Which is true, which is why Sookie gets the fuck out the car and starts walking, even though Bon Temps is nearly 20 miles off still. He weakly yells at her for like one second and then gets in the car all huffy and slams the door, and Jessica's like, "Um, you have to go after her, douche." Bill Compton looks really good in this scene. "She wants you to go after her, and kiss her, and tell her that you luvvv her." Bill's all, "I'm the drama queen, she's the handicapped realist, you're the loaded gun. Stay in your box. Everybody stay in their box. Sookie can't be the one that runs off and acts ridiculous, or stands on misty moors and stares into space, because then I will have no identity to speak of."
Jessica's like, "First of all, I can't handle it when Mommy and Daddy fight, because you're the only two people I know on Earth now. Secondly: You both do that all the time. Go get her ass so we can go home. I've got dried blood running down my face so I look like an autopsy." He shakes his head and says Sookie will come back when she's ready. Which I sort of hate, because I hate whenever guys demonstrate "waiting around" for their woman to stop being crazy and settle down and do what they're told, not because that doesn't happen but because it happens both ways, and on TV it's only ever women that get overemotional and you have to wait for them to calm down, whereas in my experience the opposite is true, but that fits so well with Bill's overarching and sort of lazy paternalistic vibe that whatever, he'll sit in that fucking car all night waiting for Sookie to work it out. And I mean, it's not about who has the "right" to be angry, because that's always just code for who has the right to be a dick, but if anybody has the right to be angry, it's Bill, because they both knew he would be mad and they both knew it was going to be on him, whatever happened.
But also: 1) Stop treating her like a loaded gun and she'll stop acting like one and 2) Stop forcing her into positions where she's made to feel filthy for just existing. Which is your whole bag, and it's sad, but the whole menstruation metaphor last week ("Shouldn't I know this about myself? Shouldn't Bill have told me?") is also a metaphor for how bad those kind of talks can go, because Bill's shame -- essentially about his body, his desires -- is getting all over Jessica. Which is precisely where she came from. And frankly, they both deserve better.
Sookie finds herself, meanwhile, in a horror movie about dark country roads and strange noises and calling out for somebody that's not there and getting more and more terrified as the sounds get closer and feeling eyes on you and then finally summoning the strength to turn around and look at the thing that every part of your body is telling you not to look at. What's unusual about this one, though, is twofold. Firstly, there's actually something there. Secondly, it looks like Jamiroquai, which is atypical as far as animals you might find in the woods at night. Its claws are filthy wet, and very sharp, and she goes down immediately, paralyzed and staring.