Oh Franklin, you crazy thing. So Tara's like, "Where you been?" all flirty, and he gets very dark and pissy: "Tara, I will not be policed." She tries to backtrack from the weirdness of that -- Ball does very well the awkward feeling of talking to crazy people, riding that shifting equilibrium of expectations and how you're constantly finding yourself in a new conversation with no idea how you got there -- and apologizes, saying that she meant she just couldn't wait to get him back. He t-bones the conversation again, whining that she hasn't even noticed that he shaved so how could she pretend to care at all, and she doesn't even have time to save that one, because then he's all romantic and talking about looking nice for her, their wedding night tomorrow, and the fact that since Sookie's already been kidnapped for Russell -- questions regarding which go flying unnoticed past Franklin's head -- his current contract is ended.
Not great news, the fact that Franklin now has no reason to leave her side ever again, before or after she becomes his VAMPIRE BRIDE, so she flirts masterfully and sort of hypnotically and begs him to untie her so they can have some mutually satisfying sex. She has a brilliant idea, also, which is to get high on V so she can bust up out of there, and puts it into motion, pretending her shudders have nothing to do with terror: "I'm gonna drink your blood tomorrow night? I want it now! I wanna experience being high on you while making love to you. Knowing it's my last act as human, I wanna have the most amazing sex any human can have before I give myself to you... And death!"
(As hard to watch as the Lorena/Bill stuff is, it makes sense in the context of their vibe. This is something we get into a lot with Gossip Girl, actually, where each character has his or her own set of classic romantic (oven specifically Gothic) tropes and images, from Chekov to Byron to Kerouac to Audrey Hepburn -- no, I'm really not making this up -- that inform their storylines and even sometimes the way their stories are directed and filmed. In addition, Alan Ball is all for substance as long as it doesn't interfere with his impressionism. So that stuff gets a pass from me because we're in that stylistic mode, same as all of Sookie running through graveyards in her respective nightgown was a lovable indulgence that took some getting used to.
But then here, you have this perfectly effortless, hilarious chemistry between Franklin and Tara, where all you want is to hear her say shit like this, knowing that she, and we, are only playing along to whatever Castle Of Otranto bullcorn Franklin's spinning out right now, because it's awesome. It's fun and funny, and the groans it gets are because it's uproariously funny, not because the characters -- and thus we, on some level -- are acting like total gaywads. Which, we already have to grade Bill Compton on a curve for that as it is.)