Genres: Crime, Drama, Thriller
Setting: Contemporary, New Mexico, USA
Themes: Identity and Heritage, Suspense and Danger, Family and Relationships, Ambition and Success, Guilt and Consequences, Science and Knowledge, Power and Control, Desperation and Survival, Justice and Morality, Betrayal and Loyalty
Conflict and Stakes: The primary conflicts in this story include the investigation of Mrs. Peyketewa's death, the conflict between Walt and Skyler regarding their divorce and the meth business, the conflict between Jesse and his crew over the new approach to selling meth, and the conflict between Walt and Hank as Hank suspects Walt's involvement in the meth business. The stakes include the safety and reputation of the characters, their relationships, and their freedom.
Overall Mood: Dark, intense, and suspenseful
Mood/Tone at Key Scenes:
- Scene 2: Suspenseful and ominous
- Scene 5: Tense and foreboding
- Scene 9: Lighthearted and optimistic
- Scene 12: Anticipation, tension, and unease
- Scene 15: Positive and uplifting
- Scene 18: Reflective and contemplative
- Scene 21: Tense and suspenseful
- Scene 24: Tense and urgent
- Scene 27: Tense and suspenseful
- Scene 30: Tense and panicked
- Scene 33: Tense and fearful
- Scene 36: Sad and melancholy, tense and suspenseful
- Unique Hook: Exploration of the moral complexities of its characters and the consequences of their actions
- Major Twist: The Cousins killing the Deputy and the negotiation between Gus and the Cousins
- Distinctive Setting: The New Mexico desert and the tribal police cruiser
The writing style of the screenplay is characterized by a focus on tension, suspense, and character-driven storytelling. The dialogue is often concise and impactful, revealing the characters' professionalism and commitment. There is also a strong emphasis on realism and authenticity in the portrayal of characters and their actions.
- Vince Gilligan
- David Simon
Explanation: The screenplay effectively sets up conflicts and plot developments, such as the divorce between Walt and Skyler and the impending confrontation with the Cousins. The character arcs for Walt and Jesse are well-developed, showcasing their transformations and the toll the illegal activities take on them. However, there are areas that could be improved, such as the dialogue and the need for clearer connections between certain storylines. Overall, the screenplay has a compelling narrative and effectively builds tension and suspense throughout.
USP: This script stands out from others in its genre with its unique elements, such as the use of a souvenir medallion as a symbol, the introduction of the Cousins as antagonists, and the unexpected discovery of a murder. The script also showcases distinctive characters, innovative storytelling techniques, and a compelling narrative. With its exploration of complex relationships, high-stakes conflicts, and intense tension, this script will captivate its target audience and offer a fresh and compelling piece of storytelling.
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 18-54, fans of crime dramas and character-driven stories
Marketability: The screenplay has a strong and dedicated fan base, and the success of the TV show 'Breaking Bad' demonstrates the marketability of this type of story. The screenplay offers a compelling and complex narrative with well-developed characters and explores themes that resonate with a wide audience.
The screenplay has a unique blend of genres, combining elements of crime drama, thriller, and character study. It offers a fresh take on the drug trade and explores the moral complexities of its characters. The screenplay has the potential to attract both mainstream and niche audiences.
The screenplay's strong writing, compelling characters, and intense storytelling make it marketable to fans of crime dramas and character-driven stories. The success of similar projects in recent years, such as 'Breaking Bad' and 'Better Call Saul,' also indicates a market for this type of content.
Profit Potential: High, due to the strong marketability and potential for critical acclaim. The screenplay has the potential to attract a wide audience and generate significant revenue through box office sales, streaming rights, and merchandise. Additionally, the screenplay's potential for awards recognition could further boost its profitability.
Analysis Criteria Percentiles
Summary:The writer's voice is characterized by a blend of descriptive language, realistic dialogue, and concise narrative description. They have a talent for creating tension and suspense through their writing, as well as conveying emotional depth and authenticity in their characters.
Best representation: Scene 6 - Chemistry and Surveillance. This scene is the best representation because it showcases the writer's ability to create vivid and engaging visual and sensory descriptions, as well as their talent for crafting natural and authentic dialogue that reveals character traits and dynamics.
- Jesse: THIS IS MY OWN PRIVATE DOMICILE AND I WILL NOT BE HARASSED! BITCH! (Scene 12)
- Officer Kee: HOLD IT RIGHT THERE!! (Scene 2)
- GUS: I told you before. You will not kill Walter White. Not until my business with him has concluded. (Scene 14)
- DISPATCHER: KDK-12, come in... KDK-12... (Scene 1)
- SAUL: what do I look like, the RV disposal people? Did you not plan for this contingency? (Scene 9)
Officer Kee:A young Native American deputy
Mrs. Peyketewa:A woman who is found dead in her house
Cousins:Two dangerous individuals who kill the Deputy
Walt:A chemistry teacher turned methamphetamine manufacturer
Jesse:Walt's former student and partner in the meth business
Gus:A powerful drug lord
Badger:Jesse's friend and member of his crew
Skinny Pete:Jesse's friend and member of his crew
Hank:Walt's brother-in-law and a DEA agent
Walter Jr.:Walt's son
Gale:Walt's lab assistant
Saul:A criminal lawyer who helps Walt and Jesse
Old Joe:Owner of the crusher yard
Officer Elaine Tanner:A police officer who delivers news to Hank
The Percentile is against the screenplays in our library.
|At least one Character Changes in the scene||6.4||72|
|Story Moves Forward||8.2||71|
|Internal Goal Score||7.9||33|
|External Goal Score||7.1||23|
Note: This is the overall critique. For scene by scene critique click here
Note: This is the synthesis. See scene by scene analysis here
|Dialogue||8.7||98||The usual suspects: 8.6||Casablanca: 8.7|
|Overall||8.6||90||Birdman: 8.5||Titanic: 8.6|
|Characters||8.6||88||Everything Everywhere All at Once: 8.5||Titanic: 8.6|
|Plot||8.3||71||Mr Robot: 8.2||Inception: 8.3|
|Character Changes||6.4||69||The matrix: 6.3||Catch me if you can: 6.4|
|Story Forward||8.2||66||Birdman: 8.1||Arsenic and old lace : 8.2|
|High Stakes||7.8||66||Breaking bad: 7.7||Birdman: 7.8|
|Structure||8.43||60||LA confidential - draft: 8.42||Breaking bad, episode 306: 8.43|
|Conflict Level||7.6||51||The Shawshank Redemption: 7.5||Get Out: 7.6|
|Pacing||8.43||50||Amadeus: 8.40||Breaking bad, episode 306: 8.43|
|Emotional Impact||7.3||46||Severance: 7.2||severance (TV): 7.3|
|Formatting||9.00||46||Mind Hunter: 8.95||Severance: 9.00|
|Originality||6.50||42||LA confidential - draft: 6.49||Breaking bad, episode 306: 6.50|
|Internal Goal||7.92||32||Inglorious Basterds: 7.91||Breaking bad, episode 306: 7.92|
|Concept||7.6||28||Birdman: 7.5||face/off: 7.6|
|External Goal||7.07||22||Everything Everywhere All at Once: 7.00||Breaking bad, episode 306: 7.07|
|Engagement||8.29||17||Catch me if you can: 8.25||Breaking bad, episode 306: 8.29|
|Story Content||Character Development||Scene Elements||Audience Engagement||Technical Aspects|
|Scene Number||Full Analysis||Tone||Overall Grade||Concept||Plot||Originality Score||Characters||Character Changes||Internal Goal||External Goal||Conflict||Opposition||High stakes||Story forward||Twist||Emotional Impact||Dialogue||Engagement||Pacing||Formatting||Structure|
|1||Officer Kee Responds to a Call||Ironic, Mysterious||8||7||7||9||7||5||8||7||6||7||6||7||7||5||6||8||8||9||9|
|2||Murder at Mrs. Peyketewa's House||Suspenseful, Creepy, Intense||9||8||9||6||8||7||7||6||9||8||10||9||7||8||7||8||9||9||8|
|3||Tension and Pressure||Resigned, Bitter, Sarcastic, Polite, Tense||8||7||8||7||9||7||8||7||8||7||8||8||6||7||9||8||8||9||9|
|4||Jesse's New Approach to Selling Meth||Pride, Excitement, Cautious||8||7||7||6||8||5||8||7||5||6||6||8||7||6||9||9||8||9||8|
|5||Goodbyes and Tension||Tense, Anxious, Nostalgic||8||7||8||2||9||7||0||5||7||6||6||8||4||7||8||6||7||9||8|
|6||Walt meets his new lab assistant||Serious, Intense, Professional, Friendly||9||8||8||7||9||5||8||7||6||7||5||8||6||6||9||8||8||9||9|
|7||Chemistry and Surveillance||Educational, Reflective, Intimate||9||8||7||9||9||4||8||7||3||6||2||5||7||7||10||9||8||9||8|
|8||Hank Suspects Jesse of Selling Meth||Frustration, Exasperation, Curiosity, Tension||8||7||8||5||7||5||8||7||7||8||7||8||6||6||9||7||9||9||8|
|9||Dealing with the DEA||Tense, Panicked, Sarcastic||9||8||9||7||9||7||8||9||9||8||10||9||8||8||10||9||9||9||9|
|10||Walt demands the RV be wiped clean||Tense, Intense, Threatening||9||8||9||7||9||7||8||9||10||8||10||9||8||8||10||9||9||9||9|
|11||Walt and Jesse Panic as Hank Blocks Them In||Tense, Anxious, Fearful, Reflective||9||8||9||6||9||8||8||7||9||8||10||9||7||9||8||9||9||9||8|
|12||Hank Confronts Walt and Jesse in the RV||Tense, Anxious, Intense||9||8||9||6||9||7||8||7||9||8||10||9||7||8||10||9||9||9||8|
|13||Trapped in the RV||Despair, Nervous, Desperate, Scared, Reluctant, Bitterness, Anger, Defeated||9||8||9||7||9||8||8||7||9||8||9||9||8||9||8||9||9||9||8|
|14||The Crushing of the RV and Negotiations in the Desert||Sad, Melancholy, Tense||9||8||9||7||9||8||8||7||9||8||10||9||7||8||9||8||8||9||9|
CLOSE -- a SOUVENIR medallion hangs from a rearview MIRROR.
Sunlight glances off the small laminated rectangle, which
quivers slightly in the breeze from an open car window.
Printed in BOLD TYPE on one side: “HOMELAND SECURITY.” Just
as we’re wondering what this means...
... the medallion TWISTS in the wind, revealing its other
side. An old PHOTOGRAPH of an armed band of Apache warriors,
surrounded by more text: FIGHTING TERRORISM SINCE 1492
(actually, this is a famous 1886 photo of Geronimo & Co.)
An ironic commentary, you can’t walk into a tourist shop in
the Southwest without seeing a T-shirt or refrigerator magnet
bearing this image. As WE HEAR a POLICE RADIO SQUAWK:
KDK-12, come in... KDK-12...
OFFICER KEE, a young Native American deputy is at the wheel.
We realize this is a TRIBAL POLICE CAR -- the barren and
beautiful landscape of a New Mexico RESERVATION can be seen
outside his open WINDOW. He speaks into the mic:
Hey, Bobby. Need you to look in on
(Note: This is pronounced peck-a-TEE-wa.)
Is she alright?
Her daughter called from
California. She hasn’t heard from
her in a while. Kinda worried.
EXT. NEW MEXICO DESERT - DAY
A line of TELEPHONE POLES snakes off across a barren valley.
SCRUB BRUSH quivers in HEAT LINES rising off the desert
floor. Then... a FAN-TAIL of DUST rises up on the horizon.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 2
It’s the TRIBAL POLICE CRUISER making its way along a dirt
RESERVATION ROAD. Slowing at an unmarked TURN-OFF. Does
anyone really live out here?
Then we see it. A small HOUSE, brown as the landscape that
surrounds it. A traditional outdoor adobe STOVE... a
satellite DISH... an n.d. GRAY CAR... seems a pretty typical
The cruiser pulls to a stop near the car. The Deputy
emerges, makes his way toward the front door. He glances
about the place as his boots CRACKLE their way across the
gravel drive. Nothing seems particularly out of the ordinary
-- the place seems deserted, quiet.
The Deputy steps up to the front door, KNOCKS. Calls out:
Mrs. Peyketewa? Hello?
No answer. The Deputy looks about, listens. KNOCKS again.
WEE-HO. The Deputy tries the door -- locked. Still not
overly concerned, he heads around the place, looking for...
... WINDOWS. He finds one -- probably a bedroom. Locked as
well. Can’t see much through the old-fashioned BLINDS. The
Deputy moves on to the back of the house. Coming upon... THE
KITCHEN WINDOW. Where he sees something... odd.
HIS POV - A STEAMING CUP OF COFFEE
Sits on a Formica TABLE. As if Mrs. Peyketewa just poured
herself a hot one. WE SCAN ABOUT, looking for the old woman.
There’s the percolator on the stove. A man’s SHIRT on a
drying RACK in a corner. But no sign of her. He TAPS on the
Nothing but the WEE-HO. So he MOVES ON to the next WINDOW...
peering through the dusty glass into a small BREAKFAST NOOK.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 3
HIS POV - A SANTA MUERTE SHRINE
Set up on a small table against the far wall. On the
makeshift altar: a foot-tall, Day of the Dead-style female
SKELETON SCULPTURE draped in white LACE. Before La Nina
Blanca, money and various offerings. Items from victims?
It’s a mini-version of the creepy shrine we saw in 301,
replete with half-melted BLACK CANDLE and a sacrificial image
of HEISENBERG (a NEW drawing) scrawled on a bit of PAPER.
REVERSE - THE DEPUTY
Thinks this is a bit weird. To us, it’s goddamn scary. We
know the dreaded Cousins can’t be far behind.
The Deputy pulls his face back from the glass, continuing his
wary circuit around the house. As he does so, he just misses
what only we, in fact, see:
A FIGURE -- DARK and OUT-OF-FOCUS -- slips between us and the
unsuspecting Deputy. Blink and you’ll miss it.
Oh, that poor Deputy. We know something BAD is gonna happen
to him. As he rounds the far side of the house, making for
the next window through which to try and get a glimpse, he
hears something now. It turns his head, gives him pause.
It’s a BUZZING sound.... this is an insect-noise. Flies.
LOTS of flies. A sound anyone in the hinterlands knows means
one thing -- carrion.
His eyes fix on... a CLOUD OF INSECTS hovering near an old
BEATER on blocks in the backyard.
THE DEPUTY slowly approaches the wreck... EASES around it...
coming to a STOP at something that makes him CRINGE:
AN OLD INDIAN RUG
Rolled up, tossed haphazard in the weedy brush behind the
beater. It looks somehow... thicker than it should, bulging
with something more than just rug.
A PAIR OF LEGS. Elderly. Dressed in a single shoe.
Sticking out of the rolled-up rug at odd angles. Oh god...
It’s Old Mrs. Peyketewa! The gorge rising in his throat, the
Deputy instantly turns to face the house, simultaneously
drawing his SIDEARM. Scanning the immediate area with well-
trained aplomb. Nothing in sight.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 4
Doesn’t mean shit. He remembers the hot cup of java.
Somebody’s close. Smart, scared, the Deputy HUFFS it back
the way he came, giving the house wide berth. He keeps his
pistol aimed dead at every window he passes. Ready to FIRE.
Making for his cruiser, he slips around to the driver’s door.
He holsters his pistol, reaches in to POP loose his 12-GAUGE.
Using his cruiser for cover -- CHIKKK-CHUK! -- he RACKS the
pump, pointing the shotgun at the front door of the house.
Stillness. Silence. But the Deputy’s not taking any
chances. He reaches inside the car... grabs the HANDSET...
KDK-12 here... Janet, jesus, we got
Mrs. Peyketewa, she’s dead. I need
some backup out here --
Okay. On their way.
Whoever’s in there -- show
yourself! Right now!
He drops the handset, leans out over the hood of the cruiser,
keeping aim on the house and its vicinity. Again, all seems
quiet. The Deputy in control of the situation. When...
CREAK. The front door slowly OPENS.
HOLD IT RIGHT THERE!!
We FOLLOW a SILHOUETTED FIGURE stepping out. We see the
Deputy in b.g., hunkered behind his cruiser, aiming at...
ONE OF THE COUSINS
Yes, those inscrutable grim-reapers from down south, here to
wreak vengeance on Walter White. Seems this is where they
decided to crash while they were waiting for the go-ahead.
This Cousin steps out into the sunlight. Barefoot, dress
pants and wife-beater T-shirt are his only attire. He
stands, stoic, staring at the cop with the shotgun as if he
were nothing more than a Girl Scout selling cookies.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 5
LET ME SEE YOUR HANDS... HANDS!
Though he never takes his cold gaze off the Deputy, the
Cousin obliges, ever-so-slowly, casually, RAISING his hands
face-high. Revealing... a shiny RED APPLE in his right fist.
THE DEPUTY keeps a bead on the Cousin, taking no chances.
Alright, down. On your knees!
So focused on the perp in his sights... the Deputy fails to
notice MOVEMENT behind him. WE DO, though:
A FIGURE rises up from a hiding place in the near distance.
Though OUT-OF-FOCUS, it sure looks like THE OTHER COUSIN.
Also in wife-beater, he casually approaches the deputy,
carrying something SHINY over one shoulder. Oh god, it’s THE
FIRE AXE. The Cousins’ weapon of choice.
The Deputy is preoccupied with the first Cousin, who stands
statue-still before the open door, hands raised.
You understand me?? Do you speak
English?? ¿Hablas Inglés?
No response. Just a cold dead stare, a ripe red apple, the
windmill WEE-HO, and the OTHER COUSIN approaching quietly,
relentlessly, like a dust-devil across the desert floor.
I SAID DOWN, ON YOUR KNEES! DOWN!
¡DE RODILLAS! -- DAMN IT! GET
DOWN. ON YOUR KNEES! DO IT!
THE FIRST COUSIN begins to MOVE. Though not the way the
Deputy wanted. He slowly TURNS HIS BACK on...
THE DEPUTY, who TENSES, brandishing his SHOTGUN...
ON YOUR KNEES OR I’LL FIRE!!
JUST AS the FIRST COUSIN brings the APPLE to his mouth... THE
OTHER COUSIN takes the axe HANDLE in both hands, raises the
BLADE HIGH over his head and...
--SKA...RUNCH!! THE FIRST COUSIN TAKES A JUICY BITE OF THE
APPLE... AT THE SAME INSTANT THE OTHER COUSIN BRINGS DOWN THE
AXE ON THE UNSUSPECTING DEPUTY!
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 6
The Cousin enjoys his APPLE as -- mercifully OUT-OF-FOCUS in
background -- his counterpart BRINGS DOWN THE AXE AGAIN...
and AGAIN... chopping so much human firewood...
END OF TEASER
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 7
THE SANDIA MOUNTAINS
At sunset. Towering red rock under an azure sky. WE PULL
BACK as WALT steps into view. We realize he’s looking at a
FRAMED PRINT hanging on a wall.
There’s something about this painting that intrigues him.
Jogs a memory. Maybe in us, too... but we’re hard-pressed to
recall where we saw this before. Truth is, this painting was
the backdrop for a scene -- the scene where it all began --
in the doctor's office where Walt learned he had cancer.
Maybe Walt’s mulling over everything that’s happened since...
or maybe he just likes paintings of the Sandia Mountains.
We’re not sure. He moves on now, making his way through...
Modern, open, this condo is tastefully furnished. It’s a
nice place in one of Albuquerque’s better neighborhoods -- in
other words, the anti-Beachcomber.
Just as we're wondering what Walt is doing there... RING. He
pulls his “regular” CELL from a pocket, checks the CALLER
I.D. with an unreadable expression, then answers:
I found the papers.
(a bit clipped)
Right where you left them, in the
INT. WHITE HOUSE - KITCHEN - DAY
SKYLER sits at the counter, phone in one hand, DIVORCE PAPERS
spread out before her.
For Walt’s part, he’s more resigned than bitter (alright,
maybe a tad bitter).
Yeah, well, you know best, right?
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 8
Do you have any thought about how
we’re going to approach this with
He’s still my son. I mean, he will
-- Of course. My point being --
Well... I, uh, I think he gets it,
don’t you? I mean, I... I think he
saw it coming. He sees your
“MY unhappiness.” My completely,
(not wanting to engage)
Look, as you said. For the best.
Skyler checks her anger, regretting the conversation took
this turn. Regretting the rise Walt just got out of her.
Yeah, okay... um... Last thing,
and then I’ll let you go.
Um in the Child Support
Worksheet... you list... medical,
dental, child care, transportation,
housing, education, food,
That’s right. All of it.
Skyler, you wanted me out, I’m out.
But I will provide for my family.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 9
Not with that money! You’d be
making us accessories after the
Walt’s eyes narrow. Pretty legalistic of her. He considers
a moment. Answers mildly, yet coldly.
Skyler, how do you think we’ve been
paying our bills these last six
Not a complete surprise to Skyler -- still, she doesn’t quite
know what to say to that. Before she can answer...
... WALT notices someone enter the room behind him.
I have to go.
Walt summarily hangs up. Turns to greet a smiling REALTOR.
Yep, I was right -- three units
available, exact same floorplan. I
can call over, get you in to see
any of the others, if you’d like.
No, no this one’s fine.
I’ll take it.
The Realtor grins. That was easy! Except:
Now, unfortunately this one is the
Yeah, I like it. I like...
(the Sandia painting)
Everything about it. I’ll-I’ll
take it as-is.
The Realtor grows a touch uncomfortable -- not wanting to say
no and lose a sale. Walt sees this and smiles politely.
Name one thing in this world that
is not negotiable.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 10
Off the steel will of Heisenberg, faintly peeking through...
EXT. LOS POLLOS HERMANOS - DAY
To establish. A couple CARS dot the parking lot -- it’s mid-
afternoon down-time (PRODUCTION NOTE: any fresh ESTABLISHING
SHOTS we can get while we’re here would be appreciated!)
INT. LOS POLLOS HERMANOS - GUS FRING
Businessman and secret meth kingpin, runs his MANAGER through
the paces of a new SODA DISPENSER (or some other appropriate
chicken joint machinery.)
So we try to clean them every
night. But make sure it’s off
before you open the intake valve...
Gus watches patiently as his employee gives it a try.
Good. Now, I suggest that you add
this to your Monday maintenance
Yes, sir. Now select freezing
on... button off, press and hold
auto-control until it beeps... main
valve on, main switch on, give the
compressor time for the needle to
enter the green.
This all seems routine... until DING! A couple of fresh
customers enter through the restaurant’s glass door.
Gus doesn’t notice yet -- folks come and go all the time --
but we do. It’s the COUSINS, decked out in full regalia,
including their skull-toed BOOTS (We may even catch a glimpse
of the gray car they arrived in. It’s poor Mrs.
The Cousins head for a far booth. They take their seats
BESIDE one another. Their gaze lingers our way a moment,
focused on Gus. Soon, though, they’re simply staring off
into space. Sitting motionless.
Gus gets this silent message loud and clear -- these two are
tired of waiting. They want Walter White. Now.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 11
As Gus oversees his employee... he briefly glances back
behind him at the Cousins in b.g., who watch HIM. Keeping
the pressure on. Off this weirdly tense moment:
CLOSE ON - BLUE CRYSTAL
Light plays through the large, multi-faceted chunk -- it'd be
pretty if we didn't know this was Breaking Bad and that was a
crystal of meth...
When a GIANT HAPPY FACE looms into view. It's BADGER. WE'RE
LOOKING UP at him, as he admires the sparkling blue-ness.
Yo, for real..? This is all you?
JESSE, SKINNY PETE and Badger sit around a glass-topped
COFFEE TABLE set near the fireplace in Jesse’s spacious
LIVING ROOM. There’s not much else furniture-wise in the
room -- a dark SOFA, one CHAIR and a BOOM BOX plugged into a
far wall -- Jesse’s only worried about the essentials.
Badger looks for confirmation. Skinny Pete grins and nods.
“Heisenberg who?” That’s what I
say. My man Jesse can COOK!
(points to the crystal)
Check it, yo -- it ain’t cloudy or
dirty or nothing. Just the right
shade of blue...
Check out the crystal size, yo. If
that bitch was any bigger, it’d be
a Jolly Rancher!
Skinny holds up a fist to Jesse, who laughs and bumps
knuckles -- right on! Jesse nods, waves a hand at Badger.
Be my guest.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 12
Oh indeed, Badger wants to. He fumbles in his pocket for a
Bic lighter, crushes the crystal into powder with the butt
end. However, lowering his head to take a snort, he pauses.
You sure? I feel kinda dickish,
with you being in rehab and all.
I can watch, yo. I can cook, and I
(off Badger’s look to him)
Go for it. I tried it like last
week -- I’m still coming down!
Alright, fuck it. Badger grins -- don’t gotta tell ME twice!
He drops his head out of frame and SNORTS a rail.
When Badger raises his face back into view, it’s like his
hair’s on fire. In a good way. He’s practically trembling.
(jumps to his feet)
Woo! Riverdance! Woo! RIVERDANCE!
Badger goes clomp-clomp-clomping across the broad, empty
living room, doing his best Michael Flatley. Skinny Pete
cracks up, shaking his head to himself.
Hey, hey, hey stop marking on my
floor, dumbass. Come on.
BOW BEFORE ME! I AM LORD OF THE
Shit, I gotta try that again.
Jesse interjects himself before Badger can get back to the
powder for another hit.
Uh, yeah, no -- I think you’re
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 13
That is AWESOME, Jesse! I feel
like somebody took my BRAIN out and
boiled it in, like, boiling hot...
It’s the bomb, man. Serious.
... Like, like... anthrax!
Jesse really, truly smiles for maybe the first time this
season. He’s practically beaming. And why not? He’s proud.
Good. So, um. You ready to talk
Badger and Skinny Pete share a wary look.
You mean, this is not like just ...
The boys share another look -- this is a touchy subject.
Combo’s death-on-the-job is on everyone’s mind.
I know what you’re thinking. But
trust me, it’s not gonna be like it
was. Never gonna be like it was.
We sell it safe. Alright? We sell
We don’t get greedy, like before.
Badger glances sidelong at Skinny Pete, gauging his reaction.
I dunno, man. Combo and all.
Jesse nods, misses him too. He holds up a fist -- they all
bump knuckles in honor of their lost compadre.
A somber beat. Then Badger offers, cautiously:
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 14
Still. Man’s gotta make his
(off Skinny’s look)
If it’s like Jesse says and we’re
not greedy? I mean, I guess I can
Skinny Pete looks at him, considers. Yeah, okay. Maybe so.
Had a good thing going ‘fore we
started pushing our luck.
If it can go back to being like
that and all...
He shrugs. Nods reluctantly -- I’m in. Jesse smiles, nods.
Hey. It will be. Step One, we
build inventory. Badger, go see
Clovis. Get the RV in shape. Tune
up, oil change, brake lights and
whatnot. Cops always pull you over
brake lights. Not us. Cautious.
You got it.
Oh, and you know that buzzer thing?
Leave the key in the ignition and
Whatever. Just have him put in one
of those, too.
Badger nods, though he doesn’t know what Jesse’s talking
about. We do -- the lack of a buzzer-thing got Walt and
Jesse stranded in Episode 209.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 15
Skinny. You’re in charge of
supplies. I’ll get you a list.
Jesse’s Posse, redux. Off this happy moment...
WE’RE OUTSIDE... in someone’s LONG-LENS POV. Watching the
place from some distance up the road.
The front door OPENS. It’s Jesse, saying farewell to his
departing crew. Though we can’t hear what they’re saying
from this distance, they’re clearly JAZZED.
So, uh, we’re good?
Let’s do this.
The trio stop to share an enthusiastic FIST BUMP, then Badger
and Skinny Pete head off down the walkway. As Jesse
disappears back into his house...
... REVEAL HANK. Hunkered down in his JEEP COMMANDER, his
eyes focused through small BINOCULARS. Drawls to himself:
Brandon Mayhew. I know you.
Small world, Albuquerque...
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 16
He lowers his binoculars, jots down license plates. Clearly,
wiretap or no, he’s ignored his boss about this case.
Off Hank, watching the house... knowing he’s onto something:
END OF ACT ONE
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 17
CLOSE - A CLOCK RADIO
BIG BLUE NUMERALS glow (and probably STROBE, but we’ll deal
with it), filling frame. 5:59 AM changes to 6:00 and --
-- BZZZZZZZZ! A man’s hand reaches into frame, precisely and
neatly turning off the alarm. No sleepy fumbling.
(PRODUCTION NOTE: if we keep this frame very TIGHT, we could
shoot it most anywhere. The conceit is that it’s the bedroom
of Walt’s new place... but if we shoot it elsewhere, we don’t
risk banging up the upstairs of the Executive Producer’s new
condo. So thank you.)
INT. WELL-APPOINTED CONDO - MORNING - VARIOUS CUTS
CLOSE ON a PB&J SANDWICH being constructed. It’s done with
all the OCD care and neatness we’ve come to expect.
WIDE -- Walt stands alone in the kitchen of his new place,
dressed in Dockers and his undershirt. He cuts the crusts
off his sandwich, fastidiously bagging it in Ziplock.
CLOSE -- a dry-cleaning bag is pulled off a crisp OXFORD
SHIRT as it hangs from a curtain rod or somesuch. A couple
more CLOSE ANGLES of Walt putting on his shirt, buttoning it.
CLOSE -- the BROWN-BAG LUNCH Walt just made gets set down
atop the coffee table. How do we know it’s Walt’s? Because
Walt has neatly printed “WALT” on it in black Magic Marker.
WIDE -- Walt sits here in his wrinkle-free new shirt, poised
on the edge of the living room sofa, his bagged lunch before
him. He checks his watch. He’s nervous, anxious... but not
in a bad way. In fact, he can’t wait to begin work.
But he has to. It’s way early yet. So, Walt simply sits
here, staring into space. Willing time to pass.
It’s gotta be time now, right? He checks his watch again.
No, unfortunately. Off Walt, waiting in antsy yet motionless
silence... champing at the bit to get to his new LAB...
Waiting for his life to start having meaning again...
EXT. ALBUQUERQUE ROAD - MORNING
VROOOOM! The AZTEK zips along, or past. Finally, it’s time!
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 18
INT. WALT’S AZTEK - DRIVING - MORNING
Actually, judging by the fact WALTER, JR. is riding shotgun,
Walt is clearly doing his parental duty prior to work.
Junior glumly stares out the windshield. Dad glances at him,
keeps driving, glances once again.
You want to talk about it..?
(a beat; finally)
Why? It’s not like I get a vote.
As excited for his new job as Walt is... as chipper as he’d
otherwise be right now... his son’s pain pains him.
Searching for something to say, something that will help:
You know... ironically, I think
you’re gonna see much more of me
from now on. For sure.
(off Junior’s snort)
Well, just as much of me, at least.
I’m taking you to school, to and
from, every day --
-- What, I don’t get a vote with
that, either?! I gotta stop going
with Louis just because you’re
Ow. Silence. Eventually, Walt speaks again. Very quietly.
I do feel guilty.
I am the man that I am, son.
And... there is plenty that I would
change about that, but... here we
are, and this is just what it is.
He stares out the windshield, momentarily distant. Junior
sneaks a glance... then goes back to staring forward, too.
More silent driving. Walt looks to his son, manages a smile.
You know what? Call me crazy. But
I-I’m actually feeling very good
about the future.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 19
Junior would like to feel that way, too. Off father and son:
EXT. LOS POLLOS HERMANOS - MORNING
The LOT is fairly FULL, it’s a busy morning. As a familiar
VOLVO WAGON pulls into a far space, Gus emerging...
INT. LOS POLLOS HERMANOS - MORNING - MOMENTS LATER
Gus enters, makes his way across the noisy room... hesitating
ever so slightly at the sight of two familiar BALD HEADS (we
see them from behind, out of focus in f.g.). Guess who.
REVEAL... THE COUSINS. Back again. Seated at their booth.
No food before them. Sitting arrow-straight, side-by-side
(like on the end of Walt’s bed in 302). They are not causing
problems, not making a scene. And yet...
There they sit, both facing the door, simply staring at Gus.
Lifeless stares -- like a shark’s.
Gus continues toward the counter, making a point to pass the
pair. His expression revealing almost none of the rage
behind his eyes. Almost none...
He continues on, heading behind the counter. Stepping up to
the Manager we met before. She speaks under her breath.
She’s just a touch nervous, but trying for light-hearted.
The cool look Gus gives her makes her smile fade a little.
I-I’m just wondering if we should
maybe call the police or something.
Why? They’re doing nothing wrong.
And furthermore, I don’t wish to discuss it -- that’s the
polite and subtle message here, which the Manager receives.
Okay, let’s put this pepper here...
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 20
She nods, busying herself with her job. Off Gus, left gazing
at the Cousins, who stare at him from across the restaurant:
EXT. INDUSTRIAL LAUNDRY - MORNING
Its blinker flashing, the Aztek turns off the street and
motors up the driveway to...
... The corrugated steel building which houses the familiar
INDUSTRIAL LAUNDRY. White steam rises from the roof.
Walt parks and climbs out, bagged lunch in hand. He stands
here a moment, breathes deeply. Taking the place in.
Here he goes, headed inside. First day on the new job!
In what could well be shot as a ONER, Walt walks amongst
various EMPLOYEES, who go about their business cleaning tons
of LAUNDRY (we should use the folks who work at this place,
as they know how to use the equipment).
Remember, these are Gus’ folks -- they get paid to be deaf,
dumb and blind, as it were. Walt has a smile and a nod hello
for everyone. No one pays much attention to him. Whatever.
Walt reaches the machine that hides the entrance to his lab.
Without having to be asked, an employee operates the
hydraulics, swinging the huge machine up and away. Off Walt,
nodding thanks and stepping out of sight beneath it:
INT. SUPERLAB - MORNING - MOMENTS LATER
Walt steps into view onto the second-story CATWALK that looks
out onto our lab from above. And though he’s seen it before,
this place still gives him happy pause.
Even if you’re not a chemist, you can’t help but be wowed by
it all. It’s just so shiny... so high-tech... so right.
Hello there! Uh, Mr. White, I
Walt looks down at a spot immediately beneath him -- notices
a man seated at a workbench below. The man gives him a wave.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 21
Oh,yes, hi. I-I’m sorry, I’ll
uh... I’ll be right down.
Walt takes the spiral staircase, descending to the lab floor.
Where he meets...
Hi, Gale Boetticher.
They shake hands. GALE BOETTICHER (pronounced “BET-ick-er”),
is a thirty-something fellow with a smiling face that’s open
and gentle. In his dated jeans and denim shirt, he could be
a post-doc scholar or a folk singer. Turns out he's neither.
Hi. You’re my new lab assistant, I
Yes, I am. I suppose you’ll want
to hear my qualifications.
(reaching for papers)
I have my, uh resume here for you.
I received my bachelor’s degree
from UNM, my master’s from the
University of Colorado. Organic
chemistry with a specialty in...
it’s all right there.
He breezes through this stuff, not wanting to be a blowhard.
In fact, he’s a touch nervous -- but it’s not a nervousness
that stems from being unprepared. Indeed, this guy is aces.
“X-ray crystallography...” Really?
Gale nods, smiles. In fact, his nervousness is borne of
respect. Walter White’s reputation precedes him.
I could talk about that for hours.
Ah, I would love to.
But first, I’m curious about
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 22
He nods toward a contraption atop the workbench. Constructed
of a couple of flasks, a small pressure vessel and a few
lengths of polyethylene tubing, it looks a bit like Mini-Me’s
version of a meth lab. BROWN LIQUID simmers inside it.
Gale smiles, self-conscious.
Uhhh... that’s a-a little pet
project of mine. See, in my
opinion? It’s all about the quinic
acid level -- you want just north
of 4800 milligrams per liter. But
if you over-boil to get there,
you’re gonna leach your tannins,
your bitterness. Yech. So...
(taps pressure vessel)
... I pull a mild vacuum. That way
I can keep the temperature no
higher than ninety-two C...
(grabs Walt a mug)
... judge for yourself.
Gale turns a tiny TAP that looks like it should be releasing
liquid uranium or somesuch. In fact, fresh, piping-hot
coffee pours out. Gale hands Walt his steaming cup of joe.
Gale watches with anticipation as Walt takes a sip. Well?
(softly, to himself)
Oh my god.
My god. That is the best coffee
I’ve ever tasted.
Sumatran beans. And I also have to
give credit to the grind, but uh...
(deep, quiet pride)
Thank you, Mr. White.
Need we even say it? Need we spell it out? This guy is the
anti-Jesse. Walt smiles.
Walt. Please call me Walt.
(after another sip)
Why the hell are we making meth? --
Gale beams again. Wow. As he pours himself one, and Walt
raises his own mug in a toast -- Cheers! -- WE BEGIN:
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 23
METH-COOK MONTAGE - TO MUSIC
Unlike any cooking montage we’ve ever seen -- even the music
should be different. Maybe we’re talking CLASSICAL here...
or JAZZ... something complex, inspiring, uplifting...
Visually... slow-mo, elegant wipes, split-screen, 360 degree
stop-motion stills, fancy dissolves, time-lapse... this
should be a celebration of chemistry...
(NOTE: as we further define the Superlab process, the actor-
action will expand, change, etc.)
-- Walt and Gale don Tyvek suits amidst a spirited
-- Walt carefully prepares some chemical concoction. As he
reaches for a vial... he’s pleasantly surprised to find Gale
right there, handing it to him...
-- MORE SHOTS of the complex, high-end Thorium Process for
crystallizing meth... in balletic SLOW-MO, giving it a
-- Walt works with a focused intensity... as Gale pat-dries
Walt’s FOREHEAD, like an attentive nurse...
-- Downtime, as our two cooks face off in an intense game of
CHESS (WEARING THEIR RESPIRATOR MASKS while they play?)
-- Poisonous-looking, dirty YELLOW SMOKE gets sucked up into
the air handling system overhead. Poof! Gone...
-- Up on the ROOF of the laundry, it comes out as filtered,
clean white STEAM...
-- Gale now works the machinery... Walt looking on,
admiration in his eyes... As the MUSIC ENDS...
POP! A BOTTLE of red wine is uncorked. Nothing fancy,
necessarily -- it’s just a nice touch. Thought of by Gale,
of course, who’s the one popping it. He pours some into a
couple of disposable plastic cups, hands one to Walt.
Though still in their Tyvek suits, they’ve removed their
masks. It’s the end of their first day. A job well done.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 24
Tell me, with the phenylacetic acid
solution, you said 150 drops per
minute for the first ten minutes,
and then ninety for the remainder.
Why is that?
Walt clearly enjoys such an eager pupil.
Well... my thinking is, by tapering
the phenyl you get a oilier aqueous
layer, and hence...
... better benzene extraction!
Walt nods, pleased. Gale offers a toast, they tap cups --
could this be any further from the Walt/Jesse partnership??
Exactly. But actually, I prefer
... I’ll-I’ll have it for tomorrow.
Damn he’s good. Walt considers the man.
Gale. I’m wondering. How you..?
Walt shrugs at this place. Gale picks up on his meaning.
... Ended up here?
Actually, I’m still wondering how I
ended up here, but... yes.
(nods; with a smile)
I mean, I can’t imagine we strike
each other as criminals.
Well, there’s crime and then
there’s crime, I suppose.
I’m definitely a libertarian.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 25
Consenting adults want what they
want -- and if I’m not supplying
it, they will get it somewhere
else. At least with me, they’re
getting exactly what they pay for.
No added toxins or adulterants.
Walt couldn’t have said it better. However, sensing Walt
wants more, Gale sips his wine, then continues.
Yeah, I was doing it the way you
are supposed to. Pursuing my
doctorate at Colorado. NSF
research grant. I was on my way.
Jumping through hoops -- kissing
the proper behinds... attending to
all the non-chemistry that one
finds oneself occupied by.
You know that world.
Walt does, indeed.
That is not what I signed on for.
I love the lab. Because it’s all
still magic, you know? Chemistry?
I mean, once you lose that...
It is, it is magic. It still is.
Gale smiles faintly, seeing Walt is touched by the same
things he is.
And all the while, I kept about
that great old Whitman poem.
(Walt doesn’t follow)
“When I Heard the Learn’d
I don’t know it.
Well, can you recite it?
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 26
(embarrassed to say)
Pathetically enough, I could.
Alright, well... No, no... come
on. Come on.
He looks to Walt -- sure you wanna hear it? Walt shrugs.
Gale snorts. What the hell?
When I heard the learn’d
When the proofs, the figures, were
ranged in columns before me;
When I was shown the charts and the
diagrams, to add, divide, and
When I, sitting, heard the
astronomer, where he lectured with
much applause in the lecture-room,
How soon, unaccountable, I became
tired and sick;
Till rising and gliding out, I
wander’d off by myself,
In the mystical moist night-air,
and from time to time,
Look’d up in perfect silence at the
Gale is no thespian -- he doesn’t ham this up or otherwise
fill it with Shatnerian import. It’s just a simple
recitation of a poem that has meaning for him.
Walt nods appreciatively. Gale shrugs, self-conscious.
Yes, I am a nerd.
Walt just smiles faintly. He’s one, too.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 27
INT. HANK’S JEEP COMMANDER - AFTERNOON
An empty FAST FOOD BAG (NOT Los Pollos), a folded NEWSPAPER,
BINOCULARS and such are spread across the passenger seat.
A Big Gulp-size drink is in the cup holder. Rising off all
this evidence of a man who lives in his car, we come upon...
... HANK. Head way back on the headrest, he’s fallen asleep
behind the wheel. After a BEAT... he SNORTS awake. Gets his
bearings. Finds the binoculars, taking a look at...
HIS POV - JESSE’S HOUSE
Jesse’s car is still there. No movement. Nothing to see.
Come on, Pinkman...
HANK continues scanning as he murmurs to his unseen prey.
Jesus, he’s looking bleary. Tired. A bit more STUBBLY, too.
C’mon, you little rat-bastard...
get off your lazy ass and go break
He sighs and sets down the binoculars, takes a tug off his
warm soda. Maybe rummages through an old food container for
left-overs. As he does so, eyes still on Jesse’s house...
... A froofy RING-TONE from his CELL. Not even looking, Hank
instantly recognizes the SOUND of it. Shit, not the greatest
time to be calling here, Marie. Still, he dutifully answers.
Are you ever coming home?
Marie, I’m working, alright?
Marie stands in their kitchen, talking on the cordless.
She’s still in her work clothes and white lab coat, having
just gotten home herself. She pulls back on the frustration
a little, not wanting to start a fight.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 28
Did you find it? The RV?
Nope. Working on it. So...
Why can’t you just arrest him?
Make him tell you?
Well, it’s not that simple, Baby.
There’s a little thing called The
-- The Constitution, blah-blah-blah-
She shakes her head, SO over it. On his end, Hank shakes his
head as well... but for a different reason. A beat of
exasperated silence, Hank watching the house, and then:
This kid? I swear to God -- I wish
I could just...
He sighs. Nope. Never mind.
This is that Pinkman character?
That’s the one. I’m positive that
little bastard’s got an RV, I just
don’t know where he keeps it. And
until he actually leads me to it --
or does something! -- I’m stuck
here, Marie. I’m sorry.
Marie stands there, glum. Feeling for her poor husband.
Considering. Something occurs to her now.
Well, um, not to bring up ancient
history, but ...
(ah, what the hell?)
I, for one, can think of someone
who might know something.
Possibly. It’s worth a shot.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 29
OFF Hank, listening to a name which we don’t yet hear...
though some of our audience might indeed GUESS:
INT. WELL-APPOINTED CONDO - AFTERNOON
Home from work for the day, Walt lounges in his new living
room, reading. His bare feet are propped atop the coffee
table. He’s feeling pretty good.
We reveal... he’s reading “Leaves of Grass,” by Walt Whitman.
His expression tells us he’s sorta into it. Good stuff.
Lying nearby, his cell phone RINGS. Walt answers it.
Oh, hey, Buddy. Hey. How you
Oh, hey, Hank. What’s up?
INT. HANK’S JEEP COMMANDER - HANK
Behind the wheel, on his cell. Still eyeing Jesse’s house.
Listen, I hate to bother you. I
just -- I just, uh, I just had a
Hank handles this delicately. No offense intended.
Now, I only ask this because I’m...
I’m at a, you know, a dead-end
here, potentially. Uh, I’m working
a case, and, uh...
You gotta know that, I would never
put you on the spot or make you
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 30
Walt sits up straight. What the hell is Hank on about?
Where is this headed?
Hank, you could just... cut to the
Back when we... lost you? And I
was trying to track you down
through your former student, Jesse
Pinkman? Now... YOU know that I
know that once upon a time, he may
have, uh, dealt you a little weed.
Walt is really listening now. Like, bionically.
Just a little. And I SO do not
care about that. As far as I’m
concerned, you never inhaled, okay?
Like you said, cut to the chase.
Do you remember if this Pinkman kid
ever had an RV?
(misreads Walt’s silence)
You know, a-a recreational vehicle.
You know, like a-a Winnebago-type
deal? Brown and beige?
It takes a moment for Walt to recall how to breathe.
Well, it’s a long story, but I’m
personally of the opinion that he’s
moved on from weed and has
graduated to selling crystal meth.
Using it as a rolling lab.
(off the silence)
Off Walt, his good day quickly gone bad... VERY bad:
END OF ACT TWO
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 31
INT. JESSE’S HOUSE - LIVING ROOM - AFTERNOON
Jesse sits alone at the coffee table. No meth in sight,
nothing but the yellow pad and a CALCULATOR before him. He’s
crunching numbers for his new bidness plan.
He taps the calculator... writes a result. Seems pleased
with his projections, when... RING! It’s his DROP CELL.
Jesse picks it up, squints at the CALLER READOUT before
answering (we DON’T need an insert for this). He recognizes
the incoming number immediately. Mr. White is calling?!
What’s that douchebag asshole want?
Frowning dyspeptically, Jesse’s curiosity nonetheless gets
the better of him and he answers. Unfriendly and casual:
DEAD AIR. Someone’s there, but not speaking. We cut to WALT
on the other end, his own cell to his ear. His mouth is all
set to form words, and yet... something keeps him SILENT.
What? Mr. White..?
CLICK. Walt hangs up. WE STAY WITH WALT now as he plots his
next move. He moves into the living room, dials again.
Ringing... ringing... c’mon, c’mon! ANSWER! Finally:
How’s my favorite genius?
Is this a secure line??
Lies flat on the floor of his office, talking on his hands-
free EARWIG. His suit jacket hangs on the back of a nearby
chair. Wearing socks, no shoes, his ankles are cradled by a
weird little Chinese MASSAGE MACHINE that rocks his legs from
side to side (usually available in the SkyMall, this thing
looks dopey as hell... but actually feels really good).
Is this a secure..? Yes, what’s
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 32
(”what the fuck?” frown)
Hey, hello to you, too.
Listen, we’ve got a problem. A DEA
Okay, I’m listening.
It’s my brother-in-law -- he knows
about the RV!
Our RV. The one which contains a
meth lab? Which is covered with my
fingerprints?! Ring a bell?
Saul sits upright, his butt on the floor and his ankles still
getting rocked side to side. Yeah, this is bad.
Okay. Yeah... what exactly does
“knows about” mean? Does he have
it, has he searched it --
No. He knows it exists and he’s
trying to find it! He has linked
it to Jesse and it’s only a matter
of time before he tracks it down!
-- So get rid of it! What’re you
doing sitting there talking to me
Better yet, have Pinkman get rid of
it! Right? You don’t you go near
Walt shakes his head -- no, no, no.
No. Listen... My brother-in-law,
he is surveilling Jesse’s house,
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 33
So he might have tapped the phones,
or-or bugged his house...
Jesus. Plan A, then. Go! Get to
it before the feds do!
(fear and exasperation)
And do what, exactly?! I mean,
what? The thing -- the thing is...
is the size of a-a... it-it’s RV-
size! I mean, where do I go to
make an RV disappear. I’m not
Saul stands up now, racking his brain. His Chinese massager
rattles away, unattended.
what do I look like, the RV
disposal people? Did you not plan
for this contingency?
Well... next time plan for it,
wouldja?! The Starship Enterprise
had a self-destruct button! I’m
Okay... Shut up.
CLICK! Walt hangs up, realizing he’s gotten all the help
from Saul he’s gonna get. Off him, fighting back panic and
running for the door:
The cluttered auto repair spot where Jesse has been housing
the RV. And THERE IT IS, parked off to one side within the
Hood open, it’s being worked on by Badger’s cousin, CLOVIS --
although we only see his legs at first, as he’s lying on a
mechanic’s creeper and working beneath the engine. Badger
stands by, sipping malt liquor and talking through the hood.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 34
... I’m just saying, you know,
you’re good with tools and all.
why don’t you invent a water-
powered car, y’know?
(Clovis doesn’t answer)
If you did that, you would be
ROLLING in it!
CLOVIS slides out into view, snaps his fingers and points.
Socket wrench. The big one.
Badger finds what he’s asking for, hands it down. Clovis
rolls back underneath the engine.
What, you scared of the Arabs?
A SQUEAL of tires catches Badger’s attention. He looks as...
... WALT'S AZTEK makes a SHARP TURN off the nearby road,
BARRELLING into the yard and SKIDDING to a stop. Walt jumps
out, approaches the RV with a shocked look on his face.
Clovis rolls out from under, rising to his feet. Wary, he
doesn’t know Walt from Adam. Badger recognizes him, but
doesn’t have a clue why he’s here.
Are you out of your minds? Why is
this out in the open?!
Who the hell are you?
(on the q.t.)
The name means nothing to Clovis. Not that Walt cares -- he
peers under the hood, peppering Clovis with questions.
Is this driveable? Does it run?? --
Yeah. I was just changing the oil.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 35
Well, finish it. Quickly. We’ll
wipe it clean and take it out to
the desert. Come on, help me.
-- hold up. What’s this about?
The DEA -- the Drug Enforcement
Administration -- you’ve heard of
them, haven’t you? I know you
(Walt means Badger)
They know all about this RV. And
they’re trying to find it, right
Badger’s still processing all of this -- but Clovis sees the
implications immediately. Tosses Walt the KEYS.
I want this off my property NOW.
No, no, no, no, no. We have got to
destroy the evidence! We gotta rig
it to burn, wdo you understand?
Not here, you’re not! Just get it
the hell outta here!
Now listen to me. I need your
help, okay?! If I go down, we all
go down. Do you understand?
Clovis has no argument. Either way, Walt’s not taking no for
an answer. Even though Clovis towers over him, Walt’s
INTENSITY -- quiet and tightly wound, yet threatening to
utterly EXPLODE at any second -- intimidates this bigger man.
Alright, just... I know a better
(off his look)
I know a guy that’ll wipe this off
the planet. No questions asked.
Walt nods. Sounds good.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 36
Clovis nods, heads for the OFFICE -- Walt following.
Hey.. what about Jesse?
What about him? --
Walt shakes his head in disgust, doesn’t even slow to
consider this. He and Clovis pass quickly out of sight.
Badger stares after them, pondering. Troubled.
Better call it in. He pulls out his CELL, hits speed-dial
and puts it to his ear. After a moment:
Hey, it’s me. Wanna hear something
EXT. JESSE’S HOUSE - AFTERNOON
Sixty seconds later. Jesse erupts out of the front door of
his house, pulling on a jacket or somesuch. He’s got his
CELL propped to one ear, in mid-conversation.
No... listen to me, you get that
... Badger, I don’t care how, you
find out where he’s taking it!
Jesse HANGS UP. Climbs in his car and ROARS off, infuriated.
... WE FIND Hank’s COMMANDER in deep background. Still
there, on watch. The truck STARTS UP, CHUNKS into gear and
follows discreetly. As it PASSES US... we can clearly see
HANK behind the wheel, happily on the hunt again.
INT. LOS POLLOS HERMANOS - AFTERNOON
A MOTHER carries a tray of food, young SON in tow, looking
for seating. The place is PACKED, a busy lunch crowd. She
slows at one particular table with NO FOOD on it.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 37
Excuse me... are you leaving?
NOW WE REVEAL who’s seated there... you guessed it...
THE COUSINS. Still haunting Gus. They slowly GAZE UP at the
unsuspecting woman... and give her a look that says, no
fucking way. As the woman sighs, moving on...
... REVEAL Gus and the Manager behind the counter. The nice
young Manager scowls at the Cousins -- she’s had enough.
As she heads around the counter, Gus looks on, stoic. WE GO
WITH the Manager as she steps up fearlessly to the Cousins.
Excuse me. Gentlemen, these booths
are for paying customers, only.
The Cousins SLOWLY LOOK UP at her. Before things get ugly...
Cynthia, it’s okay. I’ll handle
Gus appears from behind. The Manager nods, returns to her
post behind the counter. Now Gus steps up to the Cousins’
table. This time, he speaks in Spanish (SUBTITLED).
What can I do for you?
The man says this quietly, not angrily... and yet, seeing as
it’s the FIRST TIME we’ve ever heard either of these Cousins
actually SPEAK, well...
... It’s memorable. Gus considers them for a beat. Then:
The Cousins seem to know what this means. One rises, then
the other... EXITING without another glance at Gus. Who
watches them go, his eyes hinting at an inner rage we’ve
never seen before. OFF this...
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 38
Even more isolated than Clovis' place -- WE PAN through this
graveyard of SCRAP METAL and rusty HULKS. The yard's most
prominent feature... a massive CAR CRUSHER. Which GROANS and
SCREECHES as it devours some large vehicle WHOLESALE.
WE CONTINUE until we find... JESSE'S RV parked nearby, pulled
nose-in to a spot between piles of crushed CARS.
CLOSE ON - MONEY
Crisp HUNDREDS. Rapidly counted out into a wizened HAND.
... Ninety-six, ninety-seven,
INT. RV - AFTERNOON - WALT
Counts out bills to a wizened OLD MAN (JOE). A weathered
desert-rat in his 70's -- he's clearly seen some mileage, his
face as wrinkled as one of his crushed cars.
... Ninety-nine, one hundred.
Beyond recovery. Right? “Beyond
recovery” means --
I get it. Beyond recovery.
Obliterated. No evidence.
Hey. Don’t worry. When we’re
through with it, it’s gonna be
about yay big, okay?
Joe indicates about four feet square.
Then we flatbed it over to Long
Beach, ship it across the
Pacific... the Chinese turn it into
patio furniture. So. Mind at
Walt nods, finally beginning to calm down just a little.
Whew, this was too close. Finally:
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 39
Listen, can you do me a favor?
(re: the soon-gone RV)
I’m obviously gonna need a ride.
Could you call a cab?
Old Joe heads for the door.
You got it. Pleasure doing
Thank you. I’ll be right behind
you. I just need to...
He indicates a quick look around. Joe nods, exits. Walt
does one last once-over: checks the glove box, peers in
corners, looks high, low and everywhere. He needs to see if
anything important or particularly incriminating is getting
left behind (most lab stuff is BOXED or TARPED, by the way).
Soon Walt realizes he’s good. Safe. At which point this
turns into a moment of bittersweet reflection.
It’s an abbreviated moment, to be sure, as the heat is on.
But after all, this RV holds a lot of meaning for Walt (and
for us, as well). Bad days and good days were spent here.
Lotta water under the bridge, as they say.
The place is amateur-hour compared to Walt’s new superlab.
Still... there’s a whole lotta memories in this hunk of junk.
Suddenly... BANG! The RV door flies open (or maybe Old Joe
never fully closed it). JESSE barges in, pissed.
The hell you think you’re DOING?!
Taken by surprise, Walt is about to give it right back to
Jesse -- when something DAWNS.
Fear grows in Walt’s eyes. Jesse notices, is maybe a touch
confused, but hey, he’s on a roll and --
This is mine just as much as yours!
You don’t get to just -- just --
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 40
Oh God. Oh God.
Before he finishes, Walt has already rushed past him to the
BACK WINDOW. Peering through the shade, his eyes widen as
his worst fears come true.
WALT’S POV -- glimpsed through the curtain, HANK’S COMMANDER
is rounding into view into the yard (currently as far away as
possible while still achieving the proper audience
identification and impact). Oh, yeah -- it’s headed our way!
WALT, of course, PANICS. He RUSHES around, slamming and
locking the DOOR, shutting CURTAINS, closing the DRAPES that
separate the cab. Jesse watches him, confused.
Who’s here? --
Jesse peeks out the back window himself. Yeah, there’s that
same exact Ohhh FUCK!-look now. He turns to Walt, wide-eyed.
Walt is so dry-mouthed with fear that he’s not even angry.
Oh, God. You led him right to us.
As it comes crushing down on Jesse how much shit they’re in:
EXT. CRUSHER YARD - AFTERNOON - CONTINUOUS
The Commander slows to a stop, idling. We can see the rear
end of the RV REFLECTED in the WINDSHIELD... and through it,
we see Hank behind the wheel, staring out.
WIDE. We, in turn, now reveal that Hank has parked his truck
directly behind the RV, BLOCKING IT IN very nicely. (Jesse’s
red Toyota is parked here somewhere nearby, by the way.)
Like Ahab, Hank gazes out at his white whale, savoring this
moment. Victory. It’s been a long time coming.
END OF ACT THREE
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 41
EXT. CRUSHER YARD - AFTERNOON - SECONDS LATER
We start HIGH OVER Hank’s COMMANDER. As high as we can get.
Looking down as Hank climbs out of his truck. Leaves the
driver’s door open for cover as he stands here appraising the
Hank is going on forty-eight hours without sleep. Mentally
and physically exhausted as he is, however, he’s still a good
cop. He knows Jesse is no match for him -- unless Jesse has
a gun, or maybe a few friends around.
Therefore, Hank takes this cautiously (though perhaps not
cautiously enough, as this is a “call for backup” situation,
and not one he should take on alone). Still, he’s not
arrogant. He’s careful, patient.
Which only makes it worse for our two boys inside the RV.
Are silently shitting bricks. Piano-wire tense, not wanting
to even breathe, Walt and Jesse stand their ground inside
this darkened interior, sharing fearful looks.
Not much point looking out the window, is there? They know
Hank is out there. Regardless, Walt wouldn’t risk cracking a
shade for a quick peek out, as Hank might SEE HIM. As it
stands, right now Hank doesn’t know Walt is here -- only
Jesse. Walt may as well postpone the awful inevitable.
Jesse winces -- oh fuck, oh fuck, oh fuck.
Outside, Hank stands holding position behind his open truck
door (reminiscent of how he stood talking to Tuco at the end
of 202). No answer from inside the RV. Big surprise, right?
Hank shoots a glance around behind him. The rest of this
junkyard is quiet. No others in sight.
Ready to proceed, Hank draws his GLOCK. CLOSE ON the back of
his waistband as he subtly transfers it out of his paddle
holster and into the side POCKET of his bomber jacket.
Now, keeping his right hand tucked inside his jacket pocket
and his left hand free, he can have his pistol always in
hand, yet completely out of sight. The dude is smooth.
Keeping his eyes on the prize, Hank cautiously walks to the
RV. Nothing happening down the driver’s side.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 42
Hank takes a careful peek into a corner of the RV’s REAR
WINDOW -- but can’t see inside due to the thick curtain. He
rounds the passenger’s side, keeping eyes on every window he
For Walt and Jesse, Hank is like the shark in “Jaws,”
circling their little boat. Their DOOR suddenly JIGGLES.
Walt and Jesse FREEZE -- hoping, praying it holds.
Walt reaches out a hand, silently GRIPPING the inside door
handle. Subtly PULLING tight. Willing it to stay closed.
RATTLE-RATTLE, RATTLE... locked and secure. Whew. Walt’s
hand remains in place, though.
Walt and Jesse share an anxious look, when... BANG-BANG-BANG!
Hank POUNDS on the door. AHH! JESUS! He then knocks on a
WINDOW right by Jesse, who JUMPS, startled. As Jesse opens
his mouth, about to blurt out some expletive at Walt --
-- Walt MIME-SHUSHES him with a look of wide-eyed terror.
Don’t give away that I’m HERE, stupid!!
Jesse Pinkman? You wanna add
“resisting arrest,” we’ll add it.
No skin off my ass...
(more rattle-rattle; then)
Last chance to do it the easy way.
Now... SILENCE. Which only increases their anxiety. Is that
the faint sound of Hank’s FOOTSTEPS trudging away from us?
Where’s he going? They strain to hear. Jesse ventures a
tiny peek out the nearest window.
Outside, Hank has briefly stepped away to find a length of
STEEL PIPE or somesuch. Something for breaking down RV
DOORS. An object suitable to this task should likely be at
hand -- this is a junkyard, after all.
Seeing what’s coming, Jesse ducks from the curtain before --
KA-BOOOM! -- something HITS the door from outside, creaking
the RV and scaring the PISS out of Walt, Jesse and us.
We continue this INTERCUT between Hank working to BEAT DOWN
the RV DOOR and Jesse and Walt cringing just on the other
side of it. ONE HIT... TWO HITS... it won’t be long now.
Our two guys are truly, utterly, in every glorious sense of
the word, fucked.
BOOOOM! One more hit might do it. JUST as he’s about to
stave in the RV DOOR, Hank is paused by...
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 43
OLD JOE (O.S.)
Got a warrant? --
Hank turns to find... OLD JOE standing behind him, arms
folded, a few yards off.
Old Joe is clearly no physical threat to Hank, nor would he
try to be (that’d be a good way to get arrested and/or shot).
Instead, he just stands back, watching with sour disdain.
Inside the RV, Walt and Jesse listen with bated breath. Hank
considers Joe warily.
Who are you, huh? Who are you and
what do you know about this RV?
I’m the owner of this lot, which
means you’re trespassing on private
property. As far as the RV goes,
seems to me that it’s locked --
which means you’re trying to break
and enter. So I say again... you
got a warrant?
Well, I don’t need one if I’ve got
probable cause, counselor.
It doesn’t blow Old Joe’s hair back. This dude has been
around the block. Hank doesn’t intimidate him.
“Probable cause” usually relates to
vehicles, is my understanding. You
know, traffic stops and what-not.
(indicates the RV)
See these round, rubber things?
Those are wheels. This is a
(indicates the RV)
This -- is a domicile, a residence.
And thus protected by the Fourth
Amendment from unlawful search and
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 44
Look Buddy, why don’t you just go
-- Did you see us drive in here?
How do you know it runs? Did you
ctually witness any wrongdoing?
(before Hank can answer)
Seems to me you’re just out here
Don’t see that holding up in a
court of law.
In the RV, Walt and Jesse listen intently, daring to hope.
Hank snorts. Goddamned jailhouse lawyer.
Oh, yeah? Look at these.
Remember the FIVE BULLET HOLES in our RV door? The ones
which have been here ever since the Pilot episode? Four of
them are still covered by weathered strips of DUCT TAPE. The
fifth strip dangles just a little, showing a GLIMPSE of HOLE.
Hank tugs at the tape, showing the BULLET HOLE to Joe. Hank
pulls another strip loose, and another, revealing more HOLES.
What do those look like to you?
On the other side of the door, thin SHAFTS of LIGHT appear
one by one, beaming through the darkness and the dust motes
and landing hot on WALT’S FACE.
They sure look like bullet holes to
me. Here’s a firearm discharged
inside this “domicile.” I’m
willing to bet there’s a judge or
two out there who’d see that as
probable cause. But I tell you
what, why don’t you call the
Albuquerque police --
Old Joe considers, deadpan yet momentarily stymied.
Off the silence, Walt figuratively steps into the breach.
He bends close to Jesse, his lips practically brushing
Jesse’s ear. Whispering so as not to be heard outside:
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 45
“How could you have known that they
were there before you took off the
“How could you have known that they
were THERE before you took off the
tape?” Say it! Say it!
Jesse shakes his head, not wanting to -- but Walt SHOVES him.
Do it!! Jesse swallows hard, calls out LOUDLY:
HOW COULD YOU HAVE KNOWN THEY WERE
THERE BEFORE YOU TOOK OFF THE
Outside, Hank raises an eyebrow -- how’s that? Old Joe nods
and picks up this thread.
That’s right. Probable cause needs
to be readily apparent.
Huh. There’s somebody in there.
Walt whispers again to Jesse:
“I’m in my own private domicile and
I won’t be harassed!”
-- I’ll give you three seconds to
get your ass out here. One, two...
THIS IS MY OWN PRIVATE DOMICILE AND
I WILL NOT BE HARASSED! BITCH!
Walt gives Jesse a look -- idiot!
Hank stares up at the RV, ready to rip Jesse a new one the
moment he gets his hands on him. And yet...
... Take a deep breath, count to ten. Rethink, regroup...
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 46
Hank turns back to Old Joe, considers him. Hank shakes his
head half-admiringly, half-contemptuously. The hint of a
crooked smile plays across his face.
Fine. You want your warrant? I’ll
have my guys bring it and deliver
it to you on a little satin pillow.
I waited this long, I can wait a
Hank wanders back to his Jeep Commander, casually leaning
against it -- placing himself where he can keep an eye on the
RV’s one and only DOOR. He pulls out his cell and dials.
Hey Vicky, yeah... Schrader. Get
me Merkert, willya?
Inside the RV, Jesse looks to Walt. We bought ourselves some
time... but it ain’t over yet. NOW what?
Walt hasn’t moved. He sits staring at the floor. Is he
despairing? Giving up? Jesse seems to think so -- he paces,
all nervous energy, shooting Walt the occasional glance.
I say -- I say we just ram him,
alright? We, uh we, we start her
up, just ram the shit out of his
truck... and make our escape!
Walt raises his eyes, staring flatly at Jesse... who groans,
giving in and rejecting the idea. (BOTH their voices need to
stay LOW and WHISPERED throughout this scene, of course!)
Yeah, he’d, uh... he’d shoot me in
the head. Yeah, he’d shoot me in
So what do we DO, man?! Huh?!
What do we... what..?
(small and scared)
Please tell me you got something.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 47
Walt actually does. He’s been mulling it for a few minutes
now, and it just might work. However, it’s such a horrible
method... so hateful and evil... that he’s been sitting here
debating with himself.
But finally, there’s no other choice. And so, as if with a
dark shroud of self-loathing hanging about him:
Yeah. I got something.
Jesse’s all ears -- anything that gets them out of here is
good news to him. What? What is it, man?!
Wearily, reluctantly, Walt pulls his cell phone from his
pocket. With a heavy glance to Jesse, he hits speed-dial.
It’s me. We need your help.
EXT. CRUSHER YARD - AFTERNOON - MINUTES LATER
Right where we left him, Hank leans against his truck,
staring at the RV. Warrants and backup should be here soon.
Then Hank will be a hero again, instead of a career-damaged
agent who turned down the biggest promotion of his life.
Old Joe has disappeared, by the way. A beat of silence, then
Hank’s cell RINGS. He pulls it from his pocket and answers.
Is this Mr. Henry R. Schrader?
Hank frowns -- weird. Who’s using my full name?
Yeah. Who’s this?
Sir, this is Officer Elaine Tanner
with the Albuquerque Police. Is
your wife Marie Schrader?
Hank’s heart suddenly lurches into his throat. There’s only
one kind of call this could be.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 48
I’m sorry to inform you that your
wife’s been in an automobile
accident. She’s being airlifted to
Los Ranchos Medical Center and
should be arriving there shortly.
Hank blinks, swallows. His voice stays oddly quiet.
How is she..? What’s her
I don’t, um, have the most current
information, Sir, but I think
you... might want to get there as
soon as possible.
INT. SAUL GOODMAN’S OFFICE - AFTERNOON - CONTINUOUS
Saul sits behind his desk. Looking surprisingly... subdued.
Seems even Saul finds this despicable. As we REVEAL...
... FRANCESCA, Saul’s secretary, standing by. She is talking
on a cheap DROP CELL. She’s “Officer Tanner,” apparently.
Saul only hears her side of the call, but it’s enough.
Click. He hangs up, breathing fast. Back in Saul’s office,
Francesca takes the phone away from her ear, stares at it a
short moment before handing it over. So this was Walt’s
plan. Francesca, speaking quietly, feeling very bad herself:
You’re gonna have to start paying
Uncomfortable Saul has a hard time looking her in the eye.
He gets it, doesn’t argue. Off him, taking the DROP CELL in
both hands and BREAKING it backward, DESTROYING the evidence:
RESUME - HANK
Who’s forgotten what he's doing or why he's here -- only one
thing matters now -- Marie. He jumps behind the wheel, kicks
his truck into reverse. As he FAN-TAILS it out of here, his
Jeep receding in the distance and passing out of sight...
... A beat of motionless silence. Then, CREAK... the RV’s
damaged DOOR gingerly forces open.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 49
Walt climbs out, moving like he’s aged fifty years in the
last hour. Jesse, descending into view behind him, looks the
Walt’s added burden, however, is the stinging GUILT he feels
for what he’s had to do to his poor brother-in-law. This
guilt presses down like an anvil on his shoulders.
Here comes Old Joe in the distance, making his way out of his
office toward them. Off Jesse, studying Walt... and Walt,
silently staring off into the distance after Hank...
SMASH CUT TO:
INT. HOSPITAL ER - AFTERNOON - BOOM!!
HANK BURSTS through the emergency room DOORS of an ABQ
hospital. This is the Admitting area -- to enter the actual
Trauma Center, you must be escorted past a SECURITY GUARD.
Hank is frantic, brushing past several STAFFERS, finding an
ADMITTING NURSE working a mouse behind her STATION.
Hank asks her about Marie, frantically. We don’t hear any of
the dialogue, just the panic in Hank’s head.
The Nurse -- used to this kind of emotion -- checks her
patient log. Hank’s got no time for that shit, however (he’s
not being a bully or anything, it’s just that he’s scared).
He’s starting to make a scene. The nurse tries to defuse.
Hank opens his mouth, about to show her “calm.” But before
things can turn truly ugly --
-- A familiar, FROOFY RINGTONE cuts through the fear and
static in Hank’s brain. Maybe it’s been ringing for a few
seconds already. Maybe WE noticed it before Hank did.
Recognizing it, Hank blinks, bewildered -- then fumbles in
his jacket, pulling out his ringing CELL and answering it.
(hoping against hope)
I’m just checking in. I’d love to
have some idea of whether I should
cook dinner or not.
Hank can barely breathe, let alone vocalize.
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 50
(off his silence)
Hank, what’s up?
Hank stands here, relief flooding through him. And hot on
the heels of it, a realization dawns -- he’s been HAD.
Off the adrenalin practically leaking out of him now, making
him light-headed... and a profound bitterness and anger
sweeping in to take its place...
WIDE on Hank, a tiny figure in this hallway, his phone to his
ear, staring at the floor. A sad, defeated tableau.
INT. RV - AFTERNOON
Just as we left it, only Jesse and Walt are noticeably GONE.
It's strangely quiet, except for the distant GRIND of some
kind of machinery. This GRIND is growing LOUDER.
When suddenly... CRASH!! Two huge, shiny steel FORKS come
lancing in through the side! They cause a shower of BROKEN
GLASS as labware and equipment get violently kicked around.
The pierced wall STAVES INWARD, hit from the outside by some
large o.s. FORCE (a diesel wheel-loader). Off the inside of
our mobile lab, which seems to be IMPLODING...
SUNSET, if possible. To the painful sounds of BUCKLING STEEL
and SHATTERING GLASS... we see our poor old RV is meeting its
demise in a massive CAR CRUSHER. Old Joe works the CONTROLS,
reducing our iconic meth lab to a load of scrap.
In reality, this complicated process takes a bit of time.
Therefore, we will play this in MONTAGE with lots of ANGLES,
which will allow us to shorten the process editorially.
Walt and Jesse stand watching it happen. They should really
get the hell out of here... and they will, momentarily... but
this is a hard sight to ignore. It’s sad and melancholy.
Goodbye old friend. Off Walt and Jesse, staring...
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 51
EXT. EMPTY DESERT PLAIN - SUNSET
We TILT DOWN from (hopefully) a glorious SUNSET filled with
fat red and orange clouds. We find ourselves in the middle
of nowhere. A familiar Volvo wagon is parked off to one side
of the frame. A gray n.d. sedan is parked on the other.
Between them, Gus stands facing the two Cousins. Apparently,
this is what Gus meant by “sunset” -- a clandestine MEET.
Is Gus taking a big risk, alone out here with these homicidal
lunatics? If he’s nervous, he doesn’t show it. He is quiet
and in control, as always. He speaks SPANISH, SUBTITLED.
I told you before. You will not
kill Walter White. Not until my
business with him has concluded.
One of the Cousins responds quietly, also in Spanish. He
doesn’t glare or grimace or otherwise threaten -- really, he
doesn’t need to. These dudes are scary without even trying.
We’ve waited long enough. We won’t
wait any longer.
You’ll have to. The decision isn’t
yours to make.
This doesn’t go over well with these two. In fact, the body
language all around feels a little like an Old West showdown.
But before it can turn into the OK Corral...
Explain to me -- why this man
White? He betrayed your cousin
Tuco, yes... but he’s not the one
who murdered him.
(off their stares)
Was there not another man who
pulled the trigger?
A beat. The first Cousin nods, speaks grudgingly.
A DEA agent. Bolsa says DEA is off
BREAKING BAD #306 "Sunset" SCRIPT AS BROADCAST 52
North of the border is my
territory. My say.
As a show of respect, I say yes.
The Cousins glance to one another, mild surprise showing in
their faces. They didn’t see this coming.
The agent’s name is Hank Schrader.
May his death satisfy you.
Ice-cold. Off the Cousins, coming around to this bold new
idea... and mild Gus, not so much as blinking...
And the red SUN sinking to the horizon behind them...
|walt||Walt's character arc starts as a resigned and bitter school teacher who gets diagnosed with lung cancer, leading him to turn to methamphetamine manufacturing to provide for his family. Initially, he is hesitant and afraid but becomes increasingly confident. His involvement in illegal activities however takes a toll, leading him to become more and more desperate and eventually losing his morality.||The character arc does a good job of showing Walt's transformation from a hesitant and disillusioned school teacher to a desperate drug lord. However, it would be great to see more exploration of Walt's moral decay and how it impacts the people around him.||To improve the character arc, more emphasis could be put on the impact of Walt's morally questionable actions on the people around him, like his family and business partners. Additionally, exploring the nuances and complexities of Walt's motivations could deepen his character development.|
|jesse||Jesse's arc in the episode starts off with his pride in his cooking skills and determination to do things differently. However, as the situation with Walt and their drug operation becomes more dangerous, Jesse becomes increasingly fearful and desperate. He is willing to take extreme measures to escape and is easily influenced by Walt. In the end, he is portrayed as a nervous wreck, speaking quickly and filled with nervous energy.||The character arc for Jesse feels rushed and could benefit from more development throughout the episode. His emotions seem to escalate quickly without enough buildup, making his actions feel out of character at times.||To improve Jesse's character arc, the writers could add more scenes that showcase his emotional and impulsive tendencies. They could also add more internal dialogue or monologues to help the audience understand his motivations and fears. Additionally, the pacing could be slowed down to allow his emotions to build more naturally over time.|
Story Structure Framework 1: The Hero's Journey
- Officer Kee receives a call from the police dispatcher asking him to check on Mrs. Peyketewa.
- Officer Kee sets off in the tribal police cruiser towards Mrs. Peyketewa's house.
- Officer Kee arrives at Mrs. Peyketewa's deserted house.
- He discovers a steaming cup of coffee and a shrine with offerings.
- Officer Kee finds Mrs. Peyketewa's body rolled up in a rug.
- He calls for backup and confronts one of the Cousins, who is holding a red apple.
- The other Cousin approaches with a fire axe and kills Officer Kee.
- Officer Kee's journey ends with his death at the hands of the Cousins.
Reference: "The Hero with a Thousand Faces" by Joseph Campbell
The story structure of the Hero's Journey can be improved in this screenplay by further developing Officer Kee's character and his journey. Currently, Officer Kee's role is limited to the initiation stage, where he discovers Mrs. Peyketewa's body and confronts the Cousins. However, his character could be expanded to include a call to action, a mentor figure, and a transformation.
For example, the call to action could be Officer Kee receiving the initial call from the police dispatcher, but instead of simply responding to the call, he could have a personal connection to Mrs. Peyketewa or a desire to solve the mystery surrounding her. This would give him a stronger motivation and make his journey more compelling.
Additionally, Officer Kee could encounter a mentor figure who guides him through the initiation stage and helps him confront the Cousins. This mentor could be an experienced tribal police officer or a wise elder from the reservation who imparts valuable knowledge and skills to Officer Kee.
Finally, Officer Kee's transformation could be more pronounced, showing how his encounter with the Cousins and the death of Mrs. Peyketewa impact him emotionally and change his perspective on his role as a police officer. This transformation could lead to a resolution where Officer Kee seeks justice for Mrs. Peyketewa and takes action to prevent further violence.
By incorporating these elements, the screenplay could create a more engaging and satisfying Hero's Journey for Officer Kee, allowing the audience to connect with his character and experience his growth and transformation.
Story Structure Framework 2: Save the Cat
1. Opening Image:
- The scene opens with a souvenir medallion hanging from the rearview mirror of a tribal police cruiser, twisting in the wind to reveal an old photograph of Apache warriors.
- Officer Kee receives a call from the police dispatcher asking him to check on Mrs. Peyketewa.
- Officer Kee interacts with the police dispatcher over the radio.
- The scene ends with the cruiser making its way towards Mrs. Peyketewa's house.
- Officer Kee arrives at Mrs. Peyketewa's deserted house and discovers her body rolled up in a rug.
- Officer Kee calls for backup and confronts the Cousins, who kill him with a fire axe.
Reference: "Save the Cat! The Last Book on Screenwriting You'll Ever Need" by Blake Snyder
Story Structure Framework 3: Three-Act Structure
- Officer Kee receives a call from the police dispatcher asking him to check on Mrs. Peyketewa.
- Officer Kee sets off in the tribal police cruiser towards Mrs. Peyketewa's house.
- Officer Kee arrives at Mrs. Peyketewa's deserted house and discovers her body rolled up in a rug.
- Officer Kee calls for backup and confronts the Cousins, who kill him with a fire axe.
- Officer Kee's journey ends with his death at the hands of the Cousins.
Reference: "Story: Substance, Structure, Style, and the Principles of Screenwriting" by Robert McKee
|Tone and Emotional Impact||There is a strong correlation between the tone of the scene and its emotional impact. Scenes with tense or anxious tones tend to have higher emotional impact scores.|
|Dialogue and Character Changes||Scenes with higher dialogue scores tend to have more significant character changes. This suggests that dialogue is an effective tool for character development.|
|Conflict and High Stakes||Scenes with higher conflict scores tend to have higher stakes. This makes sense, as higher conflict often leads to higher stakes.|
|Concept and Plot||There is a moderate correlation between the concept and plot scores. This suggests that a strong concept can lead to a stronger plot.|
|Overall Grade and Move Story Forward||Scenes with higher overall grades tend to do a better job of moving the story forward. This suggests that a well-written scene is more effective at advancing the plot.|
|Tone and Character Changes||Scenes with more intense or serious tones tend to have more significant character changes. This suggests that tone can be an effective tool for character development.|
|Dialogue and Emotional Impact||Scenes with higher dialogue scores tend to have higher emotional impact scores. This suggests that well-written dialogue can be an effective tool for eliciting an emotional response from the audience.|
|Character Changes and Emotional Impact||Scenes with more significant character changes tend to have higher emotional impact scores. This suggests that character development can be an effective tool for eliciting an emotional response from the audience.|
|Tone and Conflict||Scenes with more intense or serious tones tend to have higher conflict scores. This suggests that tone can be an effective tool for creating conflict in a scene.|
|Dialogue and Conflict||Scenes with higher dialogue scores tend to have higher conflict scores. This suggests that well-written dialogue can be an effective tool for creating conflict in a scene.|
The writing style of the screenplay is characterized by a focus on tension, suspense, and character-driven storytelling. The dialogue is often concise and impactful, revealing the characters' professionalism and commitment. There is also a strong emphasis on realism and authenticity in the portrayal of characters and their actions.
Writer's Craft Overall Analysis
The overall writing style of the screenplay is effective in creating tension, suspense, and atmosphere. The writer demonstrates a strong command of dialogue, character development, and narrative description. The scenes effectively convey the emotions and conflicts of the characters, and the pacing and structure contribute to the overall effectiveness of the screenplay.
Key Improvement Areas
|Book||Save the Cat! Writes a Novel by Jessica Brody||This book provides insights and exercises to improve the craft of screenwriting, including character development and plot structure.|
|Video||MasterClass: Aaron Sorkin Teaches Screenwriting||This video course by Aaron Sorkin offers valuable lessons on dialogue writing and storytelling techniques.|
|Screenplay recommendation||Read 'Pulp Fiction' by Quentin Tarantino||This screenplay is a great example of how to effectively use dialogue and create engaging characters.|
|Exercise||Write a scene with a different character dynamic and conflictPractice In SceneProv||This exercise will help the writer explore different character interactions and conflicts, further developing their skills in creating engaging scenes.|
|Screenplay recommendation||Save the Cat! by Blake Snyder||This book provides valuable insights and techniques for developing engaging and well-structured scenes.|
|Exercise||Write a scene with only subtextual dialoguePractice In SceneProv||This exercise can help the writer practice conveying emotions and conflicts through subtext, which could add depth to their scenes.|
|Screenplay recommendation||Read 'No Country for Old Men' by Cormac McCarthy||This screenplay is known for its tense and suspenseful writing style, which could provide inspiration for the writer to further develop their craft.|
|Exercise||Write a scene with a philosophical conflict between two charactersPractice In SceneProv||This exercise could help the writer explore new aspects of their writing style and develop their ability to create complex and thought-provoking scenes.|
|No Country for Old Men||The scene opens with a souvenir medallion hanging from the rearview mirror, similar to the opening shot of the sheriff's car in No Country for Old Men. Both scenes establish a calm and reflective tone in a barren landscape.|
|Breaking Bad||The scene where Walt and Jesse discuss their options while trapped in the RV is reminiscent of many tense and desperate moments in Breaking Bad. Both stories involve characters making life-or-death decisions and facing the consequences of their actions.|
|Better Call Saul||The scene where Saul lies on the floor with a Chinese massage machine while talking on the phone with Walt is similar to the quirky and humorous moments in Better Call Saul. Both stories feature Saul Goodman as a character and explore the criminal underworld.|
|No Country for Old Men||The scene where Walt and Jesse watch their RV being crushed in a car crusher is reminiscent of the tense and melancholic moments in No Country for Old Men. Both stories involve characters facing the consequences of their actions and dealing with the loss of their possessions.|
|Trope||Trope Details||Trope Explanation|
|Mysterious Past||The souvenir medallion hanging from the rearview mirror of the tribal police cruiser, which twists in the wind to reveal an old photograph of Apache warriors.||The Mysterious Past trope is used to create intrigue and curiosity about a character's background or history. In this scene, the medallion hints at Officer Kee's connection to the Apache warriors and suggests that there may be more to his story.|
|Foreshadowing||The scene ends with the cruiser making its way towards a small house in the New Mexico desert.||Foreshadowing is a literary device used to hint at future events or outcomes. In this scene, the cruiser heading towards the small house in the desert foreshadows a significant event or conflict that may occur there.|
|Suspenseful Death||The Deputy finds Mrs. Peyketewa's body rolled up in a rug. The Deputy calls for backup and confronts one of the Cousins, who is holding a red apple. The other Cousin approaches with a fire axe and kills the Deputy.||The Suspenseful Death trope is used to create tension and anticipation around a character's death. In this scene, the discovery of Mrs. Peyketewa's body and the confrontation between the Deputy and the Cousins build suspense, leading to the Deputy's eventual death.|
|Tense Conversation||Walt and Skyler discuss their divorce and their son. The Cousins wait for Walt at Los Pollos Hermanos. Badger admires a chunk of blue crystal.||The Tense Conversation trope is used to create a sense of unease and conflict between characters. In this scene, the tension arises from Walt and Skyler's discussion about their divorce and their son, as well as the presence of the Cousins waiting for Walt at Los Pollos Hermanos.|
|Lighthearted Moment||Jesse, Skinny Pete, and Badger sit around a coffee table admiring Jesse's blue crystal meth. Badger hesitates to snort it due to Jesse's recent rehab stint, but eventually gives in and becomes ecstatic. Jesse proposes a new, safer approach to selling meth and assigns tasks to his crew.||The Lighthearted Moment trope is used to provide a break from tension and create a moment of levity or humor. In this scene, the lighthearted moment occurs when Badger hesitates to snort the meth but eventually gives in and becomes ecstatic, leading to Jesse proposing a new approach to selling meth.|
|Anticipation||Walt waits anxiously for the time to go to his new lab. The scene ends with Gus entering Los Pollos Hermanos and encountering the Cousins.||The Anticipation trope is used to build suspense and create a sense of expectation for future events. In this scene, Walt's anxious waiting and Gus's encounter with the Cousins generate anticipation for what will happen next.|
|Montage||Walt and Gale bond over coffee and begin a montage of cooking meth together.||The Montage trope is used to condense a series of events or actions into a short sequence, often accompanied by music. In this scene, the montage showcases Walt and Gale's collaboration in cooking meth, highlighting their growing partnership.|
|Reflective Moment||Gale and Walt celebrate the end of their first day in the superlab with wine and discuss their work. Meanwhile, Hank watches Jesse's house from his car and receives a call from Marie.||The Reflective Moment trope is used to provide a pause in the action and allow characters to reflect on their experiences or emotions. In this scene, Gale and Walt's celebration and discussion of their work, as well as Hank watching Jesse's house and receiving a call from Marie, create a reflective moment for the characters.|
|Suspicion||Hank asks Walt if Jesse ever had an RV. Walt is shocked and hangs up. He then calls Saul to ask for a secure line.||The Suspicion trope is used to create doubt or mistrust between characters. In this scene, Hank's question about Jesse's RV and Walt's shocked reaction hint at suspicion and potential conflict between them.|
|Desperate Situation||Walt and Jesse are trapped in an RV and contemplating their options. Walt comes up with a plan and makes a phone call for help. Meanwhile, Hank receives a call about his wife being in an accident. The scene ends with the RV being forcefully pierced by steel forks.||The Desperate Situation trope is used to create a sense of urgency and danger for the characters. In this scene, Walt and Jesse's trapped situation, Hank's distressing call about his wife, and the RV being pierced by steel forks all contribute to the desperate situation they find themselves in.|
|Negotiation||Gus meets with the Cousins in the desert to negotiate Walter's fate.||The Negotiation trope is used to depict a discussion or bargaining between parties to reach an agreement. In this scene, Gus negotiates with the Cousins to spare Walter's life, showcasing his diplomatic skills and the high stakes involved.|
|Theme||Theme Details||Themee Explanation|
|Identity and Heritage||The scene opens with a souvenir medallion hanging from the rearview mirror of a tribal police cruiser, revealing an old photograph of Apache warriors. Officer Kee, a young Native American deputy, is the main character in this scene.||The theme of identity and heritage is present in the scene through the visual representation of the Apache warriors on the medallion and Officer Kee's Native American background. This theme may explore the struggle of maintaining cultural identity in a modern world or the connection between one's heritage and their actions.|
|Suspense and Danger||The scene ends with the Cousins killing the Deputy with a fire axe.||The theme of suspense and danger is evident in this scene as the conflict escalates and leads to the Deputy's death. This theme may explore the consequences of being involved in dangerous situations or the unpredictability of life and the potential dangers that can arise.|
|Family and Relationships||Walt and Skyler discuss their divorce and their son. The scene ends with the Cousins waiting for Walt at Los Pollos Hermanos, putting pressure on Gus.||The theme of family and relationships is present in this scene through the discussion between Walt and Skyler about their divorce and their son. This theme may explore the complexities of family dynamics, the impact of personal relationships on one's actions, or the struggle to balance personal and professional responsibilities.|
|Ambition and Success||Jesse proposes a new, safer approach to selling meth and assigns tasks to his crew.||The theme of ambition and success is evident in this scene as Jesse proposes a new approach to selling meth and assigns tasks to his crew. This theme may explore the pursuit of success and the lengths people are willing to go to achieve their goals, or the consequences of ambition and the potential dangers it can bring.|
|Guilt and Consequences||The conflict in this scene arises between Walt and Walter Jr. as they discuss Walt's guilt and the impact it has on their relationship.||The theme of guilt and consequences is present in this scene through the conflict between Walt and Walter Jr. This theme may explore the emotional and psychological impact of guilt, the consequences of one's actions, or the struggle to reconcile with past mistakes.|
|Science and Knowledge||Walt and Gale bond over their shared love of chemistry.||The theme of science and knowledge is evident in this scene as Walt and Gale bond over their shared passion for chemistry. This theme may explore the power of knowledge, the pursuit of scientific discovery, or the ethical implications of using scientific knowledge for personal gain.|
|Power and Control||The conflict in this scene arises when Jesse barges in and accuses Walt of trying to get rid of the RV without him.||The theme of power and control is present in this scene through the conflict between Jesse and Walt. This theme may explore the dynamics of power and control in relationships, the struggle for dominance, or the consequences of seeking control over others.|
|Desperation and Survival||Walt and Jesse are trapped in an RV and contemplating their options.||The theme of desperation and survival is evident in this scene as Walt and Jesse find themselves in a desperate situation and must come up with a plan to survive. This theme may explore the lengths people are willing to go to in order to survive, the psychological and emotional toll of desperation, or the resilience of the human spirit in the face of adversity.|
|Justice and Morality||The conflict in this scene arises when Hank asks Walt about Jesse's RV, indicating that he suspects Jesse of selling crystal meth.||The theme of justice and morality is present in this scene through the conflict between Hank and Walt. This theme may explore the concepts of right and wrong, the pursuit of justice, or the moral dilemmas faced by individuals in difficult situations.|
|Betrayal and Loyalty||The conflict in this scene is whether or not the Cousins will spare Walter's life.||The theme of betrayal and loyalty is evident in this scene as the Cousins consider whether or not to spare Walter's life. This theme may explore the complexities of loyalty and betrayal, the consequences of betrayal, or the sacrifices made for loyalty.|
Screenwriting Resources on Themes
|Studio Binder||Movie Themes: Examples of Common Themes for Screenwriters|
|Coverfly||Improving your Screenplay's theme|
|John August||Writing from Theme|
|Story, Plot, Genre, Theme - Screenwriting Basics||Screenwriting basics - beginner video|
|What is theme||Discussion on ways to layer theme into a screenplay.|
|Thematic Mistakes You're Making in Your Script||Common Theme mistakes and Philosophical Conflicts|
|Summary:||The writer's voice is characterized by a blend of descriptive language, realistic dialogue, and concise narrative description. They have a talent for creating tension and suspense through their writing, as well as conveying emotional depth and authenticity in their characters.|
|Voice Contribution||The writer's voice contributes to the script by creating a distinct atmosphere, highlighting cultural elements, and adding depth to the characters and their interactions. Their unique style enhances the mood, themes, and overall depth of the screenplay.|
|Best Representation Scene||6 - Walt meets his new lab assistant|
|Best Scene Explanation||This scene is the best representation because it showcases the writer's ability to create vivid and engaging visual and sensory descriptions, as well as their talent for crafting natural and authentic dialogue that reveals character traits and dynamics.|
- Overall originality score: 6.5
- Overall originality explanation: The screenplay demonstrates a moderate level of originality. While some scenes contain familiar situations, the inclusion of unique elements, authentic dialogue, and fresh approaches contribute to the overall originality of the screenplay.
- Most unique situations: The most unique situations in the screenplay are the inclusion of the Santa Muerte shrine in the deserted house investigation scene, the use of scientific language and exploration of inner thoughts and emotions in the scene with Walt and Gale, and the unique situation of needing to dispose of an RV containing a meth lab in the scene with Walt and Jesse.
- Overall unpredictability score: 7.2
- Overall unpredictability explanation: The full screenplay has a relatively high level of unpredictability. The inclusion of unexpected twists, conflicts, and character actions keeps the audience engaged and unsure of what will happen next.
|Goals and Philosophical Conflict|
|internal Goals||The protagonist's internal goals evolved throughout the script, reflecting his desire to fulfill his duty as a police officer, protect and serve his community, maintain a sense of control and dignity in his crumbling marriage, regain a sense of pride and accomplishment, assess and evaluate his new lab assistant, establish a connection and bond with his lab assistant, find evidence against Jesse, protect himself and his associates from the DEA's investigation, ensure there is no incriminating evidence left behind, remain hidden and avoid being discovered by Hank, come up with a plan to escape their current situation, and come to terms with the destruction of the RV and the end of their meth lab.|
|External Goals||The protagonist's external goals evolved throughout the script, reflecting the immediate challenges he faced in investigating Mrs. Peyketewa's well-being, solving a homicide case, finalizing his divorce and discussing arrangements for his son, convincing his friends to join him in selling meth, starting his new job at the industrial laundry, continuing the meth cooking operation, gathering information about Gale's background, finding Jesse's RV, getting rid of the RV before the authorities find it, ensuring no evidence is left behind in the RV, remaining hidden and avoiding detection, finding a way to escape their current location, and witnessing the destruction of the RV.|
|Philosophical Conflict||The overarching philosophical conflict in the screenplay revolves around the protagonist's belief in his ability to provide for his family and be a good father despite the divorce, his belief in the magic and beauty of chemistry, and his attachment to his old life as a meth producer. These conflicts intertwine with the protagonist's journey as he navigates the challenges of his personal and criminal life, questions the purpose and value of his work, and grapples with the consequences of his actions.|
Character Development Contribution: The protagonist's internal goals and the philosophical conflicts he faces contribute to his character development by challenging his beliefs, values, and worldview. They force him to confront his fears, desires, and flaws, and ultimately shape his transformation throughout the screenplay.
Narrative Structure Contribution: The protagonist's internal and external goals provide a framework for the narrative structure of the screenplay. They drive the plot forward, create tension and conflict, and guide the protagonist's actions and decisions. The philosophical conflicts add depth and complexity to the narrative, exploring larger themes and ideas.
Thematic Depth Contribution: The protagonist's internal and external goals, as well as the overarching philosophical conflicts, contribute to the thematic depth of the screenplay by exploring themes of duty, protection, control, pride, validation, fear, self-preservation, identity, survival, closure, and the purpose and value of one's work. They raise questions about morality, responsibility, and the consequences of one's actions, and invite reflection on the nature of power, ambition, and the pursuit of happiness.
Screenwriting Resources on Goals and Philosophical Conflict
|Creative Screenwriting||How Important Is A Character’s Goal?|
|Studio Binder||What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict|
|How I Build a Story's Philosophical Conflict||How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode.|
|Endings: The Good, the Bad, and the Insanely Great||By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes|
|Tips for Writing Effective Character Goals||By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy?|
The reasons might be more valuable than the rating.
The screenplay effectively sets up conflicts and plot developments, such as the divorce between Walt and Skyler and the impending confrontation with the Cousins. The character arcs for Walt and Jesse are well-developed, showcasing their transformations and the toll the illegal activities take on them. However, there are areas that could be improved, such as the dialogue and the need for clearer connections between certain storylines. Overall, the screenplay has a compelling narrative and effectively builds tension and suspense throughout.
- The scene effectively sets up future conflicts and plot developments, such as the divorce between Walt and Skyler and the impending confrontation with the Cousins. (Scene 3)
- The scene effectively introduces a new character, Gale, and establishes his qualifications and expertise in chemistry. (Scene 6)
- The scene effectively builds tension and sets up a new conflict for the characters; The visual of the RV being crushed adds a symbolic element to the scene. (Scene 11)
- The tension between Walt and Clovis effectively conveys the stakes and the need for immediate action. (Scene 10)
- The scene effectively raises the tension and stakes for the characters; The phone call between Hank and Officer Tanner adds a new layer of conflict and urgency; The visual of the RV being pierced by steel forks creates a visually striking and chaotic ending. (Scene 13)
- The dialogue between the Deputy and the police dispatcher could be more impactful and reveal more about the characters. (Scene 1)
- The scene could benefit from more conflict or tension to create a stronger narrative arc; The significance of the superlab and its connection to the larger story could be further emphasized. (Scene 6)
- The dialogue between Walt and Walter Jr. could be more nuanced and impactful; The transition between different locations and characters could be smoother. (Scene 5)
- The scene could benefit from more visual elements to enhance the storytelling; The transition between Marie's conversation and Walt's phone call could be smoother. (Scene 8)
- The scene could benefit from more visual elements to enhance the tension and urgency, such as showing Walt pacing or Saul frantically searching for solutions; The dialogue could be more concise and focused, with less back-and-forth between Walt and Saul. (Scene 9)
- More information about Mrs. Peyketewa and her relationship with the Cousins; A clearer explanation of why the Cousins are after Walter White. (Scene 2)
- A clearer connection between Jesse's crew and the overall plot; More development of Gus and the Cousins' storyline. (Scene 5)
- A clear objective or goal for Walt and Gale in their meth-cooking process; A stronger connection to the overall plot and story arc. (Scene 6)
- A clearer explanation of why Hank is specifically targeting the RV and what evidence he has. (Scene 8)
- More exploration of Walt's plan and how it will help them escape; Further exploration of the guilt and self-loathing Walt feels for involving Hank in their situation. (Scene 9)
- The use of the famous photograph of Geronimo & Co. on the medallion adds an ironic commentary on the portrayal of Native Americans in tourist shops. (Scene 1)
- The visual of Badger becoming ecstatic after snorting the meth adds to the scene's impact. (Scene 4)
- The visual of the RV being forcefully pierced by steel forks creates a dramatic and chaotic ending. (Scene 11)
- The introduction of Old Joe as a character adds an interesting dynamic to the scene. (Scene 12)
- The introduction of the sunset and the visual contrast between the crusher yard and the empty desert plain adds visual interest and symbolism to the scene. (Scene 14)
|12||Jesse: THIS IS MY OWN PRIVATE DOMICILE AND I WILL NOT BE HARASSED! BITCH!|
|2||Officer Kee: HOLD IT RIGHT THERE!!|
|14||GUS: I told you before. You will not kill Walter White. Not until my business with him has concluded.|
|1||DISPATCHER: KDK-12, come in... KDK-12...|
|9||SAUL: what do I look like, the RV disposal people? Did you not plan for this contingency?|