,
mesmerized. Maudette licks his neck randomly. Jason glances
up at:
His POV: The HOOK in Maudette’s ceiling, a big industrial
hook apparently installed for just such a purpose.
Jason’s eyes wander back to the TV.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 21.
ON THE TV: The Vampire’s face comes into view, his open mouth
revealing first FANGS, then an obscenely long TONGUE which he
extends lewdly. He drags his fangs across the surface of
Maudette’s neck, which clearly frightens her. Which he
clearly enjoys.
CLOSER ON JASON, as Maudette goes for his crotch and drops
OUT OF FRAME. He lets out a ragged breath as the unseen
Maudette starts to blow him; he’s turned on, but feels like
he shouldn’t be.
CLOSE ON THE TV: The Vampire drags his fangs across
Maudette’s breast and LOOKS AT THE CAMERA darkly. Sticks his
tongue out again and HIS EYES ROLL AROUND IN THEIR SOCKETS
UNNATURALLY; he’s a hideous satyr, consumed by exhibitionist
lust. This image should be deeply disturbing, vicious and
insane.
CLOSE ON JASON, trying to reconcile his deep repulsion at the
video with his arousal by Maudette’s oral skills. It’s a
struggle.
INT. MERLOTTE’S - NIGHT.
Slim Harpo’s “STRANGE LOVE” plays as Sam tends bar. Sookie
leans against the bar, next to Tara who’s working on her
second Margarita. They’re watching:
THE RATTRAYS HAVE JOINED BILL AT HIS TABLE. Denise keeps
pushing her hair back, exhibiting her bare neck, acting
overtly flirtatious. Bill is clearly responding, as he can’t
take his eyes off her, and when he speaks, we glimpse his
extended FANGS.
SOOKIE
What a bitch!
(skeeved)
You really think she’ll let him
bite her?
TARA
Oh yeah. Don’t you know how many
people are having sex with vampires
these days? And sometimes, those
people disappear.
SOOKIE
(sure of it)
No. He’s not like that.
TARA
Okay, you spoke to him for like a
minute.
(MORE)
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 22.
TARA (cont'd)
You don’t know how many people he’s
sucked the blood out of over the
last however many centuries he’s
been alive.
SOOKIE
But he’s so not scary...
TARA
Oh sweet Jesus in heaven, Sookie,
do not go getting any ideas this is
Mr. Right! He is a vampire!
SOOKIE
But the synthetic blood has
everything they -
SAM
(quietly)
Are you willing to pass up all your
favorite foods and spend the rest
of your life drinking SlimFast?
A beat. Sookie knows he’s right, but...
SOOKIE
I want to know what the hell those
Rattrays are up to.
She grabs her tray and heads off.
Scene 10 - Sookie's Intervention
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 8
- Dialogue: 7
The Rattrays seems to be doing their best to seduce Bill.
DENISE
- I mean, people have always
discriminated against me -
MACK
Oh boy, have they ever.
DENISE
- because I just never felt like
being what society wanted me to be,
you know?
MACK
Me neither. Me neither.
DENISE
So we know what it’s like for you.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 23.
Sookie shows up at their table abruptly, intent on
interrupting whatever is going on.
SOOKIE
Can I get yall anything else?
Bill, Mack and Denise look up at her, startled. Bill seems
glad to see her; the Rattrays do not.
SOOKIE (cont'd)
Mack?
Mack give her a steely smile.
MACK MACK (V.O.)
I’m fine. Get the hell out of here.
SOOKIE (cont’d)
O-kay, then! How about you, Denise?
Denise just leans back and looks at the ceiling, not even
paying attention to Sookie, thinking:
DENISE (V.O.)
- big guy so he’s probably got
eleven or twelve pints in him holy
shit that’s almost two hundred
ounces -
ON SOOKIE, realizing.
DENISE (V.O.) (cont'd)
- bet we could get five hundred an
ounce in Dallas -
SOOKIE
(abruptly)
I’m going to bring yall a free
round of beer, okay? Don’t you go
anywhere.
Mack glares up at her; Denise ignores her, too wrapped up in
her thoughts.
MACK (V.O.) DENISE (V.O.)
The hell is your problem? - finally pay off those
goddamn credit card bills -
Sookie gives Bill a pointed look before she heads off; he
watches her go, bewildered.
ANGLE ON THE BAR: Tara has nodded off, her head on the bar.
Sam is nowhere to be seen. Sookie rushes up, shakes her.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 24.
SOOKIE (cont'd)
(whispering)
Tara! We have to stop them!
TARA
(disoriented)
Stop who? Why?
Sam returns from the storeroom, carrying a case of liquor.
SOOKIE
The Rattrays! They’re going to
drain him and sell his blood! We
have to stop them!
Sam eyes her, concerned. As does Tara.
TARA
No we do not. We do not have to get
anywhere near that vampire.
SOOKIE
(stares at her)
Wow, you are a real bigot, you know
that?
TARA
(offended)
I know that people who hang with
vamps always get sucked right out
of the real world somehow, even if
they remain alive.
SOOKIE
I’m very disappointed in you, Tara,
you and your small-mindedness.
Sookie turns, is horrified to see
BILL’S BOOTH IS EMPTY.
SOOKIE (cont'd)
Shit! I have to do something -
SAM
Sookie. A vampire can take care of
himself, I promise you.
Sookie looks at him, not so sure. Suddenly turns and rushes
out the front door.
Sam and Tara trade a look. Sam sighs, unties his apron.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 25.
SAM (cont'd)
You know how to tend bar?
TARA
No.
SAM
(hands her the apron)
Fake it.
EXT. MERLOTTE’S - PARKING LOT - CONTINUOUS.
People have started home, so the parking lot is not quite so
crowded. Still, there’s a fair number of cars.
Sookie scans the lot, sees nothing. Takes a breath, exhales
slowly. Closes her eyes. Focuses. We HEAR - faintly -
DENISE (V.O.)
- so thick like molasses DAMN
this’ll bring a pretty penny -
Sookie’s eyes pop open, and she looks toward the far end of
the parking lot, at the edge of the woods. Knows that’s where
she needs to go.
FOLLOWING SOOKIE as she quickly but stealthily moves toward
the edge of the lot. She stops when she spots A LENGTH OF
HEAVY CHAIN in the back of a pickup. Decides to take it,
taking great pains to be as quiet as possible.
Scene 11 - Dark Confrontation
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Maudette stands, her hands once again bound to the hook in
the ceiling above her, as Jason fucks her from behind. He’s
excited, definitely into this.
JASON
You like this? You like it rough?
MAUDETTE
Yeah -
JASON
You like to be punished?
MAUDETTE
Mmm -
JASON
Yeah. You’re a sick little vampire
fucker, Maudette Perkins. Aren’t
you ashamed?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 26.
MAUDETTE
Oh yeah -
JASON
You like that? You like to fuck a
dead man? You disgust me -
Maudette MOANS and writhes; disgusting other people is
apparently a big turn-on for her.
MAUDETTE
Yes. Yes.
JASON
Too bad I don’t have any fangs,
huh? Rip your throat out.
OFF JASON, fucking her savagely, what few inhibitions he has
now gone completely. Discovering a dark streak inside
himself. And liking it. His HANDS START TO ENCIRCLE HER NECK.
ANGLE ON THE LENS OF A VIDEO CAMERA, in the shadows. A tiny
GREEN LIGHT indicates it’s filming.
EXT. MERLOTTE’S - PARKING LOT - MOMENTS LATER - NIGHT.
CLOSE ON BILL, lying back on the grass, his FANGS EXTENDED,
his mouth opening and closing silently, helplessly. PULLING
BACK, we see his hands, feet and neck are all bound with
lightweight but strong SILVER CHAIN, and he’s lying at the
edge of the woods. Mack is on one side of him, yanking a
cruel-looking LEATHER TOURNIQUET tightly around his arm, just
above the elbow. Denise kneels at Bill’s other side, fixing a
new VACUTAINER to the NEEDLE she’s stuck into his forearm.
Three full VIALS OF BLOOD are already on the grass beside
her.
MACK
Hurry.
DENISE
I told you we should have taken him
home.
MACK
Too dangerous.
ON BILL, suddenly spotting
His POV: SOOKIE KNEELS BEHIND A CAR, silently twisting the
chain around her wrist. SHE MAKES EYE CONTACT WITH HIM, nods
slightly..
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 27.
BACK ON BILL, watching her intently, his eyes steady.
ON SOOKIE: It’s now or never. She stands, moves quickly and
stealthily from behind the car, and before Denise can even
finish looking up at her -
SHE BRINGS THE CHAIN DOWN HARD, ACROSS MACK’S HEAD AND BACK.
Mack CRIES OUT, drops the tourniquet, and stumbles forward,
onto Bill. Quickly scrambles off him and turns to face
Sookie, his eyes blazing.
MACK (cont'd)
You crazy bitch - !
AND HE PULLS A NASTY-LOOKING KNIFE FROM HIS BOOT.
Sookie glances down at it, then glances over at
Denise is too busy SWITCHING OUT VACUTAINERS to be of much
help. But her eyes are shooting holes of hate toward Sookie.
SOOKIE STARTS TO SWING THE CHAIN. Mack lunges at her, and she
jerks back; he SLASHES at her arm, missing by mere inches. On
its recoil, THE CHAIN WRAPS AROUND MACK’S NECK TIGHTLY, pulls
him to his knees, as if by magic. His knife drops.
ON SOOKIE, surprised. And grateful.
EXT. WOODS - CONTINUOUS - NIGHT.
CLOSE ON A WOMAN’S STARTLINGLY BLUE EYES, watching the whole
scene from the nearby woods.
ANGLE OVER THE BLUE-EYED WOMAN’S SHOULDER, THROUGH THE TREES:
Mack reaches for the heavy chain around his neck, making
choking noises. Pulls the chain from Sookie’s grip.
EXT. MERLOTTE’S - PARKING LOT - CONTINUOUS - NIGHT.
ANGLE ON DENISE, eyeing the knife as she deftly clips a new
Vacutainer into place. SHE LUNGES FOR THE KNIFE, but...
SOOKIE BEATS HER TO IT. Grabs the knife and steps back,
brandishing it as if she has any idea what to do with it.
CLOSE ON BILL, suddenly becoming aware of something, of a
presence nearby. He twists his head toward the woods.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 28.
EXT. WOODS - CONTINUOUS - NIGHT.
THE BLUE-EYED WOMAN QUICKLY RETREATS INTO THE WOODS. We never
got a clear look at her face, but we do see the SPARKLY 1960S
COCKTAIL DRESS she’s wearing as she nimbly sprints off
through the darkness.
Scene 12 - Confrontation in the Parking Lot
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
Mack struggles, unable to get the chain from around his neck.
Denise stands and moves toward Sookie, livid.
DENISE
This is not your business, you
stupid cunt.
SOOKIE
(holding knife steadily)
Now see, that just proves how low-
rent you really are.
DENISE
Do you have any idea who you are
messing with? You do not want to be
on my bad side.
SOOKIE
I’m not sure you even have another
side, you cheap Christmas trash.
Denise reaches for the VIALS OF VAMPIRE BLOOD. Sookie jabs
toward her with the knife.
SOOKIE (cont'd)
Uh-uh. That doesn’t belong to you.
DENISE
I will kill you for this.
SOOKIE
Get. Out. Now.
A standoff. Denise considers fighting her, but Sookie does
seem confident and more then willing to inflict serious
damage on Denise should she attempt it. Denise finally grabs
Mack by the chain around his neck and drags him toward their
beat-up RED SPORTS CAR.
DENISE
This ain’t over.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 29.
Still holding the knife, Sookie drops to her knees and deftly
unwraps the silver chain around Bill’s neck, hands and
ankles. She’s unsettled to see
FINE LINES BURNT INTO HIS SKIN, RED and WET, where the silver
was. SMOKE rising from these cuts. We HEAR the Rattrays’ CAR
START UP.
ON SOOKIE, even more unsettled, when
BILL’S CUTS START TO HEAL in front of her eyes.
SOOKIE
Wow.
Her face is suddenly illuminated by CAR HEADLIGHTS, and she
looks up at
THE RATTRAY’S CAR IS BARRELING RIGHT TOWARD SOOKIE AND BILL.
Thinking quickly, she moves around to his head and reaches
under his arms.
SOOKIE (cont'd)
(adrenaline surging)
Push with your feet -
SHE YANKS HIM BACK TOWARD THE WOODS WITH ALL HER MIGHT; he
pushes with his now unbound feet and THEY FALL BACK BEHIND
THE TREE LINE just as
THE RATTRAYS’ CAR SPEEDS BY, DANGEROUSLY CLOSE. Swerves to
avoid hitting a tree just in time, then is gone. A DOG BARKS.
Scene 13 - Encounter in the Woods
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Sookie has to take a couple of moments to catch her breath.
Bill moves, brings his now unbound wrists up to his chest,
smoke trailing from them. Whatever he’s been through, it’s
obviously still painful.
SOOKIE
Oh, you poor thing, I am so sorry I
didn’t get here faster...
He looks up at her, his expression unreadable.
SOOKIE (cont'd)
You’ll feel better in a minute,
right?
He doesn’t answer, just keeps struggling to move. Sookie is
suddenly embarrassed for him, seeing him so weak like this.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 30.
SOOKIE (cont'd)
Do you want me to leave?
BILL
(hoarse)
No.
She smiles, pleased he wants her to stay. Until -
BILL (cont'd)
They might come back, and I can’t
fight yet.
Sookie frowns, not liking this. Just then...
A COLLIE trots up and looks at both of them, sniffs around,
highly alert.
SOOKIE
Well, hey there, dog.
The Collie wags its tail, licks her face. Approaches Bill,
BARKS once or twice, not unfriendly, then suddenly runs off.
BILL
He’s checking on you.
SOOKIE
That’s just some old dog that hangs
around the bar sometimes. He must
live nearby.
BILL
Oh, no doubt.
He struggles to sit up. Instinctively, Sookie reaches to help
him, but he pulls back from her. Hurt, she turns around to
give him some privacy.
SOOKIE
I guess you’re not too happy about
being rescued by a woman.
BILL
(not easy for him)
Thank you.
ON SOOKIE, now irritated. She gets an idea. Takes a breath,
closes her eyes and listens. The NIGHT SOUNDS FADE, get a
little fuzzy, then are replaced by...
NOTHING.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 31.
Sookie opens her eyes and GASPS, realizing -
SOOKIE
I can’t hear you!
BILL
(louder, over-articulated)
Thank. You.
Sookie turns to him, excited. Without thinking, takes his
face in her hands, looks into his eyes, concentrating deeply.
He is clearly surprised by this.
SOOKIE
No, I can hear you, but I can’t...
She relaxes completely, closes her eyes. Again, nothing. She
smiles, deeply happy, suddenly understanding why she feels
the way she feels around him. Opens her eyes, still smiling.
SOOKIE (cont'd)
My goodness.
A beat, as they regard each other.
BILL
Aren’t you afraid to be out here
alone with a hungry vampire?
SOOKIE
Nope.
But she does quickly put some distance between them.
BILL
Are you assuming that since you
came to my rescue, you’re safe?
Vampires often turn on those who
trust them. We don’t have human
values, you know.
SOOKIE
A lot of humans turn on those who
trust them too. I’m not a total
fool.
She’s found the fine SILVER CHAIN that was wrapped around him
earlier; she quickly entwines it around her neck and looks
back at him, a little smug. He sits up quickly, just to let
her know how much he has already recovered.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 32.
BILL
You have other, very juicy
arteries. There’s one in the groin
that’s a particular favorite of
mine.
SOOKIE
(sharply)
Uh-uh. I won’t listen to nasty
talk. You might be a vampire but
when you talk to me you will talk
to me like the lady that I am.
Bill eyes her, surprised, apparently unaccustomed to being
told what to do. A trace of a smile floats on his face.
BILL
(re: vials)
Would you like to drink the blood
they collected?
SOOKIE
(ew)
No.
BILL
I understand it make humans feel
more healthy and improves their sex
life.
SOOKIE
I’m as healthy as a horse and I
have no sex life to speak of, so
you can just keep it.
BILL
(testing her)
You could always sell it.
SOOKIE
(insulted)
I wouldn’t touch it.
He stands abruptly, crosses to her, looks at her closely,
which is a little unsettling for her.
BILL
(curious)
You’re different. What are you?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 33.
SOOKIE
(nervously)
Well, I’m Sookie Stackhouse, and
I’m a waitress. What’s your name?
BILL
(after a beat)
Bill.
Sookie can’t help it; she LAUGHS out loud.
SOOKIE
Bill?
Bill clearly doesn’t appreciate her LAUGHTER, but after the
nerve-wracking events of the past few minutes, she needs a
release.
SOOKIE (cont'd)
I thought it might be Antoine, or
Basil, or Langford, maybe, but
Bill?
(a hoot)
The vampire Bill! Oh my.
Her LAUGHTER gradually runs its course. An awkward beat.
SOOKIE (cont'd)
So silver, huh? I thought that only
affected werewolves.
(off his raised eyebrow)
I’m not implying werewolves exist,
I mean, that’s just what you always
see in the movies.
BILL
(stiffly)
I would appreciate it if you didn’t
share this information with anyone.
We don’t like for our weaknesses to
be public knowledge.
SOOKIE
Oh. Okay.
(abruptly)
Well, see ya, Bill, I gotta get
back to work.
She stands, shoots him a smile, then turns to go.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 34.
Scene 14 - Sookie's Return
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Sookie emerges from the woods, a little worse for wear.
Looking up, she spots
Sam stands in the parking lot, worried; he’s obviously been
looking for her. When he sees her, his face is flooded with
relief.
SAM
Sookie, thank God. You okay?
SOOKIE
I’m fine. And for your information,
not all vampires can take care of
themselves.
She passes him, heads back toward the bar. He lingers,
looking out at
His POV: THE WOODS, dark and still and EERILY QUIET.
Scene 15 - Night at Merlotte's
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
The place has thinned out considerably. We HEAR “I SHOULD GET
UP” by Teddy Thompson.
Tara is still behind the bar. Sam comes out of the kitchen,
joins her.
SAM
Thanks for helping me out tonight,
Tara.
TARA
Yeah, how much are you going to pay
me?
SAM
Um, twenty bucks?
TARA
Sam. How can you expect me to work
here for twenty bucks a night?
SAM
I don’t expect you to work here.
And you covered tonight for only
what, an hour? At the most.
TARA
Yeah, but Sam. If I did work here -
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 35.
SAM
It would only be a matter of time
before you went off on somebody,
and I don’t want to drive my
customers away.
TARA
I only go off on stupid people.
SAM
Most of my customers are stupid
people.
TARA
Yeah, but I could help you keep an
eye on Sookie, cause something
tells me that girl is messing with
trouble with a capital T.
Sam’s eyes meet hers. She’s serious.
TARA (cont'd)
And she means too much to both of
us, to let anything happen to her.
They keep looking at each other, then Sam frowns. Grabs a
worn MIXING GUIDE from under the bar, hands it to her.
SAM
Be here tomorrow at six. And learn
this on your own, I don’t have time
to train you.
TARA
Sam. I was mixing whiskey sours for
my mama when I was in first grade.
It’s just like riding a bicycle.
Jason enters, crosses to the bar, agitated.
JASON
Hey, Sam. My sister here?
Sam has already poured him a DRAFT BEER.
SAM
No, she just left.
JASON
Damn. Okay. It’ll wait.
Tara smiles, softer, more vulnerable in his presence. She
waits for him to acknowledge her; when he doesn’t:
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 36.
TARA
Hi, Jason.
JASON
(without looking at her)
Hey.
Now she’s pissed.
TARA
Uh, my name is Tara? I went to high
school with your sister? I used to
spend the night at your house for
like, years?
JASON
(mystified by her
hostility)
I remember you.
TARA
Uh, you better remember me.
Jason stares at her, trying to remember if there’s anything
he should remember. DAWN APPEARS, counting her tips.
DAWN
(to Jason, flirty)
Hey stranger.
JASON
(pleased to see her)
Dawn!
He spontaneously hugs her; she hugs him back tightly. There’s
obviously history here, but no hard feelings. They break the
hug, but their faces remain close. Tara watches them like
she’s watching TV.
JASON (cont'd)
How’ve you been? You look great.
DAWN
I’ve been fine. Partyin’.
JASON
So you’re not mad at me?
DAWN
Why would I be mad at you?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 37.
JASON
For not calling, you know. The
usual.
DAWN
(a laugh)
Jason. I had no expectations about
you, none whatsoever. I’m not an
idiot.
JASON
(flirting)
No, you are kind of an idiot.
DAWN
(flirting back)
And you are a pathetic bastard.
JASON
Hey, what time you get off work?
DAWN
Well, what do you know? I get off
right now.
Jason grins, amused by her directness.
JASON
You want to go somewhere?
DAWN
Yeah. I want to go home. G’night!
And she walks away, leaving him frustrated and intrigued,
which of course is exactly what she wanted. He watches her go
out the front door, a rakish grin on his face.
TARA
Oh my God. You are a huge parody of
yourself, and you don’t even know
it.
Jason stands, slaps a bill on the bar. He didn’t even hear
her.
JASON
Great seeing you, Tara. Good luck.
And he heads out himself.
TARA
Good luck? Good luck with what?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 38.
Scene 16 - Dream Encounter
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
THROUGH THE WINDSHIELD: We’re driving down a TWO LANE ROAD
through the woods, illuminated only by HEADLIGHTS, just like
at the beginning. We HEAR “SWEET AFTON” by Nickel Creek.
ON SOOKIE, driving, turning the events of the night over in
her mind. Remembering the peace she felt in Bill’s presence.
THROUGH THE WINDSHIELD: We turn off the main road, down a
SINGLE LANE GRAVEL ROAD. The middle of nowhere.
EXT. OLD STACKHOUSE PLACE - NIGHT.
In the middle of a clearing, surrounded by wood on all sides,
stands an OLD HOUSE, built in the mid-nineteenth century and
added to haphazardly over the years. WHITE CLAPBOARD SIDING,
TIN ROOF, SCREENED PORCH. It manages to be ramshackle, quaint
and warm all at once. Aside from the YELLOW BUG LIGHT at the
door, there’s a SINGLE LIGHT ON UPSTAIRS. Then a MOTION
DETECTOR FLOODLIGHT COMES ON AS Sookie’s YELLOW HONDA CIVIC
pulls up and parks next to the 1976 BEIGE FORD GRENADA out
front. Sookie gets out and heads toward the front door.
INT. OLD STACKHOUSE PLACE - STAIRWELL - CONTINUOUS - NIGHT.
MOVING UP AND ACROSS FRAMED PHOTOGRAPHS lining the stairwell -
Sookie and Jason’s SCHOOL PICTURES throughout the years;
Jason as a boy in a LITTLE LEAGUE UNIFORM; Sookie as a girl
in a TUTU; Sookie and Jason as kids in HALLOWEEN COSTUMES;
high school GRADUATION PHOTOS of both of them standing with
an OLDER WOMAN IN HER LATE SIXTIES... only one with their
PARENTS, taken when Sookie was about six and Jason nine.
SOOKIE ENTERS FRAME, climbing the stairs. We FOLLOW HER up to
the second floor hallway. She RAPS on a door, then opens it
and we follow her into
INT. OLD STACKHOUSE PLACE - ADELE’S ROOM - CONTINUOUS -
NIGHT.
A small room, but warm and cheerful. ADELE HALE STACKHOUSE
(75) sits up in a queen-sized antique SPINDLE BED, reading a
ROMANCE NOVEL. She wears a long sleeve cotton nightgown and
her hair is completely white. A plush, satisfied-looking CAT
is curled up on the bed. Adele’s crinkly eyes light up when
she sees Sookie enter.
SOOKIE
Hey, Gran.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 39.
ADELE
(closes her book)
Hi, honey.
Sookie sits on the side of the bed, pets the Cat.
SOOKIE
Hey, Tina.
(then, to Adele)
Guess what happened tonight?
ADELE
(hopeful)
You got a date?
SOOKIE
Uh, no. A vampire came into the
bar.
ADELE
(interested)
Ooooh! Did he have fangs?
Sookie smiles grimly.
SOOKIE
He did. But most of the time, they
stayed retracted.
Adele sits up, intrigued.
ADELE
Did he bite anybody in the bar?
SOOKIE
Oh, no, Gran! He just sat and had a
glass of red wine. Well, he ordered
it, but he didn’t drink it. I think
he just wanted some company.
ADELE
Wonder where he stays.
SOOKIE
He wouldn’t be likely to tell
anyone that.
ADELE
No, I guess not.
(then)
Did you like him?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 40.
SOOKIE
(a beat)
I don’t know. He was real
interesting.
But she did like him, and Adele sees that, smiles.
SOOKIE (cont'd)
Well, I’ll let you get to bed -
ADELE
Okay, sweetie. I was just staying
up ‘til you got in.
Sookie kisses her on the cheek, then stands.
SOOKIE
Come on Tina -
The Cat jumps off the bed and follows Sookie out. Adele TURNS
OFF THE BEDSIDE LAMP.
INT. OLD STACKHOUSE PLACE - SOOKIE’S BEDROOM - NIGHT.
Another small room, furnished with Sookie’s bedroom furniture
from childhood: white-painted CHEST OF DRAWERS, VANITY, and a
DOUBLE BED, in which Sookie lies sleeping, her face lit by
the moonlight streaming through the OPEN WINDOW. Tina sleeps
curled up against her. An unexpected BREEZE RUSTLES the
curtains, waking Sookie up.
After a beat, Sookie gets up crosses to the window, looks
out.
Her POV: Bill Compton stands in the clearing below, looking
up at her.
Sookie steps back from the window, taken aback. Stands
absolutely still for a moment, then grabs her robe and heads
out of the room.
EXT. OLD STACKHOUSE PLACE - MOMENTS LATER - NIGHT.
Sookie comes out the front door and down the steps, but Bill
is nowhere to be seen. As she turns, looking for him, we
CIRCLE HER and then
HE’S RIGHT NEXT TO HER, as if out of nowhere, startling her.
SOOKIE
Oh! Hello...
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 41.
Bill smiles. Starts to unbutton his shirt. Sookie, much to
her surprise, starts to undo her robe.
SOOKIE (cont'd)
(a little embarrassed)
Huh. I never thought I would be
having sex with you - at least not
so fast...
Bill’s smile widens, and HIS FANGS EXTEND.
BILL
Who said anything about sex?
Sookie quickly pulls her robe closed tight.
SOOKIE
Now, see, that really ticks me off.
Sookie gives him a hard look - and then starts SCREAMING her
head off -
SMASH CUT TO:
INT. OLD STACKHOUSE PLACE - SOOKIE’S BEDROOM - NIGHT.
CLOSE ON SOOKIE’S EYES as they POP OPEN.
She sits up in bed, unsettled by her dream. She glances at
the window, gets up and closes it. Climbs back into bed and
as her head drops toward the pillow...
Scene 17 - Sunbathing Interrupted
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
SAME ANGLE: Sookie’s head drops down on the back of a folding
ALUMINUM CHAISE. She’s in a white strapless two-piece bathing
suit, coated in suntan lotion. She settles in, lets out a
long contented sigh. “DYNAMITE” by Brenda Lee plays on the
BOOM BOX next to her chaise. We HEAR a car approaching on the
gravel drive. Sookie looks up, squints at
A BLACK DODGE RAM PICKUP TRUCK with a CUSTOM PAINT JOB and
oversized TIRES rumbles into view, stops. The door opens and
Jason hops out, wearing a KHAKI SHIRT and PANTS, his county
road workers uniform. WORK BOOTS, a sheathed KNIFE strapped
to his belt, along with a CELL PHONE. He strides toward
Sookie purposefully. Sookie sits up, puts on a pair of
SUNGLASSES.
JASON
How come you didn’t tell me you
beat up the Rattrays last night?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 42.
SOOKIE
I haven’t even seen you since then!
JASON
Where’s Gran?
SOOKIE
Hanging the laundry out back. And
keep your voice down, I don’t want
her to know about any of this.
JASON
Hoyt Fortenberry couldn’t wait til
I got to work this morning to tell
me all about it.
SOOKIE
Hoyt Fortenberry? How the heck does
he know?
JASON
He went over to the Ratts last
night to buy some weed, and Denise
drove up like she wanted to kill
somebody, she was so mad. It took
both Hoyt and Denise to get Mack
into the trailer, and then they had
to take him to the hospital in
Monroe!
SOOKIE
Uh-huh. Did Hoyt tell you Mack came
after me with a knife?
Jason’s eyes blaze, then he lets out a low WHISTLE.
JASON
Son of a bitch. You want me to kick
his ass for you?
SOOKIE
I already took care of that, thank
you.
JASON
What were you doing messing with
him anyway?
SOOKIE
Well, did you know that in addition
to dealing drugs, the Ratts also
happen to be vampire drainers?
(off his surprised look)
(MORE)
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 43.
SOOKIE (cont'd)
Yep. One of my customers last night
was a vampire, and they were
draining him out in the parking
lot. I couldn’t have that.
Jason eyes her darkly.
JASON
Sookie. You don’t want to get mixed
up with vampires. Trust me.
SOOKIE
Oh, shut up. Even if you don’t want
a vampire for your best friend, you
can’t let trash like the Ratts
drain them. It’s not like siphoning
gas out of a car. They would have
left him in the woods to die.
JASON
So what? He’s already dead.
SOOKIE
That’s not his fault!
Jason eyes her, suddenly worried.
JASON
What’s he look like?
SOOKIE
Handsome. Sort of old fashioned?
Like from a movie on T-C-M.
JASON
Bald-headed?
SOOKIE
No, he has really nice hair.
JASON
Tattoos?
SOOKIE
(ew)
None that I could see.
ADELE (O.C.)
Jason?
Adele comes around the side of the house with an empty
laundry basket, happy to see her grandson. Wishing she saw
him more often.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 44.
ADELE (cont'd)
Sakes alive, boy, where have you
been keeping yourself?
Jason allows her to hug him tightly, kisses the top of her
head.
JASON
Hey, Gran. How’s my girl?
ADELE
You’re all sweaty. Want some iced
tea?
JASON
I would love some.
Sookie rolls her eyes as Adele and Jason walk toward the
house.
Scene 18 - Maudette's Murder
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 8
Sookie and Jason are seated at the table, eating CHICKEN-
FRIED STEAK, MASHED POTATOES and BEANS. Drinking ICED TEA in
old-fashioned tall glasses. We can HEAR ADELE CHATTING ON THE
PHONE in another room.
JASON
(re: Sookie’s steak)
You want the rest of that?
SOOKIE
(stares at him)
Yes.
JASON
Okay, just asking. I mean, if you
are going to wear that suit, you
might want to start watching what
you eat.
Sookie has to LAUGH at his transparent attempts at
manipulation. Adele enters, clicking off the phone.
ADELE
(re: phone call)
That was Everlee Mason. Guess who
they found strangled to death in
her apartment last night? Maudette
Perkins.
ON JASON, suddenly subdued. Silent, unreadable.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 45.
SOOKIE
Oh my lord!
ADELE
She didn’t show up for work and
wasn’t answering her phone, so her
boss called Bud Dearborne, and he
rode over and got the manager to
let him in, and they found her.
SOOKIE
I graduated from high school with
Maudette!
ADELE
Can you believe it? A murder in Bon
Temps?!
JASON
Well, why are you surprised? Now
that we got ourselves a vampire.
Sookie turns to him, irritated.
SOOKIE
Just because he’s a vampire doesn’t
mean he’s a -
JASON
(a tad too sharply)
Oh, come on. Fangbangers go missing
all the time in Shreveport, and New
Orleans.
JASON (CONT’D) ADELE
They never find them, but What’s a fangbanger?
everybody knows -
JASON (CONT’D) SOOKIE
- the vampires are killing A vampire groupie. Women and
them and then disposing of men who like to get bitten.
the bodies.
ADELE
My stars.
SOOKIE
(to Jason)
Maudette was a fangbanger? How do
you know that?
A beat.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 46.
JASON
(angry)
I don’t know, Sookie! The way that
you just - know things, sometimes.
Sookie glares at him. She hates him for acknowledging her
telepathic powers, and she also knows that he doesn’t share
them. Adele gives Jason a sharp look: he looks away, shamed.
Suddenly checks his watch. Stands and washes his hands in the
kitchen sink.
JASON (cont'd)
There’s also hookers that
specialize in vampires, they drink
Tru-Blood to keep their supply up,
and they keep a bodyguard there in
case the vamp gets too frisky.
(off their looks)
I read that in a magazine.
SOOKIE
(baffled)
Maudette was a prostitute?
JASON
(you idiot)
No, she just liked to have a good
time! She wasn’t a pro!
ADELE
Goodness. I wonder how much one
would charge for something like
that?
JASON
A thousand bucks.
SOOKIE
See, now that just makes me sick.
ADELE
I know. What kind of cheap soul
could ever -
SOOKIE
No, it makes me sick they’re
getting a thousand bucks to just
lay there and do nothing, while I
bust my ass for ten bucks an hour
plus tips.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 47.
JASON
(drying his hands)
I don’t think they just lay there.
I think they’re expected to, you
know. Participate.
SOOKIE
Ew.
Jason glances at her, and she sees his eyes filled with...
guilt? Fear? He quickly looks away. Sookie stands, crosses to
him, grabs his hand, tries to look into his eyes. He yanks
his hand away, furious.
JASON
(yells)
Don’t you try that with me,
goddamnit! I’m your brother.
ON SOOKIE, shaken by his anger.
JASON (cont'd)
I gotta get back to work.
And he’s out the back door as fast as he can go. An awkward
beat. Adele starts to clear the table, pretending like
nothing just happened; Sookie joins her.
SOOKIE
Poor Maudette.
ADELE
I know. Terrible, just terrible.
And they start washing the dishes in silence.
OFF SOOKIE, wondering if it’s possible a vampire could have
had something to do with Maudette’s death, and if so, which
vampire. Or if it was even a vampire at all.
Scene 19 - Unwanted Advances
- Overall: 8.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
ORANGE CONES, DETOUR SIGNS. ROAD WORKERS in DAYGLO ORANGE
VESTS go about the work of repaving yet another TWO-LANE
COUNTY ROAD. A variety of headwear: PLASTIC HELMETS, wide-
brimmed STRAW HATS, a couple of DOO-RAGS. A STEAM ROLLER
FLATTENS ASPHALT, DRIVES OUT OF FRAME, REVEALING JASON, on
his CELL PHONE. He’s stripped down to his T-shirt in this
heat, over which he wears a DAYGLO YELLOW VEST with the
RENARD PARRISH PUBLIC WORKS DEPARTMENT LOGO on it. He’s
nervous, jittery.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 48.
JASON
Come on, Dawn. I’m having a really
bad day.
INT. DAWN’S APARTMENT - CONTINUOUS - DAY.
Dawn, her hair wet and wearing just a towel wrapped around
her, sits on the edge of her bathtub, shaving her tan,
shapely legs.
DAWN
Not my responsibility!
Intercut as necessary with Jason at the Road Work Site:
JASON
Didn’t we have a good time
together? Don’t you want to have
that again?
DAWN
Jason, honey. I hate to break this
to you, but you are not the only
source of a good time for me.
JASON
No, but I’m the best one.
DAWN
(laughs)
Oh my God! You are so egotistical!
JASON
(laughing)
But I’m hot.
His LAUGH fades when he spots:
A RENARD PARRISH SHERIFF’S PATROL CAR pulls onto the shoulder
on the other side of the road, STOPS; A CONSERVATIVE BLUE
SEDAN PULLS IN BEHIND IT. DOORS OPEN and TWO MEN get out, one
from each car: SHERIFF BUD DEARBORNE and Bon Temps Police
DETECTIVE ANDY BELLEFLEUR. Bud Dearborne is in his fifties,
fit and tough, with a mashed-in bulldog face and a cowboy
hat. Andy’s in his late thirties, built like a boxer, a
perpetual scowl on his rugged face. He wears a short sleeve
shirt and a tie.
DAWN
So am I.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 49.
JASON
(eyeing Bud and Andy)
Oh, I know. That’s why I’m on the
phone with you.
DAWN
(”exasperated”)
Okay, I give up. Meet me after work
tonight.
JASON
I gotta go, I’ll call you back.
He clicks off the phone.
Scene 20 - Jason's Confession
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 8
- Dialogue: 7
Jason squints at Andy and Bud as they approach him.
JASON
(nods)
Sheriff Dearborne. Andy.
BUD ANDY
Afternoon, Jason. Jason.
No hands are shaken. A beat.
ANGLE ON LAFAYETTE REYNOLDS, shoveling gravel. He wears no
makeup today and he’s pulled the top part of his jumpsuit
down to the waist. With his DOO-RAG and powerful torso, he
looks like a gangsta rapper. He’s also watching Jason with
the Sheriff and Andy, wondering what’s up.
BACK ON JASON, ANDY and BUD.
JASON (cont'd)
Something I can help you with?
BUD
You know Maudette Perkins?
JASON
Sure, I know her. I buy gas at the
Grabbit Quik, she works there
during the day.
ANDY
How would you characterize your
relationship with Maudette?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 50.
JASON
Relationship. I didn’t have a
relationship with her. I barely
knew her.
BUD
So you know she was murdered last
night.
JASON
Uh, no. Wow. I mean, yeah, I did
know that, my grandmother told me
at lunch. Somebody called her.
Bud and Andy eye him impassively.
ANGLE ON TWO OTHER MEMBERS OF THE WORK CREW, watching Jason
being questioned. These are his buddies RENE LENIER and HOYT
FORTENBERRY, both in their late twenties. Rene is smaller
than Jason, dark and wiry; Hoyt is one of the most indistinct
people you ever saw.
RENE
(Cajun accent)
What’s up with Jason and the law?
HOYT
Maybe they think he knows something
about Maudette.
Rene looks at Hoyt, then looks back at Jason, concerned.
BACK ON JASON, ANDY AND BUD.
ANDY
Did you ever visit Maudette at her
apartment?
JASON
Me? No.
BUD
Ever?
JASON
No, I can do a lot better than
Maudette, believe me.
He LAUGHS; Bud and Andy do not.
ANDY
You weren’t there last night?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 51.
JASON
Uh... okay, yeah, I was there last
night -
ANDY
Then why didn’t you say so?
JASON
Well... because I know she got
killed. And I thought it would look
bad, me having been at her
apartment.
BUD
Well, it does look bad, Jason.
ANDY
It looks real bad.
JASON
(spills)
Okay, look, I hooked up with
Maudette last night, and we had
sex. That’s all.
ANDY
How would you characterize the sex?
JASON
How would I characterize it? It was
okay.
ANDY
Nothing out of the ordinary?
JASON
Well...
A beat. Jason avoids looking at them.
ANDY
Because we’ve already seen the
videotape.
Now Jason closes his eyes.
ANDY (cont'd)
You didn’t know she was taping it?
JASON
(quietly)
No, but I should have.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 52.
He opens his eyes again, his world crashing around him.
BUD
You need to come with us, Jason.
JASON
Yeah, yeah, just - let me tell Rene
to take over -
Bud nods. Jason crosses to Rene and Hoyt, as if in a dream.
Lafayette is standing close enough to hear the following:
JASON (cont'd)
Hey, Rene, I gotta go into town for
a while, you’ll take over?
RENE
Yeah, yeah. Everything all right?
JASON
Yeah! No, it’s nothing to worry
about. Everything’s fine.
(then)
Don’t tell my sister, okay?
HOYT
(concerned)
What’d you do, Jason?
Jason looks at him, his face suddenly filled with sadness,
then turns and walks away. Bud opens the back door of the
patrol car and Jason gets inside.
OFF RENE, HOYT, LAFAYETTE and other members of the ROAD CREW,
watching as the patrol car pulls away.
INT. OLD STACKHOUSE PLACE - SOOKIE’S BEDROOM - DUSK.
Sookie sits at her vanity, putting on her makeup, in her
waitress uniform. She seems miles away. We suddenly FLASH ON
Scene 21 - Pressure from the Past
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
17-YEAR-OLD SOOKIE walks down the hall by herself, her
shoulders hunched over, trying to be invisible. Three popular
CHEERLEADERS stand at their lockers. As Sookie passes them,
she glances over at
Her POV, SLOWING DOWN: The girls glance at us as we pass by
them. Two look away, one’s eyes remain on us and WE HEAR
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 53.
CHEERLEADER (V.O.)
- don’t stare at me you creepy
little bitch of a freak can you
hear me you suck Sookie Stackhouse
you suck like a goddamn Hoover can
you hear me -
ON SOOKIE, IN SLO MO, looking back at her, unable to mask the
hurt on her face...
BACK ON THE CHEERLEADER, IN SLO MO, LAUGHING. It’s 18-YEAR-
OLD MAUDETTE PERKINS.
ON SOOKIE, RAMPING INTO REAL TIME, as she walks away from us.
INT. OLD STACKHOUSE PLACE - SOOKIE’S BEDROOM - CONTINUOUS -
DUSK.
Sookie shakes it off, focuses on her makeup. Adele appears at
the door. They smile at each other, Adele comes in and sits
on the bed. Their eyes meet in the mirror, another smile.
Sookie waits for Adele to speak. Finally:
SOOKIE
What’s up, Gran?
ADELE
Oh, I was just wondering how old
you think the vampire is? The one
you met last night.
SOOKIE
I have no idea. Why?
ADELE
Well, do you think he might
remember the War?
SOOKIE
The Civil War? Could be.
ADELE
Oh, if he does, I would love to
have him come speak to the
Descendants of the Glorious Dead.
You think he might want to?
SOOKIE
I think he might have a hard time
showing up at the Public Library at
noon on Thursday.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 54.
ADELE
We could have a special meeting. At
night. Or he could just talk to me,
and I could tape his recollections.
I’m sure the other members would
find it so interesting.
SOOKIE
(smiles)
I’ll ask him the next time he comes
in to Merlotte’s. If he comes in.
OFF SOOKIE, in the mirror, applying mascara, not sure whether
she wants him to come or not.
EXT. MERLOTTE’S - NIGHT.
The parking lot is starting to fill up. We HEAR “BAR EXAM” by
The Derailers.
Scene 22 - Trouble at Merlotte's
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 8
- Dialogue: 7
TARA is behind the bar, in jeans and a tank top, as usual.
She consults her MIXING GUIDE as she makes drinks. Lafayette
emerges from the kitchen. He’s wearing makeup again, color
coordinated with the form-fitting GREEN LACE SHIRT he wears
under his apron. Tasteful GOLD HOOPS in his ears. He looks
hot.
LAFAYETTE
(spots Tara)
What are you doing here?
TARA
I work here.
LAFAYETTE
Oh no you do not.
TARA
Oh yes I do too, you ugly bitch.
And you need to make peace with
that.
LAFAYETTE
Then Sam has lost his mind, because
you should not be allowed to work
in any situation where you have to
interact with actual people.
TARA
(rolls her eyes)
That is so not true.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 55.
A white male CUSTOMER sits, SNAPS HIS FINGERS at her.
TARA (cont'd)
(sharp)
Do not snap at me. I have a name,
and that name is Tara, and isn’t
that funny, a black girl being
named after a plantation?
A beat. The Customer LAUGHS nervously.
TARA (cont'd)
No it’s not funny at all. In fact,
it really pisses me off that my
mama was either stupid or just
plain mean. Which is why you better
be nice to me if you want a drink
tonight.
The Customer stares at her, slack-jawed, then...
CUSTOMER
(mumbles)
Sorry, ma’am.
TARA
(satisfied)
Okay.
Lafayette suppresses an urge to laugh. Barely. Tara glares at
him.
TARA (cont'd)
You look like you run a massage
parlor in Bangkok and your name is
Jade Tigress.
LAFAYETTE
Yeah, well, you just look like
Buckwheat.
(then)
Hey, you know if Sookie found out
anything about her brother getting
arrested this afternoon?
TARA
(shocked)
Jason got arrested? For what?
LAFAYETTE
I’m not sure. But Maudette Pickens
did just get murdered...
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 56.
TARA
(a laugh)
Are you serious? Jason would never
kill anybody. And he can do a hell
of a lot better than Maudette
Perkins.
A beat.
LAFAYETTE
(grins)
You still have a thing for him.
TARA
(she does)
I do not! That boy is too damn
stuck up for me.
LAFAYETTE
That boy is sex on a stick, no
matter how stuck up he is.
TARA
Don’t you have something to fry?
Lafayette LAUGHS, heads back into the kitchen, as “BAR EXAM”
ends and segues into “WHOEVER SAID IT WAS EASY” by Wayne
Toups.
INT. MERLOTTE’S - SERVICE ALLEY - CONTINUOUS - NIGHT.
ANGLE ON SOOKIE, a shocked expression on her face.
SOOKIE
Arrested?! For what?
Sookie stands next to Dawn in the service alley; they’re
doing waitress things.
DAWN
(not wanting to bring up
Maudette’s murder)
I don’t know -
Lafayette passes through on his way back to the kitchen.
LAFAYETTE
Sorry about your brother, Sook.
SOOKIE
(angry)
How come everybody knew about this
before I did?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 57.
LAFAYETTE
Well, I was there, I saw ‘em cart
him off.
DAWN
And I was complaining to Arlene
about Jason hanging up on me when
we were making a date and never
calling me back, and she told me
what happened.
SOOKIE
Arlene? How does she know?
DAWN
I guess she heard about it from
Rene.
Sookie grabs her tray and starts out.
DAWN (cont'd)
Besides, we figured you just...
She trails off. Sookie stops, turns to her.
SOOKIE
(an edge)
I just what?
An awkward beat.
DAWN
(tactfully)
Well, I mean... you didn’t just
know already?
SOOKIE
(furious)
I am not psychic!
She storms out of the service alley. Dawn raises an eyebrow
at Lafayette.
Scene 23 - Sookie Meets the Mysterious Bill
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
Arlene is curled up with Rene Lenier on one side of a booth;
Hoyt Fortenberry sits across from them. They’re all a little
drunk. As Arlene empties a pitcher of beer in Rene’s mug:
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 58.
ARLENE
I cannot believe I’m in here on my
night off, just pouring my hard-
earned money back into Sam
Merlotte’s pocket.
Sookie approaches the table, upset.
SOOKIE
What happened to my brother, Rene?
RENE
Aw hell, I promised him I wouldn’t
tell you -
SOOKIE
What happened?
HOYT
(helpful)
Oh, uh, well, Bud Dearborn and Andy
Bellefleur came out and asked him
some questions and then they put
him in the back of the squad car.
SOOKIE
(frowns)
So you don’t even know for a fact
that they arrested him?
RENE
Well, they didn’t cuff him or
anything -
ARLENE
(drunk)
Sookie, I am so sorry.
SOOKIE
For what? Yall are already acting
like Jason’s guilty of killing
Maudette, and we don’t even know
what they were talking to him
about!
She’s loud enough that everyone in the vicinity turns and
looks at her:
SOOKIE (cont'd)
Bud Dearborne just made a mistake,
that’s all!
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 59.
HOYT
(helpful)
Oh yeah. Has to be. Jason’s a real
stand-up guy.
SOOKIE
(stares at him)
No, he’s not, Hoyt. He’s selfish,
egotistical and he’s a complete
horndog. But he’s not a killer.
She turns and storms back toward the bar. Joseph Arthur’s
“STUMBLE AND PAIN” starts under
REVERSE DOLLY ON SOOKIE as she walks toward us then -
SUDDENLY STOPS. OVER HER SHOULDER, we can see -
BILL COMPTON HAS JUST ENTERED. Sookie feels his presence -
She turns slowly, their eyes meet. He moves toward an empty
booth. She moves toward him.
Practically everyone in the restaurant is watching, including
Sam and Tara from behind the bar.
ON SOOKIE, as she slides into the booth across from Bill.
She’s HEARING A CACOPHONY OF THOUGHTS right now, unable to
shut them out due to her heightened emotional state.
BAR PATRONS (O.C.)
- bet that’s the vampire she saved -
/ - what kind of good Christian
girl would - / - that whole
Stackhouse family is nothing but
trash always had been - / - maybe
that vampire is the one that killed
Maudette -
Sookie closes her eyes, trying to shut out the din. Bill
reaches across the table, PUTS HIS HAND ON HERS and
THE SOUND OF PEOPLE THINKING CUTS OFF ABRUPTLY, COMPLETELY.
Sookie relaxes, opens her eyes, smiles. Bill is wearing the
slightest of smiles himself.
BILL
Good evening, Miss Stackhouse.
People try not to watch, but they don’t try very hard.
SOOKIE
Your hand is cool.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 60.
BILL
Yes. I’m afraid I’m not as warm as
the men you must be accustomed to.
SOOKIE
What men?
A little embarrassed, she withdraws her hand.
SOOKIE (cont'd)
What can I get for you tonight?
Bill says nothing, just leans forward and eyes her intently.
She stares back at him, unafraid.
BILL
What are you?
SOOKIE
I told you. I’m a waitress.
BILL
No. You’re something more than
that. You’re something more than
human.
SOOKIE
(laughs)
I beg your pardon!
The entire place is watching them - Sam, Tara, Arlene, Rene,
Hoyt, Lafayette, Dawn - but Sookie and Bill both seem
completely unaware of the attention.
BILL
Sookie.
He says her name as if he’s turning it over in his mouth,
tasting it.
BILL (cont’d)
It’s an unusual name, Sookie. Is it
short for something else?
SOOKIE
Nope. Just plain Sookie.
BILL
Well, just plain Sookie... may I
call on you sometime?
SOOKIE
Call on me?
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 61.
BILL
May I come to visit you at your
home?
SOOKIE
Oh. Well...
She looks down at the table. A beat. It suddenly seems as if
a lot hangs on her answer. Sookie feels everyone’s eyes on
her, then she looks up at Bill, at his dark eyes, dark,
placid pools of silence, then...
SOOKIE (cont'd)
Well, sure. My grandmother would
love to meet you.
(remembering)
Oh! That reminds me - listen, can I
talk to you after work? I have a
favor to ask you.
BILL
Of course. After all, I am in your
debt.
He doesn’t sound particularly happy about this.
SOOKIE
Not a favor for me! For my
grandmother. If you’ll be up -
well, I guess you will be - would
you mind meeting me at the employee
door at the back of the bar when I
get off at, probably around one
thirty?
BILL
I’d be delighted.
A beat. Sookie smiles like a teenager: innocent, oblivious,
not a care in the world.
ON SAM, at the bar, leaning forward as if trying to hear
their conversation, even though he’s all the way on the other
side of the room.
BILL (cont'd)
You realize that every person in
this establishment is staring at us
right now.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 62.
SOOKIE
Oh, they’re just staring at me
because my brother is in some sort
of trouble with the police.
(then, worried)
Bill, did you know Maudette
Perkins?
BILL
I did not.
(then)
And they’re staring because I’m a
vampire and you are... mortal.
SOOKIE
Oh, who cares what they think?
BILL
I want to make my home here, so I
do. I will see you at one thirty.
He slides out of the booth with grace, nods slightly to her,
then turns and walks out of the bar. As soon as he’s gone -
ON SOOKIE, as the DIN OF EVERYONE ELSE’S THOUGHTS floods into
her consciousness, LOUDER THAN EVER:
BAR PATRONS (O.C.)
- even crazier than I thought she
was - / - wonder if it’s true what
they say about sex with vampires -
/ - won’t be surprised if she turns
up dead just like poor Maudette -
Her EYES CLOSE, then POP OPEN when -
SAM GRABS HER BY THE ARM. Pulls her out of the booth and
toward the kitchen The entire restaurant watches.
Scene 24 - Sookie's Conflict of Independence
- Overall: 8.0
- Concept: 7
- Plot: 8
- Characters: 9
- Dialogue: 8
Sam pulls Sookie inside, shuts the door and turns to her,
angry.
SAM
Sookie, you are being a very stupid
girl!
SOOKIE
(indignant)
Who asked you? I can take care of
myself.
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 63.
SAM
Really? I don’t think so. Mack
could have seriously cut you up
last night -
SAM (cont’d) SOOKIE
- and now you’re setting up a How do you know what Mack
date with a vampire? What, do would have done? And how do
you have a death wish? you know what I -
SOOKIE
(angry)
No, I do not have a death wish! I
just happen to think judging an
entire group of people by the
behavior of a few individuals
within that group is morally wrong.
SAM
(with finality)
Well, I won’t let you put yourself
and the bar in danger. I won’t do
it.
A beat.
SOOKIE
(her lip quivering)
Am I fired?
SAM
(what?)
No! But next time you think someone
is being harmed in our parking lot,
pick up a phone and call the
police, do not go out there alone
like a goddamn vigilante!
Sookie bursts into tears. Sam’s face crumples; he can’t stand
having hurt her. He pulls her to him, hugs her.
SAM (cont'd)
Aw, cher. Don’t you know I couldn’t
stand to lose you -
ON SOOKIE, HEARING HIS THOUGHTS:
SAM (V.O.) (cont'd)
- so warm - want you - smell so
good - love -
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 64.
But SAM’S THOUGHTS SOUND DIFFERENT FROM EVERYONE ELSE’S:
There’s a deep bass RUMBLE under everything, almost like AN
ANIMAL GROWLING. And the words come only in snippets, shreds.
Sookie pulls back from him, stares him in the eyes, her hands
on his arms.
SAM (V.O.) (cont'd)
- love you - want -
Before Sookie can respond, Tara comes through the door.
TARA
Sookie! Are you out of your
everloving mind? That vampire wants
you for dinner.
SOOKIE
I -
TARA
I won’t let you just walk into his
trap, no ma’am. Over my dead body.
You mean too much to me.
Sookie stares at her, at a loss, then HEARS:
TARA (V.O.) (cont'd)
- Jason would never actually hurt
someone not Jason not beautiful
Jason adorable -
SOOKIE
(rolls her eyes)
Oh for heavens’ sake, Tara. Jason
is never going to care about you
the way you care about him!
Tara stares at her, astonished - then erupts:
TARA
(furious)
You - you made a promise you would -
you stay out of my head!
ON SOOKIE, as both Sam’s and Tara’s thoughts invade her
brain.
SAM (V.O.) TARA (V.O.)
- poor Sookie - hard for her - - you don’t know maybe Jason
burden - I could - easier - will get shook up by this
wish - let me - whole Maudette business and
want a real woman -
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 65.
SOOKIE
(loses it, screams)
Oh shut up, both of you! And stop
bossing me around. I am a grown
woman, and I am the one who decides
what I do, not either one of you.
She stomps out, SLAMMING the door behind her. Sam and Tara
look at each other; finally Sam shrugs.
Scene 25 - Attack in the Shadows
- Overall: 8.0
- Concept: 7
- Plot: 9
- Characters: 7
- Dialogue: 6
Only a handful of cars in the parking lot. The NEON BEER
SIGNS in the windows GO OUT.
ANGLE ON THE EMPLOYEE DOOR IN THE BACK, as it opens and
Sookie emerges with her purse. Expecting to find Bill...
But he’s not there. She stands there for a moment, not
knowing what to do, then Sam emerges from the Employee Door.
SAM
Sookie.
SOOKIE
Sam.
A beat.
SAM
You want me to wait with you until -
SOOKIE
Go home, Sam.
A beat.
SAM
Good night.
He walks across the small rear parking lot to a MOBILE HOME,
set on a concrete block base, with a small grass YARD and a
neat HEDGE. Sam unlocks the door, goes inside, and shuts it.
The PORCH LIGHT GOES OUT.
Sookie smiles, pleased with her independence. Her smile fades
as she thinks about what she’s learned about Sam tonight.
Checks her watch. Looks around, suddenly starting to feel not
sure of herself. Walks around the edge of the building...
ANGLE ON THE FRONT OF THE BUILDING, as SOOKIE APPEARS,
looking out at
TRUE BLOOD - Episode #101 "Strange Love" - 11/12/06 - 66.
Her POV: The MAIN PARKING LOT, silent and now completely
empty, except for
A BEAT UP RED SPORTS CAR.
ON SOOKIE, recognizing the car, just before
A DARK SHAPE SLAMS INTO HER FROM BEHIND, knocking her OUT OF
FRAME -
ON SOOKIE’S FACE as it HITS THE ASPHALT -
WIDER, as TWO SETS OF FEET wearing BOOTS start to KICK HER
VICIOUSLY. With the intent to kill. She instinctively curls
up into a fetal position -
ON SOOKIE’S FACE, contorted in pain -
CLOSER, as she suddenly SPITS BLOOD THROUGH HER TEETH, and
then we
BLACKOUT.
We HEAR Angela Strehli, Lou Ann Barton and Marcia Ball
singing “IT HURTS TO BE IN LOVE” over
END CREDITS.
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| sookie stackhouse | Sookie starts off as a sympathetic and wary young woman with telepathic abilities, navigating challenging interactions with customers. As she encounters the supernatural world and becomes entangled in mysteries, she grows into a strong-willed and independent individual who is unafraid to speak her mind and stand up for what she believes in. Throughout the screenplay, Sookie's resilience and determination to survive are tested, leading to a deeper understanding of her past and a realization of her own strength. | The character arc for Sookie Stackhouse is well-developed, showcasing her growth from a vulnerable young woman to a strong and independent individual. However, there could be more emphasis on the emotional impact of her past traumas and how they shape her decisions and interactions with others. Additionally, exploring the complexities of her telepathic abilities and how they affect her relationships could add depth to her character development. | To improve the character arc, consider delving deeper into Sookie's emotional journey and the lasting effects of her past experiences. Show how her telepathic abilities not only provide insight into others but also create internal conflicts and challenges. Allow Sookie to confront her vulnerabilities and fears, leading to a more profound transformation and growth throughout the screenplay. |
| tara thornton | Tara Thornton starts off as a fiercely loyal and independent woman who stands up for herself and quits her job when faced with mistreatment. Throughout the screenplay, she learns to confront her inner demons and insecurities, ultimately finding a balance between her strong personality and vulnerability. Tara's skepticism towards vampires is challenged as she navigates complex relationships and discovers unexpected truths about herself and the supernatural world. | The character arc for Tara Thornton is well-developed, but could benefit from more nuanced exploration of her vulnerabilities and growth. While her strong-willed nature is a defining trait, it would be interesting to see her confront her skepticism and defenses in a more gradual and layered manner. Additionally, delving deeper into her relationships and how they shape her journey could add complexity to her character arc. | To improve the character arc for Tara Thornton, consider incorporating more moments of introspection and vulnerability to showcase her inner struggles and growth. Allow her skepticism towards vampires to evolve organically through meaningful interactions and experiences. Explore her relationships with other characters in more depth, highlighting how they influence her development and challenge her beliefs. By adding layers to Tara's journey, the character arc can become more compelling and engaging for the audience. |
| bill compton | Bill Compton starts off as a guarded and enigmatic vampire, but as he interacts with Sookie and confronts his past, he begins to show moments of vulnerability and curiosity. Through his journey, he learns to embrace his true nature and confront his inner demons, ultimately finding redemption and acceptance in the human world. | The character arc for Bill Compton is well-developed, showcasing his evolution from a mysterious and guarded vampire to a more vulnerable and introspective character. However, there could be more emphasis on his internal struggles and conflicts, as well as his relationships with other characters to further deepen his arc. | To improve the character arc for Bill Compton, consider delving deeper into his past traumas and how they shape his present actions and decisions. Explore his relationships with other characters, particularly Sookie, to add more emotional depth and complexity to his journey. Additionally, provide more opportunities for Bill to confront his inner demons and make difficult choices that challenge his beliefs and values. |
| sookie | Sookie starts off as a defiant and caring individual, willing to stand up for what she believes in despite the risks. As she navigates through revelations and tensions within her family, she becomes more empathetic and curious about the supernatural world. Her journey culminates in her embracing her autonomy and standing up for herself, challenging those around her to respect her choices and decisions. | The character arc for Sookie is well-developed, showcasing her growth from a protective waitress to a strong-willed and independent woman. However, there could be more depth added to her vulnerabilities and internal struggles, providing a more nuanced portrayal of her character. | To improve the character arc, consider delving deeper into Sookie's internal conflicts and vulnerabilities, showing how they shape her decisions and actions throughout the screenplay. Additionally, explore her relationships with other characters in more depth, highlighting how they influence her growth and development. |
| tara | Tara starts off as a fiercely protective friend, always ready to confront any danger to her loved ones. However, as the story progresses, she learns to channel her confrontational nature into more constructive ways of communication. Through various challenges and conflicts, Tara grows to understand the power of vulnerability and empathy, ultimately becoming a more balanced and compassionate individual. | The character arc for Tara is well-developed and shows growth and change over the course of the story. However, it could benefit from more specific examples of how Tara's confrontational nature causes problems for her and others, leading to a more impactful transformation. Additionally, exploring Tara's backstory and motivations in more depth could add layers to her character development. | To improve the character arc, consider incorporating specific conflicts where Tara's confrontational nature backfires or causes harm to her relationships. This could create more tension and drama, leading to a more satisfying resolution when Tara learns to change her ways. Additionally, delving into Tara's past traumas or insecurities could provide a deeper understanding of her motivations and behaviors, making her character more complex and relatable. |
| jason | Jason starts off as a carefree and impulsive individual who enjoys attention and charm. However, as the story progresses, he is forced to confront his troubled past, guilt, and fear, leading to a transformation where he learns to channel his protective instincts in a more thoughtful and responsible manner. By the end of the screenplay, Jason has matured and gained a deeper understanding of himself and his relationships. | The character arc for Jason is well-developed and allows for significant growth and development. However, there could be more emphasis on the specific events or challenges that trigger his transformation, providing a clearer and more impactful journey for the audience to follow. | To improve the character arc, consider incorporating key moments or conflicts that force Jason to confront his insecurities and fears head-on. This could involve delving deeper into his troubled past, exploring his relationships with other characters, or introducing external threats that push him to reevaluate his priorities and actions. By adding more depth and complexity to Jason's journey, the character arc can become even more engaging and emotionally resonant. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Sarcastic Dialogue with High Emotional Impact | Scenes with sarcastic dialogue tend to have a higher emotional impact on the audience. This is especially true in scenes with a humorous tone. |
| Tense Scenes with High Stakes | Tense scenes are often more engaging when they have high stakes. High stakes can create a sense of urgency and suspense, which keeps the audience on the edge of their seats. |
| Character Changes in Suspenseful Scenes | Scenes with a suspenseful tone often feature significant character changes. These changes can be either positive or negative, but they always add depth and complexity to the characters. |
| Emotional Scenes with Compelling Dialogue | Emotional scenes are more effective when they have compelling dialogue. Dialogue that is well-written and emotionally charged can help the audience connect with the characters and feel their emotions. |
| Scenes with Multiple Tones Often Have High Scores | Scenes that incorporate multiple tones, such as dark and humorous or sensual and playful, tend to receive higher overall grades. This suggests that variety in tone can make scenes more engaging and memorable. |
Writer's Craft Overall Analysis
The screenplay showcases a blend of supernatural and human elements, with a focus on creating tension, emotion, and conflict. The writer's unique voice and ability to craft engaging character interactions shine throughout the scenes. However, there are areas where further development could enhance the overall impact of the writing.
Key Improvement Areas
Dialogue
Several scenes highlight the need for stronger, more authentic dialogue that reveals character motivations, conflicts, and relationships. Refining dialogue skills will enhance character depth and drive emotional connections with the audience.
Scene Structure and Pacing
Some scenes could benefit from improved structure and pacing to create a smoother flow, build tension more effectively, and maintain the audience's engagement throughout the screenplay.
Character Development
While the characters are generally well-developed, there are opportunities to deepen their motivations, desires, and conflicts. This will add layers of complexity and make the characters more relatable and emotionally resonant.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Screenplay | Read 'Save the Cat' by Blake Snyder | This book provides a comprehensive guide to screenwriting structure, character development, and storytelling techniques, addressing key areas for improvement identified in the scene analyses. |
| Exercise | Practice writing dialogue-only scenesPractice In SceneProv | Focus on creating authentic and engaging dialogue that reveals character dynamics, motivations, and relationships. This will strengthen the writer's ability to craft impactful dialogue-driven scenes. |
| Video | Watch screenwriting masterclasses or interviews with experienced screenwriters | Gain insights into the writing process, storytelling techniques, and industry practices from seasoned professionals. This can provide valuable perspectives and inspiration for improving craft. |
Additional Notes: The writer demonstrates a strong foundation in storytelling and characterization. With continued development in the identified areas, they can elevate their writing to create even more compelling, emotionally resonant, and impactful screenplays.
Stories Similar to this one
| Story | Explanation |
|---|---|
| True Blood | This screenplay is similar to True Blood in that it features a vampire and a human who are in a relationship. Both stories also explore the themes of love, loss, and the struggle between good and evil. |
| The Vampire Diaries | This screenplay is similar to The Vampire Diaries in that it features a group of vampires who are living in a small town. Both stories also explore the themes of love, friendship, and the supernatural. |
| Buffy the Vampire Slayer | This screenplay is similar to Buffy the Vampire Slayer in that it features a young woman who is destined to fight vampires. Both stories also explore the themes of empowerment, friendship, and the supernatural. |
| Twilight | This screenplay is similar to Twilight in that it features a vampire who falls in love with a human. Both stories also explore the themes of love, loss, and the supernatural. |
| The Originals | This screenplay is similar to The Originals in that it features a family of vampires who are living in a small town. Both stories also explore the themes of family, loyalty, and the supernatural. |
| Teen Wolf | This screenplay is similar to Teen Wolf in that it features a young man who is a werewolf. Both stories also explore the themes of coming-of-age, friendship, and the supernatural. |
| Shadowhunters | This screenplay is similar to Shadowhunters in that it features a group of young people who are fighting demons. Both stories also explore the themes of friendship, family, and the supernatural. |
| The Mortal Instruments | This screenplay is similar to The Mortal Instruments in that it features a young woman who is a half-human, half-demon. Both stories also explore the themes of love, loss, and the supernatural. |
| The Vampire Academy | This screenplay is similar to The Vampire Academy in that it features a group of young vampires who are training to become warriors. Both stories also explore the themes of friendship, love, and the supernatural. |
| Vampire Knight | This screenplay is similar to Vampire Knight in that it features a group of young vampires who are attending a boarding school. Both stories also explore the themes of love, loss, and the supernatural. |
| Rosario + Vampire | This screenplay is similar to Rosario + Vampire in that it features a human who falls in love with a vampire. Both stories also explore the themes of love, loss, and the supernatural. |
| Dance in the Vampire Bund | This screenplay is similar to Dance in the Vampire Bund in that it features a vampire who is trying to live a peaceful life among humans. Both stories also explore the themes of love, loss, and the supernatural. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Love Triangle | Sookie is caught between her feelings for Bill and Sam, creating a love triangle. | A love triangle is a common trope in storytelling where three characters are involved in a romantic relationship with each other, leading to conflict and drama. An example of this trope can be seen in the TV show 'The Vampire Diaries' where Elena is torn between her love for Stefan and Damon. |
| Forbidden Love | Sookie's attraction to Bill, a vampire, represents a forbidden love. | Forbidden love is a trope where characters are romantically involved despite societal norms, rules, or obstacles. An example of this trope can be seen in the movie 'Twilight' where Bella falls in love with a vampire, Edward, against the backdrop of their different worlds. |
| Small Town Secrets | The town of Bon Temps is filled with secrets and mysteries, including the presence of vampires. | |
| Supernatural Romance | The romance between Sookie and Bill involves supernatural elements due to Bill being a vampire. | Supernatural romance is a trope where romantic relationships involve supernatural beings or elements, adding a fantastical twist to the love story. An example of this trope can be seen in the movie 'Warm Bodies' where a human falls in love with a zombie. |
| Vampire Human Love | The relationship between Sookie, a human, and Bill, a vampire, explores the dynamics of vampire-human love. | Vampire-human love is a trope where a vampire and a human are romantically involved, often dealing with the complexities of their different natures. An example of this trope can be seen in the TV show 'Buffy the Vampire Slayer' where Buffy falls in love with the vampire Angel. |
| Character with Special Abilities | Sookie has the ability to hear people's thoughts, making her a character with special abilities. | A character with special abilities is a trope where a character possesses unique powers or skills that set them apart from others. An example of this trope can be seen in the movie 'X-Men' where various characters have special abilities like telekinesis and shape-shifting. |
| Dark and Brooding Love Interest | Bill Compton is portrayed as a dark and brooding love interest for Sookie. | The dark and brooding love interest is a trope where a character, usually male, is mysterious, intense, and emotionally complex, adding depth to the romantic relationship. An example of this trope can be seen in the TV show 'The Vampire Diaries' where Damon Salvatore is the dark and brooding love interest for Elena. |
| Strong Female Lead | Sookie is portrayed as a strong and independent female lead who stands up for herself and others. | The strong female lead is a trope where a female character is depicted as capable, resilient, and empowered, often taking charge of her own narrative. An example of this trope can be seen in the movie 'Wonder Woman' where Diana Prince is a strong female lead who fights for justice and equality. |
| Mysterious Stranger | Bill Compton's arrival in Bon Temps as a vampire creates intrigue and mystery, making him a mysterious stranger. | The mysterious stranger is a trope where a character enters a story with an air of mystery and intrigue, often sparking curiosity and interest from other characters. An example of this trope can be seen in the movie 'The Guest' where a mysterious stranger disrupts a family's life with unexpected consequences. |
| Supernatural Beings in Society | The presence of vampires in society, as shown through the American Vampire League and the Vampire Rights Amendment, explores the integration of supernatural beings into human society. | Supernatural beings in society is a trope where fantastical creatures like vampires, werewolves, or witches coexist with humans in a shared world, often leading to conflicts and alliances. An example of this trope can be seen in the TV show 'True Blood' where vampires seek equal rights and acceptance in society. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Love and Relationships | The screenplay explores various aspects of love and relationships, including the complexities of a human-vampire relationship, the challenges of navigating forbidden love, and the dynamics of family and friendship. | Love is a central theme that permeates the screenplay, influencing the characters' actions and driving the plot forward. | ||||||||||||
Strengthening Love and Relationships:
| ||||||||||||||
| Identity and Self-Discovery | The screenplay delves into issues of identity and self-discovery, particularly in the context of a world where the lines between humans and vampires are blurred. Characters grapple with their own identities and search for acceptance. | Identity is a significant theme that shapes the characters' journeys and challenges their understanding of themselves and others. | ||||||||||||
| The Supernatural and the Unknown | The screenplay introduces supernatural elements, primarily through the presence of vampires and their unique abilities. It explores the boundaries between the natural and supernatural realms and the impact of these elements on human society. | The supernatural is a key aspect of the screenplay, providing an intriguing backdrop for the characters' interactions and conflicts. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by sharp dialogue, vivid descriptions, and a blend of realism and supernatural elements. The author creates a unique and engaging world with complex characters and intriguing themes, maintaining a consistent tone and style throughout the screenplay. |
| Voice Contribution | The writer's voice contributes to the script by creating a captivating atmosphere that combines the mundane with the extraordinary. The witty dialogue, detailed settings, and character-driven conflicts add depth and authenticity to the story, enhancing the overall mood, themes, and emotional impact. |
| Best Representation Scene | 2 - Vampires at the Convenience Store |
| Best Scene Explanation | This scene is the best representation of the author's voice because it effectively combines vivid descriptions, sharp dialogue, and supernatural elements to create a captivating and mysterious atmosphere. The clerk's transformation from indifference to ferocity, the shopper's discomfort, and the tension between the characters add depth and complexity to the scene, highlighting the writer's ability to create intriguing conflicts and engaging dialogue. |
Originality
- Overall originality score: 9
- Overall originality explanation: The screenplay showcases a high level of originality through its fresh take on vampire-human relations, exploration of supernatural and erotic themes, and unique character dynamics and conflicts.
- Most unique situations: The most unique situations in the screenplay include the introduction of a fresh and provocative take on supernatural and erotic themes, the exploration of power dynamics, desire, and morality in a dark setting, and the blending of supernatural elements with everyday interactions in a modern setting.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability by introducing fresh perspectives on familiar themes, blending elements of humor, fear, and societal commentary in a unique way, and exploring complex themes of identity, agency, and morality within the supernatural genre.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goals evolved to include maintaining composure, exploring desires and boundaries, asserting independence, and understanding personal struggles. |
| External Goals | The protagonist's external goals evolved to include uncovering mysteries, convincing the public of vampire acceptance, handling difficult customers, and protecting others. |
| Philosophical Conflict | The overarching philosophical conflict in the screenplay revolves around acceptance of vampires in society, personal agency, and moral boundaries. |
Character Development Contribution: The evolving internal and external goals challenge the protagonist's beliefs and values, leading to growth and self-discovery.
Narrative Structure Contribution: The goals and conflicts drive the plot forward, creating tension and drama that propel the story towards its resolution.
Thematic Depth Contribution: The exploration of societal norms, personal agency, and moral implications deepens the thematic richness of the screenplay, offering commentary on acceptance, autonomy, and ethical dilemmas.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
World Building
- Physical environment: The world depicted in the screenplay is a rural Southern town in Louisiana, characterized by dense woods, Spanish moss hanging from trees, and small-town establishments like bars and convenience stores.
- Culture: The culture in this world includes a mix of Southern charm, small-town struggles, and societal discrimination against supernatural beings like vampires. There is also a blend of traditional gender norms and modern attitudes towards relationships and interactions.
- Society: The societal structure in this world is complex, with tensions between humans and supernatural beings like vampires. There are issues of civil rights, integration, and discrimination present, as well as a sense of community and interconnectedness within the small-town setting.
- Technology: The technological aspects in this world include modern amenities like cell phones, websites, and online delivery services. There is also the presence of synthetic blood production for vampires, showcasing a blend of advanced technology and supernatural elements.
- Characters influence: The unique physical environment, culture, society, and technology in this world shape the characters' experiences and actions by influencing their relationships, conflicts, and personal struggles. Characters navigate societal prejudices, personal insecurities, and moral dilemmas based on the world elements around them.
- Narrative contribution: The world elements contribute to the narrative depth of the screenplay by creating a rich and immersive setting for the characters to interact in. The physical environment, cultural dynamics, societal structures, and technological aspects all play a role in driving the plot forward and shaping the characters' arcs.
- Thematic depth contribution: The world elements in the screenplay contribute to the thematic depth by exploring themes of identity, acceptance, power dynamics, and the consequences of discrimination. The world's blend of supernatural elements, small-town dynamics, and modern technology adds layers of complexity to the thematic exploration of the story.
Story Engine Analysis
central conflict
The central conflict revolves around Sookie's involvement with vampires, particularly her interactions with Bill Compton, and the dangers and tensions that arise from these relationships.
primary motivations
Sookie's primary motivations include seeking independence, protecting her loved ones, and navigating the complexities of her relationships with vampires.
catalysts
Key catalysts include Sookie's encounter with Bill, her decision to invite him to her home, and the attack she faces outside Merlotte's bar.
barriers
Major barriers include societal disapproval of Sookie's association with vampires, the dangers posed by vampire drainers, and the physical threats she faces.
themes
Themes of independence, loyalty, danger, and the supernatural are central to the story's engine.
stakes
The stakes involve Sookie's safety, her relationships with vampires and humans, and the balance between her normal life and the supernatural world.
uniqueness factor
The unique factor in this story is the blend of supernatural elements, romance, and mystery set in a small town environment.
audience hook
The main audience hook is the intriguing dynamics between humans and vampires, the suspenseful plot twists, and the emotional journey of the protagonist.
paradoxical engine or bisociation
The paradoxical engine in this story is the juxtaposition of the mundane small-town life with the supernatural elements and the complex relationships between humans and vampires.
paradoxical engine or bisociation 2
Another option for the bisociation engine could be the contrast between Sookie's desire for independence and her entanglement with the dangerous world of vampires.
Engine: Claude
Screenplay Rating:
Consider
Executive Summary
The True Blood screenplay demonstrates strong character development, particularly in its portrayal of the protagonist Sookie Stackhouse and the introduction of the vampire Bill Compton. The screenplay effectively establishes the supernatural/horror genre and the unique setting of a small Louisiana town. However, the pacing is uneven, and the supporting character arcs could be further developed. The screenplay has the potential to be a compelling and engaging narrative, but could benefit from additional refinement and focus.
Strengths
- The screenplay effectively establishes the main character Sookie Stackhouse and her unique abilities as a telepath. Her interactions with the supporting characters provide insight into her personality and struggles. high ( Scene 3 Scene 4 Scene 5 )
- The introduction of the vampire character Bill Compton and the developing relationship between him and Sookie is a compelling narrative hook that drives the story forward. high ( Scene 8 Scene 12 Scene 13 )
- The screenplay demonstrates a strong understanding of the supernatural/horror genre, effectively incorporating vampire mythology and integrating it into the setting of a small Louisiana town. medium
Areas of Improvement
- The subplot involving Jason Stackhouse's potential involvement in Maudette's murder feels underdeveloped and distracts from the main narrative. More clarity and focus on this storyline is needed. medium ( Scene 9 Scene 18 Scene 19 )
- The pacing of the screenplay is uneven, with some scenes feeling slow or dragging while others move too quickly. A more balanced and consistent pace would improve the overall narrative flow. medium
MissingElements
- There is a lack of strong character arcs for the supporting characters beyond Sookie and Bill. Developing more compelling journeys for characters like Tara, Sam, and Jason would strengthen the screenplay. medium
- The world-building and mythology surrounding the vampires and their place in this small Louisiana town could be expanded upon to provide more context and depth to the narrative. medium
NotablePoints
- The scenes that explore Sookie's unique telepathic abilities and her struggle to control them are compelling and reveal important aspects of her character. high ( Scene 13 Scene 24 )
- The screenplay effectively blends elements of drama, horror, and romance, creating a multi-layered narrative that has the potential to appeal to a wide audience. medium
Engine: GPT4
Screenplay Rating:
Consider
Executive Summary
The screenplay for 'True Blood' presents a rich blend of supernatural and human drama set against the backdrop of Louisiana. It effectively explores societal issues through the interactions between humans and vampires, supported by strong character development and sharp dialogue. While the narrative is compelling, it could benefit from tighter pacing, clearer motivations for some characters, and a stronger antagonist presence. Overall, the screenplay holds considerable potential for adaptation, given its unique setting, engaging characters, and relevant themes.
Strengths
- The screenplay effectively uses supernatural elements intertwined with human drama, creating a compelling narrative that explores societal issues through the lens of fantasy. high
- Character development, especially of Sookie, is well-executed, showing her growth and the complexity of her interactions with both humans and vampires, which adds depth to the narrative. high ( Scene 1 Scene 24 )
- The dialogue is sharp and often laced with humor, which helps in fleshing out characters and providing relief amidst tense scenes. medium ( Scene 22 Scene 24 )
- The setting and atmosphere are vividly described, enhancing the mood and tone of the screenplay and immersing the audience in the environment. medium
- The introduction and integration of societal prejudices and personal biases through the interactions between vampires and humans provide a rich subtext for exploring themes of acceptance and coexistence. high ( Scene 25 )
Areas of Improvement
- Some scenes, particularly those involving secondary characters, could be tightened to improve pacing and maintain narrative focus. medium
- The motivations of some characters, especially the antagonists, need to be more clearly defined to enhance the story's depth and emotional impact. medium
- The screenplay occasionally relies on clichés in the portrayal of vampire culture, which could be refreshed to offer a unique perspective. low
- There is a need for more subplots or character arcs that could be developed to enrich the world and provide more engagement. medium
- The transitions between scenes can be abrupt, needing smoother narrative connections to enhance flow and coherence. medium
MissingElements
- A clearer exposition of the vampire's history and their societal impact could provide a stronger foundation for the story's premise. medium
- There is a lack of diverse perspectives from other supernatural entities, which could enrich the narrative and expand the universe. low
- The script could benefit from more visually impactful scenes that utilize the supernatural elements to create memorable cinematic moments. medium
- Inclusion of more backstory for the main characters could deepen the audience's connection and understanding of their motivations. medium
- The script lacks a strong antagonist with a compelling arc, which could heighten the stakes and add tension. high
NotablePoints
- The use of telepathy as a narrative device is effectively employed, providing insight into characters' thoughts and adding a layer of complexity to interactions. high
- The cultural integration of vampires into society is a notable aspect, offering a parallel to real-world social issues. high
- The setting in Louisiana adds a unique cultural flavor that enhances the story's atmosphere and character dynamics. medium
- The screenplay's exploration of themes such as prejudice, acceptance, and the nature of humanity is thought-provoking. high
- The blend of horror, romance, and drama genres provides a versatile appeal to a broad audience. medium
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 2 | Clerk: I’ll fuck you and then I’ll eat you. |
| 4 | Tara: Oh my God, I'm not serious, you pathetic racist! I don't have a baby! |
| 7 | Maudette: I videotaped it. With the vampire. Wanna watch? |
| 15 | Tara: Oh my God. You are a huge parody of yourself, and you don’t even know it. |
| 25 | N/A: Sookie is violently attacked in the parking lot, leaving the audience shocked and fearful for her safety. |