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Scene 1 -  Tru Blood Stop
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
TRUE BLOOD

"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.
Genres: ["Drama","Romance","Mystery"]

Summary A frat boy and his sorority girl date pull into a convenience store parking lot after spotting a sign for "Tru Blood." The girl is driving and unzips the boy's pants while they're driving down a two-lane road late at night.
Strengths
  • Engaging dialogue
  • Intriguing setup
  • Well-defined characters
Weaknesses
  • Limited character development
  • Slightly predictable plot progression
Critique
  • The scene starts with a cliche setup of a frat boy and sorority girl driving down a dark road, which doesn't add much depth or originality to the story.
  • The dialogue between the frat boy and sorority girl feels superficial and lacks substance, making it difficult for the audience to connect with the characters.
  • The sudden shift in focus to the Tru Blood sign feels forced and doesn't flow naturally within the scene.
  • There is a lack of tension or conflict in the scene, making it feel flat and unengaging.
  • The characterization of the frat boy and sorority girl is stereotypical and doesn't offer anything new or interesting to the story.
Suggestions
  • Consider adding more depth to the characters by exploring their motivations, backgrounds, and relationships.
  • Introduce some conflict or tension early on to engage the audience and create a more compelling narrative.
  • Focus on developing a unique and original opening scene that sets the tone for the rest of the script.
  • Work on improving the dialogue to make it more authentic and meaningful.
  • Consider revising the scene to establish a stronger connection between the characters and the audience.



Scene 2 -  Vampires at the Convenience Store
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 8
  • Dialogue: 9
INT. GRABBIT QUICK - CONTINUOUS - NIGHT.

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.”
Genres: ["Horror","Fantasy","Comedy"]

Summary Array
Strengths
  • Sharp dialogue
  • Tension building
  • Blend of horror and humor
Weaknesses
  • Stereotypical characterizations
  • Some cliched dialogue
Critique
  • The scene sets up an interesting dynamic with the conservative-looking spokeswoman defending the rights of vampires on TV, but the transition to the convenience store feels a bit abrupt and disjointed.
  • The dialogue between the clerk and the frat boy and sorority girl is a bit on the nose and lacks subtlety. The shift in the clerk's demeanor from evil to friendly feels forced and not fully developed.
  • The introduction of the good ole boy with fangs and the threat of violence adds an element of danger, but it feels a bit cliched and could be more nuanced.
  • The scene could benefit from more depth in character development and more natural dialogue to make the interactions feel more authentic and engaging.
  • The tone of the scene shifts rapidly from fear to humor, which can be jarring for the audience and could be smoothed out for better flow.
Suggestions
  • Consider building up the tension and suspense more gradually to create a more immersive and engaging atmosphere.
  • Work on developing the characters of the clerk, frat boy, sorority girl, and good ole boy more fully to make their interactions feel more realistic and compelling.
  • Focus on creating more natural and nuanced dialogue that reveals character traits and motivations in a subtler way.
  • Explore different ways to convey the threat and danger in the scene without relying on cliches or stereotypes.
  • Consider refining the tone of the scene to ensure a more consistent and cohesive emotional experience for the audience.



Scene 3 -  A Crowded Encounter
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 7
INT. MERLOTTE’S - DINING ROOM - CONTINUOUS - NIGHT.

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.
Genres: ["Drama","Fantasy","Mystery"]

Summary Amidst the bustling crowd at Merlotte's bar, Sookie struggles to navigate a sea of intrusive thoughts. As she serves a family, she encounters a husband controlling his alcohol intake, a wife concealing her resentment, and a restless son yearning for escape. Sookie's empathy for the son prompts her to urge him to leave town, triggering a sense of foreboding in him. Overwhelmed by the cacophony of thoughts, Sookie momentarily succumbs to their deafening presence before regaining control and shutting them out, leaving a lingering sense of melancholy and the weight of unspoken conflicts.
Strengths
  • Effective use of inner thoughts to reveal character depth
  • Subtle introduction of supernatural elements
  • Engaging dialogue
Weaknesses
  • Limited external conflict
  • Relatively low stakes
Critique
  • The scene lacks a clear central conflict or driving force to keep the audience engaged. While there are internal thoughts being heard, they don't contribute significantly to the overall tension or progression of the scene.
  • The transition from the family's thoughts to Sookie's interaction with them feels abrupt and disjointed. There needs to be a smoother segue to connect these elements more cohesively.
  • The dialogue and actions of the characters, particularly Sookie, feel somewhat cliched and predictable. There is an opportunity to add more depth and complexity to their interactions.
  • The use of hearing characters' thoughts as a storytelling device is interesting, but it could be utilized more effectively to build suspense and intrigue.
  • The scene could benefit from more visual descriptions and sensory details to create a vivid and immersive setting for the audience.
Suggestions
  • Introduce a clear conflict or tension that drives the scene forward, such as a confrontation between Sookie and a difficult customer or an unexpected event that disrupts the routine of the bar.
  • Consider refining the transitions between different character perspectives to create a more seamless flow between scenes.
  • Develop the dialogue and actions of the characters to be more nuanced and unexpected, adding layers to their personalities and interactions.
  • Explore different ways to utilize the device of hearing characters' thoughts to build suspense and reveal deeper insights into their motivations.
  • Enhance the visual and sensory descriptions of the setting to create a more immersive and engaging atmosphere for the audience.



Scene 4 -  Tara Quits Her Job
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
INT. SUPER SAVE-A-BUNCH - SHREVEPORT - NIGHT.

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.
Genres: ["Drama","Comedy"]

Summary At a Super Save-A-Bunch store, Tara Thornton quarrels with a demanding shopper over an unavailable item. The situation escalates, leading to Tara slapping the store manager and quitting her job. The scene then shifts to Merlotte's bar, where Sookie and Sam engage in friendly banter with other staff members.
Strengths
  • Sharp dialogue
  • Strong character dynamics
  • Humorous tone
Weaknesses
  • Lack of emotional depth
  • Limited character development for secondary characters
Critique
  • The scene at the Super Save-A-Bunch store with Tara Thornton and the Shopper is engaging and showcases Tara's strong personality. However, the dialogue between Tara and the Shopper could be more concise and impactful. Some of the exchanges feel a bit repetitive and could be streamlined to maintain the tension and humor of the scene.
  • While Tara's character is well-defined through her interactions with the Shopper, the transition to her quitting her job and the confrontation with the Store Manager feels slightly rushed. It would be beneficial to build up the tension and stakes leading to Tara's decision to quit, as well as the confrontation with the Store Manager, to make the scene more impactful.
  • The shift to the scene at Merlotte's with Sookie and Sam is smooth and provides a nice contrast to the previous scene. However, the transition could be enhanced by a clearer connection between the two settings or characters to create a more cohesive narrative flow.
  • The introduction of Arlene Fowler adds depth to the scene at Merlotte's, but her interaction with Sam and Sookie could be further developed to reveal more about her character and relationships with the other staff members. This would enrich the dynamics within the bar and add layers to the overall story.
  • The use of background music and sound effects, such as the phone ringing and the cacophony of thoughts in the bar, adds depth to the scene and enhances the atmosphere. Continuing to incorporate sensory details like these can help immerse the audience in the setting and create a more vivid viewing experience.
Suggestions
  • Consider tightening the dialogue between Tara and the Shopper to maintain the scene's momentum and humor.
  • Build up the tension leading to Tara's decision to quit her job and the confrontation with the Store Manager for a more impactful resolution.
  • Enhance the transition between the scenes at the Super Save-A-Bunch store and Merlotte's to create a more seamless narrative flow.
  • Further develop the interactions between Arlene, Sam, and Sookie to deepen the character dynamics and relationships within Merlotte's.
  • Continue to incorporate sensory details like background music and sound effects to enhance the atmosphere and immerse the audience in the setting.



Scene 5 -  Unwelcome Advances at Merlotte's
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
INT. TARA’S MERCEDES - CONTINUOUS - NIGHT.

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.
Genres: ["Drama","Comedy","Fantasy"]

Summary Tara quits her job and confides in Sookie over the phone. At Merlotte's, Sookie encounters inappropriate comments from Mack and Denise Rattray, leaving her feeling uncomfortable and insulted.
Strengths
  • Strong character development
  • Sharp dialogue
  • Effective blending of genres
Weaknesses
  • Potential stereotypical characterizations
Critique
  • The scene lacks a clear transition between Tara's phone call and Sookie at Merlotte's, making the switch between locations feel abrupt.
  • The dialogue between Tara and Sookie feels a bit forced and unnatural, lacking depth and authenticity in their interaction.
  • The introduction of Dawn Green as a character is somewhat cliched, portraying her as a 'good time girl' who is pleased with what she gets in life.
  • The interaction between Sookie and Sam about the Rattrays feels a bit contrived, with Sam's reassurance coming off as too simplistic and predictable.
  • The description of Mack and Denise Rattray's behavior and thoughts is quite explicit and could be toned down to create a more subtle and nuanced portrayal of their characters.
Suggestions
  • Consider adding a smoother transition between Tara's phone call and Sookie at Merlotte's to improve the flow of the scene.
  • Work on developing more authentic and nuanced dialogue between Tara and Sookie to make their interaction feel more genuine and engaging.
  • Avoid relying on cliches when introducing new characters like Dawn Green, and strive to create more depth and complexity in their portrayal.
  • Instead of a straightforward reassurance from Sam, consider adding layers to his character by exploring his relationship with Sookie in a more nuanced way.
  • Try to show rather than tell when describing the behavior and thoughts of characters like Mack and Denise Rattray, allowing for more subtlety and complexity in their portrayal.



Scene 6 -  Kitchen Banter at Merlotte's
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
INT. MERLOTTE’S - SERVICE ALLEY/KITCHEN - CONTINUOUS - NIGHT.

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.
Genres: ["Drama","Comedy","Fantasy"]

Summary In the service alley of Merlotte's, Arlene chats on the phone while smoking, Lafayette cooks with flair, and Sookie places an order. Lafayette's playful comments about men's fear of women spark banter, evoking a lighthearted and humorous atmosphere. Despite Dawn's brief appearance, the trio's playful interactions dominate the scene, culminating in Lafayette's provocative remark that prompts laughter and further banter.
Strengths
  • Sharp dialogue
  • Well-defined characters
  • Blend of humor and drama
Weaknesses
  • Limited emotional depth
  • Moderate conflict level
Critique
  • The scene lacks a clear direction or purpose, as the dialogue and interactions between the characters feel disjointed and random.
  • The banter between Arlene, Lafayette, Sookie, and Dawn feels forced and unnatural, with the dialogue not flowing smoothly or contributing to character development.
  • The use of stereotypes and crude language, particularly Lafayette's comments about men being terrified of women's genitals, comes across as offensive and unnecessary.
  • The scene lacks depth and fails to engage the audience, as the interactions between the characters feel superficial and lack emotional resonance.
  • The transition between the different characters and their conversations is abrupt and confusing, making it difficult for the audience to follow the scene.
Suggestions
  • Focus on developing a clear objective or conflict within the scene to drive the interactions between the characters and create a more engaging narrative.
  • Refine the dialogue to be more natural and authentic to each character's voice, avoiding stereotypes and offensive language.
  • Consider adding subtext and layers to the interactions between the characters to deepen the emotional impact of the scene.
  • Work on improving the pacing and flow of the scene by smoothing out transitions between different conversations and characters.
  • Ensure that each character's actions and dialogue contribute to the overall story and character development, rather than feeling disconnected or random.



Scene 7 -  Revelation in the Night
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
INT. MAUDETTE’S APARTMENT - AT THE SAME TIME - NIGHT.

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.
Genres: ["Drama","Romance","Fantasy"]

Summary In this scene, Maudette is shown engaging in sexual activity with a man, who is later revealed to be a vampire. Jason Stackhouse discovers the puncture wounds on Maudette's inner thigh and learns about her encounter with the vampire. Maudette admits to being paid for the encounter and shows Jason a video of their interaction. The emotional tone is a mix of intrigue, surprise, and discomfort, with the scene ending as Maudette offers to show Jason the video, leaving him nervous but curious.
Strengths
  • Intriguing character dynamics
  • Provocative dialogue
  • Dark and sensual tone
Weaknesses
  • Some elements may be too explicit for some audiences
Critique
  • The scene is quite graphic and explicit in its depiction of sexual activity, which may not be necessary for the overall story and could potentially alienate some viewers.
  • The dialogue between Jason and Maudette feels a bit forced and unnatural, lacking depth and authenticity in their interaction.
  • The scene could benefit from more subtlety and nuance in exploring the themes of sexuality, vulnerability, and exploitation.
  • There is a lack of emotional depth and character development in this scene, making it feel more like a gratuitous addition rather than a meaningful contribution to the narrative.
  • The portrayal of Maudette as a 'trashy-looking young woman' and the focus on her sexual encounter with a vampire may perpetuate harmful stereotypes and objectification of women.
Suggestions
  • Consider toning down the explicit content and focusing more on the emotional impact and consequences of Maudette's encounter with the vampire.
  • Work on developing the characters of Jason and Maudette to make their dialogue more authentic and engaging.
  • Explore the themes of vulnerability, exploitation, and moral ambiguity in a more nuanced and thought-provoking manner.
  • Add layers to the scene by delving into the psychological and emotional motivations of the characters, rather than relying solely on shock value.
  • Consider the implications of the scene in terms of character development and overall story arc, ensuring that it adds depth and meaning to the narrative.



Scene 8 -  Sookie Meets Bill
  • Overall: 9.0
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. MERLOTTE’S - NIGHT.

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.
Genres: ["Fantasy","Drama","Romance"]

Summary Tara is depressed and complains about her life. Sookie tries to be supportive but tells Tara that she needs to stop feeling sorry for herself. Sam is concerned about Sookie and tries to show her his true feelings. Bill Compton is a vampire who enters the bar and immediately catches Sookie's attention. Sookie is drawn to Bill and they have a moment of connection. However, Bill's darkness is hinted at when he looks at Sookie with a possessive expression in his eyes.
Strengths
  • Engaging dialogue
  • Intriguing character dynamics
  • Subtle world-building
Weaknesses
  • Some cliched elements in character interactions
Critique
  • The scene starts with Tara expressing her depression and Sookie responding in a somewhat harsh manner, which may come off as unsupportive and lacking empathy.
  • The sudden shift in tone from Tara's sadness to Sookie's interaction with Sam feels a bit abrupt and could be smoother to maintain the emotional flow of the scene.
  • The introduction of Sam's feelings for Sookie and the charged moment between them could be developed more gradually to build tension and intrigue.
  • The transition from Sookie feeling something big and unexpected to noticing Bill Compton in the bar is a bit rushed and could benefit from a more seamless connection.
  • The description of Bill Compton's entrance and interaction with Sookie is well-written, but the sudden introduction of Mack and Denise Rattray's inappropriate comments feels slightly forced and disrupts the flow of the scene.
  • The shift in focus from Sookie and Bill's interaction to the introduction of the Rattrays could be smoother to maintain the emotional intensity of the moment.
  • The scene ends with a strong sense of darkness in Bill, which contrasts with the initial excitement and intrigue surrounding his character, creating a compelling dynamic.
Suggestions
  • Consider refining Tara and Sookie's initial interaction to show more empathy and support between the characters.
  • Work on the transition between Tara's sadness and Sookie's interaction with Sam to create a more seamless emotional progression.
  • Develop the tension between Sookie and Sam more gradually to enhance the charged moment between them.
  • Smooth out the transition from Sookie feeling something big to noticing Bill Compton in the bar to create a more cohesive narrative flow.
  • Integrate the introduction of Mack and Denise Rattray more organically into the scene to avoid disrupting the emotional intensity of Sookie and Bill's interaction.
  • Ensure a smoother transition between Sookie and Bill's interaction and the introduction of the Rattrays to maintain the scene's emotional impact.
  • Continue exploring the contrast between Bill's initial allure and the darkness hinted at in his character to create a compelling and complex dynamic.



Scene 9 -  Tension and Suspicion
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 9
  • Dialogue: 7
INT. MAUDETTE’S APARTMENT - NIGHT.

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.
Genres: ["Horror","Drama","Fantasy"]

Summary In this scene, Jason and Maudette watch a disturbing video while engaging in sexual activity, as Sookie and Tara observe Bill interacting with the Rattrays at Merlotte's bar. The emotional tone is tense and unsettling, with Sookie expressing concern about Bill's intentions and Tara warning her about getting involved with a vampire. The conflict arises as Sookie questions the Rattrays' actions, hinting at potential danger, leading to Sookie deciding to investigate further.
Strengths
  • Strong character dynamics
  • Intriguing plot developments
  • Tense and dark atmosphere
Weaknesses
  • Some dialogue could be more nuanced
  • Slightly predictable character interactions
Critique
  • The scene in Maudetee's apartment is graphic and disturbing, with explicit sexual content involving a vampire and Maudette. This may be too intense for some audiences and could be toned down or implied rather than shown in detail.
  • The juxtaposition of Jason's arousal and repulsion towards the video is an interesting conflict, but it could be explored more deeply to add emotional depth to his character.
  • The portrayal of the vampire on TV as a hideous satyr consumed by lust is quite extreme and may be too over-the-top, potentially taking away from the seriousness of the scene.
  • The transition from the graphic content in Maudeette's apartment to the bar scene at Merlotte's with the Rattrays and Bill is a bit abrupt and could be smoother to maintain the flow of the story.
  • The dialogue between Sookie, Tara, and Sam at Merlotte's provides necessary exposition about vampires and sets up tension, but it could be more nuanced and subtle in conveying the information.
Suggestions
  • Consider toning down the explicit content in Maudette's apartment to make it more palatable for a wider audience.
  • Explore Jason's internal conflict in more depth to add complexity to his character and make his reactions more relatable.
  • Reconsider the portrayal of the vampire on TV to ensure it is not too exaggerated and maintains a sense of realism within the supernatural world.
  • Work on smoother transitions between intense scenes like Maudette's apartment and lighter scenes like the one at Merlotte's to maintain the overall tone of the script.
  • Refine the dialogue between characters at Merlotte's to make it more natural and engaging, while still conveying important information about vampires.



Scene 10 -  Sookie's Intervention
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
INT. MERLOTTE’S - DINING ROOM - MOMENTS LATER - NIGHT.

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.
Genres: ["Drama","Fantasy","Horror"]

Summary Despite Sookie's warnings, Sam and Tara dismiss her concerns. Denise and Mack Ratray exploit Bill's blood for profit, leaving Sookie to search for him with a heavy chain as a weapon.
Strengths
  • Strong tension
  • Emotional depth
  • Well-developed characters
  • High stakes
Weaknesses
  • Some dialogue could be more impactful
  • Some character interactions could be more nuanced
Critique
  • The scene lacks clarity in terms of the Rattrays' intentions towards Bill. It's not clearly conveyed why they are trying to seduce him and what their ultimate goal is.
  • The dialogue between Sookie, Tara, and Sam feels a bit rushed and lacks depth. There is potential for more emotional depth and conflict in their interactions.
  • The transition from Sookie realizing the Rattrays' plan to her rushing out to the parking lot feels abrupt and could be smoother to maintain the tension and urgency of the situation.
  • The inner thoughts of Denise and the visual of Sookie scanning the parking lot add depth to the scene but could be integrated more seamlessly into the narrative.
  • The scene could benefit from more visual cues and descriptions to enhance the atmosphere and tension, especially in the moments leading up to Sookie's discovery of the heavy chain.
Suggestions
  • Clarify the Rattrays' motivations and intentions towards Bill to create a more compelling conflict.
  • Develop the dialogue between Sookie, Tara, and Sam to add emotional depth and complexity to their relationships.
  • Smooth out the transition between Sookie realizing the danger and rushing to the parking lot to maintain the suspense and urgency of the scene.
  • Integrate the inner thoughts of characters and visual cues more seamlessly into the narrative to enhance the atmosphere and tension.
  • Enhance the scene with more descriptive visuals and cues to create a more immersive and engaging experience for the audience.



Scene 11 -  Dark Confrontation
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 7
  • Dialogue: 7
INT. MAUDETTE’S APARTMENT - AT THE SAME TIME - NIGHT.

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.
Genres: ["Drama","Horror","Romance"]

Summary In this intense and dark scene, Maudette is bound to a ceiling hook while engaging in rough sex with Jason, who degrades her with his dialogue. Meanwhile, Bill is restrained and drained of blood by Mack and Denise. Sookie intervenes by attacking Mack with a chain and a knife, leading to a physical confrontation. The conflict partially resolves as Sookie manages to restrain Mack, but the scene ends with a mysterious blue-eyed woman observing from the woods.
Strengths
  • Intense atmosphere
  • Compelling dialogue
  • Complex character dynamics
Weaknesses
  • Graphic content may be disturbing to some viewers
Critique
  • The scene in Maudette's apartment is graphic and disturbing, with elements of rough sex and degradation that may be uncomfortable for some viewers.
  • The dialogue between Jason and Maudette is intense and explicit, focusing on themes of punishment and disgust, which may be too explicit for some audiences.
  • The visual elements of the scene, such as the bound hands, the aggressive sex, and the video camera filming, contribute to the dark and unsettling tone of the scene.
  • The transition to the parking lot at Merlotte's introduces a new conflict involving Bill being restrained and drained of blood by Mack and Denise, adding to the tension and danger of the scene.
  • The introduction of Sookie as a heroic figure who intervenes to save Bill adds a layer of action and suspense to the scene, but the violent confrontation may be too intense for some viewers.
Suggestions
  • Consider toning down the explicit content in the scene in Maudette's apartment to make it more palatable for a wider audience.
  • Focus on the emotional impact of the scene rather than the graphic details to convey the intensity of the situation.
  • Explore alternative ways to depict the conflict and tension without resorting to explicit dialogue and actions.
  • Ensure that the resolution of the conflict involving Sookie's intervention is satisfying and believable within the context of the story.
  • Consider the overall impact of the scene on the audience and whether it aligns with the tone and themes of the screenplay.



Scene 12 -  Confrontation in the Parking Lot
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. MERLOTTE’S - PARKING LOT - CONTINUOUS - NIGHT.

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.
Genres: ["Drama","Horror","Thriller"]

Summary Sookie confronts Denise, who attempts to steal vampire blood. Denise retreats after a tense standoff, and Sookie frees Bill, witnessing his rapid healing abilities. The scene concludes with Sookie and Bill narrowly evading the Rattrays' vehicle.
Strengths
  • Intense conflict
  • Strong character development
  • Emotional depth
Weaknesses
  • Some cliched dialogue
  • Slightly predictable outcome
Critique
  • The scene is intense and filled with conflict, which adds to the tension and drama. However, the dialogue between Sookie and Denise feels a bit cliched and lacks depth. The insults exchanged between them come off as forced and do not add much to the scene.
  • The standoff between Sookie and Denise is well-executed, but the resolution feels a bit rushed. It would be beneficial to explore the emotions and motivations of the characters more deeply to create a more impactful confrontation.
  • The moment where Sookie frees Bill from the silver chains and witnesses his rapid healing abilities is a pivotal moment in the scene. However, the description of Bill's cuts healing could be more vivid and impactful to emphasize the supernatural element of the scene.
  • The action sequence where Sookie and Bill narrowly avoid being hit by the Rattrays' car is well-paced and adds to the suspense of the scene. However, the transition from the confrontation with Denise to the car chase could be smoother to maintain the flow of the scene.
  • The introduction of the blue-eyed woman observing the events from the woods adds an intriguing element to the scene. However, her presence could be further developed to create more mystery and suspense.
Suggestions
  • Consider revising the dialogue between Sookie and Denise to make it more authentic and impactful. Focus on developing their characters' emotions and motivations to enhance the confrontation.
  • Expand on the moment where Sookie frees Bill from the silver chains to emphasize the supernatural aspect of his healing abilities. Use vivid descriptions to create a more visually striking scene.
  • Ensure a smooth transition between the confrontation with Denise and the car chase to maintain the momentum of the scene. Consider building up the tension gradually to enhance the suspense.
  • Further develop the character of the blue-eyed woman observing the events from the woods to create a sense of mystery and intrigue. Explore her role in the story to add depth to the scene.



Scene 13 -  Encounter in the Woods
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
EXT. WOODS - CONTINUOUS - NIGHT.

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.
Genres: ["Fantasy","Romance","Drama"]

Summary Bill, a weakened vampire, rejects Sookie's initial assistance but later accepts her help. Despite his inability to speak, Sookie senses his thoughts. They discuss Bill's weakness to silver and hunger. Bill asks for Sookie's discretion, while Sookie boldly refuses his offered blood. Their playful exchange ends with Sookie returning to work, leaving Bill with a smile.
Strengths
  • Engaging dialogue
  • Character development
  • Tension building
Weaknesses
  • Some cliched vampire-human interactions
Critique
  • The scene lacks a clear sense of urgency or tension given the recent events that have transpired. The emotional impact of Bill's recent ordeal is not effectively conveyed through the dialogue and actions of the characters.
  • The interaction between Sookie and Bill feels somewhat forced and lacks depth. The dialogue exchange between them does not fully explore the complexities of their relationship or the implications of their respective identities as human and vampire.
  • The transition from Sookie expressing concern for Bill to suddenly being amused by his name feels tonally inconsistent and disrupts the flow of the scene.
  • The dialogue between Sookie and Bill, particularly regarding the vampire blood and silver weakness, comes across as somewhat contrived and does not feel organic to the characters' motivations or personalities.
  • The scene could benefit from more nuanced character interactions and a deeper exploration of the underlying tensions and dynamics between Sookie and Bill.
Suggestions
  • Consider revising the dialogue to better reflect the emotional aftermath of the recent events and to deepen the connection between Sookie and Bill.
  • Focus on building a more gradual and natural progression in the interaction between Sookie and Bill, allowing for a more authentic and engaging exchange.
  • Explore the internal thoughts and feelings of the characters to add depth and complexity to their interactions, particularly in moments of vulnerability and tension.
  • Ensure that the humor in the scene is balanced with the seriousness of the situation, maintaining a consistent tone throughout.
  • Consider incorporating subtle gestures and non-verbal cues to enhance the emotional resonance of the scene and convey the unspoken dynamics between Sookie and Bill.



Scene 14 -  Sookie's Return
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 7
  • Dialogue: 7
EXT. MERLOTTE’S - PARKING LOT - CONTINUOUS - NIGHT.

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.
Genres: ["Horror","Drama"]

Summary Emerging from the woods, Sookie finds Sam in the parking lot. Despite her disheveled appearance, Sam is relieved to see her. Sookie, however, remains agitated, claiming that not all vampires can fend for themselves. As she heads back into the bar, Sam lingers, his gaze fixed on the enigmatic darkness of the woods.
Strengths
  • Effective tension-building
  • Intriguing character dynamics
  • Mysterious atmosphere
Weaknesses
  • Some dialogue may be overly dramatic or cliched
Critique
  • The transition from the previous scene to this one feels a bit abrupt and could benefit from a smoother connection.
  • The dialogue between Sookie and Sam lacks depth and emotional resonance, considering the intense events that just transpired in the previous scenes.
  • There is a missed opportunity to delve deeper into Sookie's emotional state after the confrontation with the Rattrays and her interaction with Bill.
  • The visual description of the woods being dark and still is a bit cliched and could be more vivid and engaging.
  • The scene could benefit from more internal monologue or reflection from Sookie to give insight into her thoughts and feelings.
Suggestions
  • Consider adding a brief moment of Sookie processing the recent events before her interaction with Sam to add depth to her character.
  • Enhance the visual description of the woods to create a more atmospheric and immersive setting.
  • Explore Sookie's emotional turmoil and conflicting feelings about vampires in this scene to add complexity to her character.
  • Add a subtle hint of suspense or foreshadowing in the woods to build anticipation for future events.
  • Consider incorporating a subtle hint of Sookie's telepathic abilities or inner conflict to foreshadow future developments.



Scene 15 -  Night at Merlotte's
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. MERLOTTE’S - LATER - NIGHT.

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.
Genres: ["Drama","Romance","Comedy"]

Summary As the night draws to a close at Merlotte's bar, Sam offers Tara a job. Tara expresses concern about Sookie's well-being. Jason interacts with Dawn, flirting with her. Tara confronts Jason about not remembering her, leading to tension. Despite this, the atmosphere remains flirtatious and humorous. The scene concludes with Jason leaving after his interaction with Dawn and Tara.
Strengths
  • Strong character development
  • Engaging dialogue
  • Mix of genres
Weaknesses
  • Lack of significant conflict
  • Low stakes
Critique
  • The scene lacks a clear focus or central conflict, making it feel disjointed and lacking in tension.
  • The dialogue between Sam and Tara feels forced and lacks depth, failing to engage the audience or move the story forward.
  • The interactions between Tara and Jason, as well as Jason and Dawn, lack emotional depth and come across as superficial.
  • The character dynamics and relationships are not fully explored or developed, leaving the scene feeling flat and uninteresting.
  • The scene lacks a sense of urgency or purpose, failing to drive the plot forward or engage the audience.
Suggestions
  • Introduce a central conflict or tension that drives the scene and engages the characters.
  • Develop the dialogue between Sam and Tara to reveal more about their relationship and motivations.
  • Explore the emotional depth of the interactions between Tara, Jason, and Dawn to add complexity to their relationships.
  • Focus on character development and dynamics to create more engaging and compelling interactions.
  • Consider adding a sense of urgency or purpose to the scene to drive the plot forward and keep the audience invested.



Scene 16 -  Dream Encounter
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
INT. SOOKIE’S HONDA CIVIC - NIGHT.

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...
Genres: ["Drama","Fantasy","Romance","Horror"]

Summary Sookie drives to her grandmother's house and discusses a vampire she met with her. Later, she has a dream about the vampire, Bill Compton, which culminates in a tense moment. The scene ends with Sookie waking up from the dream, feeling unsettled.
Strengths
  • Engaging dialogue
  • Mysterious atmosphere
  • Character dynamics
Weaknesses
  • Some cliched elements
  • Predictable dream sequence
Critique
  • The scene starts with a strong visual description of the setting, which is effective in setting the tone and mood of the scene. However, the transition from Sookie driving to arriving at her grandmother's house feels a bit abrupt and could be smoother.
  • The dialogue between Sookie and Adele is engaging and reveals more about Sookie's encounter with the vampire. However, the conversation could be more dynamic and have a bit more depth to it.
  • The dream sequence at the end of the scene is intriguing and adds a mysterious element to the story. However, the transition from reality to the dream could be clearer to the audience.
  • The interaction between Sookie and Bill in the dream sequence is intense and sets up a potential conflict between them. This could be further developed to create more tension and suspense.
  • Overall, the scene effectively sets up the next plot point with Bill appearing in Sookie's dream, but it could benefit from more emotional depth and character development.
Suggestions
  • Consider adding more depth to the conversation between Sookie and Adele to reveal more about their relationship and Sookie's feelings.
  • Work on smoother transitions between different parts of the scene to improve the flow of the narrative.
  • Enhance the dream sequence to create more tension and suspense, building up to the next plot point.
  • Focus on developing the emotional dynamics between Sookie and Bill in the dream sequence to engage the audience and create a stronger connection with the characters.
  • Continue to build on the mysterious and suspenseful elements introduced in the scene to keep the audience intrigued and invested in the story.



Scene 17 -  Sunbathing Interrupted
  • Overall: 8.0
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 7
EXT. OLD STACKHOUSE PLACE - DAY.

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.
Genres: ["Drama","Supernatural","Mystery"]

Summary Jason confronts Sookie about a fight with the Rattrays, which he learned about from Hoyt. Sookie reveals that the Rattrays are vampire drainers and that she intervened to protect a vampire customer. Jason warns her against getting involved with vampires, but Sookie insists that she had to stop the Rattrays from killing her customer. Adele, Jason's grandmother, interrupts their conversation and invites Jason inside for iced tea.
Strengths
  • Strong character dynamics
  • Engaging plot twists
  • Tense atmosphere
Weaknesses
  • Some dialogue could be more concise
  • Minor pacing issues
Critique
  • The scene starts with a strong visual description of Sookie sunbathing in her backyard, which sets the tone and mood effectively.
  • The dialogue between Sookie and Jason is engaging and reveals important information about the Rattrays and their involvement with vampires.
  • There is a good balance of tension and humor in the interaction between Sookie and Jason, adding depth to their relationship.
  • The conflict between Sookie's desire to protect the vampire and Jason's warning against getting involved with vampires is well portrayed.
  • The scene effectively sets up the dynamics between the characters and hints at potential conflicts and developments in the story.
Suggestions
  • Consider adding more sensory details to enhance the setting and immerse the audience in the scene.
  • Explore the emotional depth of the characters further to create a more nuanced and compelling interaction.
  • Provide more context or backstory to explain Sookie's connection to the vampire and her strong sense of justice.
  • Consider adding subtext or hidden motives to the characters' dialogue to add layers to their interactions.
  • Ensure a smooth transition to the next scene to maintain the flow of the story.



Scene 18 -  Maudette's Murder
  • Overall: 8.0
  • Concept: 7
  • Plot: 9
  • Characters: 8
  • Dialogue: 8
INT. OLD STACKHOUSE PLACE - KITCHEN - LATER - DAY.

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.
Genres: ["Drama","Mystery","Thriller"]

Summary Sookie and Jason discuss the recent murder of Maudette Perkins, suspected of being a "fangbanger." Jason's insensitive comments about vampires and prostitutes anger Sookie, who unsuccessfully attempts to read his mind. Amidst the tension, Adele reveals Maudette's body was found in her apartment. Jason abruptly exits, leaving Sookie and Adele to contemplate the possible involvement of vampires.
Strengths
  • Rich dialogue
  • Emotional depth
  • Revealing character dynamics
  • Building tension
Weaknesses
  • Some abrupt transitions between topics
Critique
  • The scene lacks a clear focus or central conflict, making it feel disjointed and lacking in tension.
  • The dialogue between Sookie and Jason feels forced and unnatural, with abrupt shifts in tone and emotion.
  • The revelation of Maudette's death and her involvement as a 'fangbanger' is presented in a way that feels rushed and lacks depth.
  • The interaction between Sookie and Jason regarding telepathic powers is awkward and unresolved, leaving the audience confused.
  • The scene lacks subtlety in addressing themes of prostitution and vampire culture, coming across as heavy-handed and didactic.
Suggestions
  • Establish a clear central conflict or tension between Sookie and Jason to drive the scene forward.
  • Refine the dialogue to make it more natural and reflective of the characters' personalities and relationships.
  • Provide more depth and nuance in the discussion of Maudette's death and her involvement with vampires to add complexity to the storyline.
  • Resolve the tension between Sookie and Jason regarding her telepathic powers in a more satisfying and meaningful way.
  • Handle the themes of prostitution and vampire culture with more subtlety and nuance to avoid coming across as preachy or heavy-handed.



Scene 19 -  Unwanted Advances
  • Overall: 8.0
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 8
EXT. ROAD WORK SITE - DAY.

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.
Genres: ["Drama","Romance","Mystery"]

Summary Jason, a road worker, attempts to persuade Dawn to meet up with him after work despite her disinterest. As he ends the call, he notices Sheriff Bud Dearborne and Detective Andy Bellefleur approaching the scene, causing him concern.
Strengths
  • Tension-filled dialogue
  • Strong character interactions
  • Plot advancement
Weaknesses
  • Potentially graphic content
  • Complex character relationships
Critique
  • The scene starts with a strong visual description of the road work site and Jason's appearance, which sets the tone well. However, the dialogue between Jason and Dawn feels a bit cliched and lacks depth. It's important to make the conversation more engaging and meaningful to the overall story.
  • The introduction of Sheriff Bud Dearborne and Detective Andy Bellefleur adds an element of tension and intrigue, but their presence feels a bit abrupt. It might be beneficial to provide more context or build up to their arrival to create a smoother transition.
  • The dynamic between Jason and Dawn is somewhat predictable and doesn't offer much in terms of character development. Consider adding layers to their relationship or introducing new elements to make the interaction more compelling.
  • The scene ends abruptly with Jason hanging up the phone, which feels a bit rushed. It's important to give the scene a more satisfying conclusion or transition to the next sequence to maintain the flow of the story.
  • Overall, the scene has potential but could benefit from more nuanced dialogue, deeper character interactions, and a smoother pacing to enhance the storytelling.
Suggestions
  • Revise the dialogue between Jason and Dawn to make it more engaging and reflective of their personalities and motivations.
  • Provide more context or build-up to the arrival of Sheriff Bud Dearborne and Detective Andy Bellefleur to integrate them more seamlessly into the scene.
  • Explore opportunities to add complexity to the relationship between Jason and Dawn to create a more dynamic and compelling dynamic.
  • Consider refining the ending of the scene to ensure a smoother transition or a more satisfying conclusion.
  • Focus on enhancing the overall depth and impact of the scene through nuanced dialogue, character development, and pacing adjustments.



Scene 20 -  Jason's Confession
  • Overall: 8.0
  • Concept: 7
  • Plot: 9
  • Characters: 8
  • Dialogue: 7
EXT. ROAD WORK SITE - CONTINUOUS - DAY.

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
Genres: ["Drama","Mystery","Crime"]

Summary Jason is questioned by Sheriff Dearborne and Andy about the murder of Maudette Perkins at a road work site. Initially denying any involvement, Jason eventually confesses to having had sex with her the night she was killed. The tension rises as it is revealed that there is a videotape of their encounter, leaving Jason's friends concerned as he gets into the patrol car with the sheriff and Andy, leaving them behind.
Strengths
  • Effective tension-building
  • Revealing character dynamics
  • Engaging dialogue
Weaknesses
  • Possible lack of subtlety in some character interactions
Critique
  • The scene effectively introduces a new conflict by having Jason questioned by Sheriff Dearborne and Detective Andy about the murder of Maudette Perkins.
  • The dialogue between Jason, Bud, and Andy feels natural and helps to build tension as Jason's involvement in Maudette's murder is revealed.
  • The scene effectively portrays Jason's initial denial, gradual admission, and eventual shock at the evidence against him, creating a sense of suspense and drama.
  • The visual descriptions of the characters and setting help to set the tone of the scene and create a vivid image for the reader.
  • The scene effectively transitions from the road work site to Sookie's bedroom, providing a smooth segue to the next part of the story.
Suggestions
  • Consider adding more internal conflict and emotional depth to Jason's character as he grapples with the consequences of his actions.
  • Explore the relationship dynamics between Jason, Rene, and Hoyt further to add depth to their interactions.
  • Consider adding more subtext and nuance to the dialogue between Jason, Bud, and Andy to enhance the tension and suspense of the scene.
  • Provide more insight into Jason's motivations and thought process as he makes the decision to confess to his involvement in Maudette's murder.
  • Consider incorporating more sensory details and emotional cues to enhance the reader's immersion in the scene.



Scene 21 -  Pressure from the Past
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
INT. HIGH SCHOOL CORRIDOR - 1999 (FLASHBACK) - DAY.

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.
Genres: ["Drama","Supernatural","Mystery"]

Summary Sookie Stackhouse is haunted by memories of being bullied in high school as she is pressured by her grandmother, Adele, to invite a vampire she met to speak to her organization. Despite her hesitations, Sookie agrees to ask the vampire the next time he comes into Merlotte's.
Strengths
  • Intriguing character dynamics
  • Emotional depth
  • Mystery and suspense
Weaknesses
  • Some dialogue may come off as cliché or melodramatic
Critique
  • The scene transitions abruptly from a high school hallway flashback to Sookie's bedroom without a clear connection or smooth transition.
  • The dialogue between Sookie and Adele feels a bit forced and lacks depth, making it seem like a filler conversation rather than one that adds to the character development or plot.
  • The interaction between Sookie and Adele about the vampire's potential involvement in speaking to the Descendants of the Glorious Dead feels disconnected from the previous scenes and lacks a clear purpose or impact on the overall story.
  • The scene lacks emotional depth and fails to engage the audience in a meaningful way, making it feel like a filler scene that doesn't contribute much to the overall narrative.
  • There is a missed opportunity to explore Sookie's internal conflict or emotions regarding the vampire she met, which could have added depth to her character and the storyline.
Suggestions
  • Consider revising the transition between the high school hallway flashback and Sookie's bedroom to make it smoother and more coherent.
  • Enhance the dialogue between Sookie and Adele to make it more meaningful and reflective of their relationship and the overall themes of the screenplay.
  • Revisit the purpose of the conversation between Sookie and Adele about the vampire speaking to the Descendants of the Glorious Dead to ensure it aligns with the character arcs and plot progression.
  • Add more emotional depth to the scene by exploring Sookie's internal conflict and feelings about the vampire she met, providing insight into her character and motivations.
  • Ensure that each scene serves a clear purpose in advancing the plot, developing characters, or building tension to keep the audience engaged and invested in the story.



Scene 22 -  Trouble at Merlotte's
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
INT. MERLOTTE’S - BAR - CONTINUOUS

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.
Genres: ["Drama","Mystery"]

Summary Tara confronts a disrespectful customer, demanding respect and defending her name. Lafayette teases Tara about her appearance and reveals Jason's arrest, which shocks Tara. Sookie learns the news of Jason's arrest and abruptly leaves the conversation.
Strengths
  • Sharp dialogue
  • Tension-filled interactions
  • Intriguing plot developments
Weaknesses
  • Some cliched character dynamics
Critique
  • The scene starts off with strong character interactions between Tara and Lafayette, showcasing their personalities and dynamic. However, the dialogue feels a bit forced and on-the-nose at times, lacking subtlety in conveying the characters' emotions and conflicts.
  • The transition from Tara confronting the customer to discussing Jason's arrest feels a bit abrupt and disjointed. The shift in tone from humor to seriousness could be smoother to maintain the flow of the scene.
  • There is a missed opportunity to delve deeper into Tara's emotions regarding Jason's arrest. Her initial shock and subsequent dismissal of his involvement could be explored further to add depth to her character.
  • The dialogue between Tara and Lafayette about Jason's arrest and Maudette's murder feels a bit expository and could benefit from more natural and organic conversation that reveals information in a more subtle manner.
  • The scene could use more visual cues and actions to enhance the storytelling and provide a more immersive experience for the audience. Adding more physical movements and gestures could help bring the scene to life.
Suggestions
  • Consider refining the dialogue to make it more nuanced and realistic, avoiding overly direct statements and focusing on subtext and character dynamics.
  • Work on smoother transitions between different topics and tones within the scene to maintain coherence and engagement.
  • Explore Tara's emotional journey regarding Jason's arrest in more depth, allowing the audience to connect with her character on a deeper level.
  • Find ways to convey information and exposition more subtly through character interactions and actions, rather than relying heavily on dialogue.
  • Integrate more visual elements and physical movements to enhance the scene and create a more vivid and engaging visual experience for the audience.



Scene 23 -  Sookie Meets the Mysterious Bill
  • Overall: 9.0
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
INT. MERLOTTE’S - DINING ROOM - MOMENTS LATER - NIGHT.

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.
Genres: ["Drama","Fantasy","Romance"]

Summary Sookie confronts Rene and Hoyt about her brother's arrest, but they don't provide clear answers. Bill Compton enters the bar, and Sookie feels drawn to him as he puts his hand on hers, which blocks out the loud thoughts of the people around her. Despite the attention they're receiving, Bill asks Sookie if she's more than human. She denies it and then agrees to let him visit her home. Sookie asks him for a favor for her grandmother and they arrange to meet after she gets off work. Bill points out that everyone is staring at them, but Sookie dismisses it. As soon as Bill leaves, Sookie is overwhelmed by the thoughts of the people around her, and Sam pulls her away.
Strengths
  • Engaging character dynamics
  • Tension-filled interaction
  • Emotional depth
Weaknesses
  • Some cliched dialogue
Critique
  • The scene starts with Arlene, Rene, and Hoyt in a booth, which seems disconnected from the previous context of Sookie's concern about her brother's arrest.
  • The dialogue between Sookie, Rene, and Hoyt feels forced and lacks depth, especially in conveying the gravity of the situation with Jason's arrest.
  • The transition to Sookie's interaction with Bill Compton feels abrupt and doesn't flow naturally from the previous conversation about Jason.
  • The introduction of Bill Compton and the immediate focus on their interaction takes away from the tension and concern surrounding Jason's arrest.
  • The sudden shift to a romantic and mysterious encounter between Sookie and Bill feels out of place in the context of the scene and the overall tone of the script.
Suggestions
  • Consider restructuring the scene to maintain a consistent focus on the tension surrounding Jason's arrest before introducing the interaction with Bill Compton.
  • Develop the dialogue between Sookie, Rene, and Hoyt to add depth and emotional resonance to the situation with Jason's arrest.
  • Create a smoother transition between the different elements of the scene to ensure a cohesive flow and maintain the overall tone of the script.
  • Balance the introduction of Bill Compton with the ongoing conflict surrounding Jason's arrest to keep the audience engaged and invested in the storyline.
  • Ensure that the romantic and mysterious elements of Sookie and Bill's interaction align with the established tone and themes of the script.



Scene 24 -  Sookie's Conflict of Independence
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. MERLOTTE’S - SAM’S OFFICE - MOMENTS LATER - NIGHT.

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.
Genres: ["Drama","Supernatural","Romance"]

Summary Sam confronts Sookie about setting up a date with a vampire, expressing concern for her safety. Tara joins in, expressing her disapproval. Sookie asserts her independence and leaves the office frustrated, leaving the conflict unresolved.
Strengths
  • Strong emotional beats
  • Tension-filled dialogue
  • Character-driven conflicts
Weaknesses
  • Some repetitive dialogue
  • Slightly predictable character reactions
Critique
  • The scene lacks subtlety in conveying the conflicts and emotions between the characters. The dialogue feels heavy-handed and overly dramatic, making it less believable and engaging for the audience.
  • The character interactions and reactions seem forced and unnatural, especially in the way they express their thoughts and feelings. This can make it difficult for the audience to connect with the characters and their motivations.
  • The scene could benefit from more nuanced and realistic dialogue that reflects the complexity of the relationships and conflicts between the characters. This would help to create a more authentic and engaging scene.
  • The use of internal monologue through voice-over for Sam and Tara's thoughts feels disjointed and disrupts the flow of the scene. It would be more effective to show their thoughts through their actions and interactions with Sookie.
  • The emotional beats in the scene could be more subtly conveyed through the characters' actions and expressions, rather than relying heavily on dialogue to spell out their feelings.
Suggestions
  • Consider revising the dialogue to be more natural and nuanced, allowing the characters to express their emotions and conflicts in a more realistic way.
  • Show, don't tell - focus on conveying the characters' thoughts and feelings through their actions and interactions, rather than relying on voice-over for internal monologue.
  • Work on building the tension and emotional depth of the scene through subtle cues and character dynamics, rather than heavy-handed dialogue.
  • Consider trimming down the dialogue and focusing on impactful moments that drive the plot forward and reveal character development.
  • Explore different ways to convey the characters' emotions and conflicts, such as through body language, facial expressions, and subtext, to create a more engaging and authentic scene.



Scene 25 -  Attack in the Shadows
  • Overall: 8.0
  • Concept: 7
  • Plot: 9
  • Characters: 7
  • Dialogue: 6
EXT. MERLOTTE’S - LATER - NIGHT.

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.
Genres: ["Drama","Thriller","Mystery"]

Summary Sookie waits outside Merlotte's for Bill, but is attacked by a mysterious dark shape that knocks her unconscious and kicks her repeatedly.
Strengths
  • Building tension and suspense
  • Emotional impact on the audience
  • Setting up future conflicts and character developments
Weaknesses
  • Limited dialogue
  • Sudden and graphic violence
Critique
  • The scene lacks a clear resolution or climax, leaving the audience hanging with a sudden and violent attack on Sookie without any context or buildup.
  • The transition from Sookie expecting to meet Bill to suddenly being attacked is jarring and feels disconnected from the rest of the script.
  • There is a lack of emotional impact or development in this scene, as the violence towards Sookie feels gratuitous and out of place.
  • The scene could benefit from more foreshadowing or buildup to the attack, as well as a clearer motivation for the assailants.
  • The dialogue between Sookie and Sam lacks depth or significance, failing to add any meaningful context to the scene.
Suggestions
  • Consider revising the scene to provide more context and build tension leading up to the attack on Sookie.
  • Add more emotional depth and character development to Sookie and Sam's interaction to make the scene more engaging.
  • Provide a clearer resolution or cliffhanger at the end of the scene to leave the audience intrigued and wanting more.
  • Explore the motivations of the attackers and their connection to the overall plot to make the scene more impactful.
  • Consider incorporating elements from previous scenes to tie the attack on Sookie into the larger narrative of the script.