He's all, "The Bleeds have begun!" (which is totally the new "Drank before the wound closes!") and she drowsily tells him it won't last forever. He begs her to at least let him call Eric, and she laughs her ass off. Yeah, it's Eric's fault that Sookie's in danger, but it's also Eric's fault she's there. She snatches and crushes the room phone: "He wants the girl, William. Just let him have her." Bill wigs out and bleeds some more.

Jason makes it about one meter, with his luggage, before Steve and Gabe show up and grab him, with a huge knife. The tragic thing is that Jason still thinks he just has to skip town because of sleeping with Sarah and her subsequent crazy-going, he doesn't even know about the Sookie part yet, so once again it's like all he has to offer is his dick, which untruth was like the one good part about being here. No matter how many times people try to explain to Jason that he's awesome, they always end up murdering people in front of him and making him sad again.

"There are in every man, always, two simultaneous allegiances: one to God, the other to Satan. Invocation of God, or spirituality, is a desire to climb higher; that of Satan, or animality, is delight in descent." Baudelaire again, and Jason's the only one even close to negotiating that one, as usual, because he's the only one too stupid to play the denial games that Tara and Sam and Sookie are so good at. "Any man who does not accept the conditions of human life sells his soul," and that's where he lives.

Meanwhile, Andy's arm is in a huge silly plaster cast and he's explaining excitedly to Bud about a bull mask and giant claws, and Bud's like, "Claws, uh-huh?" And then additionally "the whole town had these big black saucer-eyes, like zombies!" Bud just sighs, because Andy's total breakdown is sort of amazing. I always kind of adored Andy, even when he was being a dick, because he's adorable and looks like a Smurf, but this whole Cassandra/Body Snatchers thing is about the best ever.

Eggs and Tara have not moved from the couch, where they are watching The Screaming Skull, a 1958 horror movie which begins with a voiceover offering free burial services to anybody who dies from how scary it is -- even pans to an empty casket marked "For You" -- but which here is interesting because it's a Rebecca redux. A woman moves into a new house and family, and finds herself haunted by strange occurrences -- are you listening, Tara? -- including a cheesy and randomly appearing skull. Maybe she's getting gaslighted by the new husband for her fortune, or the gardener who loved the previous wife, or maybe she's going crazy, or -- and obviously this ends up true, but all four possibilities are at least a little true -- the ghost really exists and is after her.