Breaking bad
Executive Summary
Overview
Genres: Drama, Crime, Thriller, Family, Slice of Life, Comedy
Setting: Contemporary, Various locations including a cow pasture, a high school, a car wash, a house, a kitchen, a meth lab, and a Winnebago
Overview: Breaking Bad follows Walter White, a mild-mannered high school chemistry teacher who turns to drug dealing to secure his family's future after being diagnosed with cancer. As he delves deeper into the criminal world, Walter's transformation into a ruthless Heisenberg brings about irreversible consequences for himself and those around him.
Themes: Moral Conflict, Family Relationships, Power and Corruption, Identity, Consequences
Conflict and Stakes: The primary conflicts revolve around Walt's internal struggle with his actions, his battle with cancer, and the consequences of his choices on his family. The stakes include his life, his family's safety, and his moral integrity.
Overall Mood: Dark, intense, suspenseful
Mood/Tone at Key Scenes:
- Scene 1: The opening scene sets a dark and foreboding tone with a sense of desperation and danger.
Standout Features:
- Complex Characters: Walt's transformation from a mild-mannered teacher to a ruthless drug lord is a standout feature.
- Moral Ambiguity: The exploration of moral gray areas and the consequences of one's choices adds depth to the story.
- Intense Drama: The tension, suspense, and high-stakes situations create a gripping viewing experience.
Comparable Scripts:
Writing Style:
The screenplay exhibits a diverse range of writing styles, with influences from renowned screenwriters like Vince Gilligan, David Chase, and Aaron Sorkin. The focus on complex character development, moral ambiguity, realistic dialogue, and societal commentary is evident throughout the screenplay.
Style Similarities:
- Vince Gilligan
- David Chase
- Aaron Sorkin
Pass/Consider/Recommend
Highly Recommend
Explanation: Breaking Bad's pilot screenplay is a masterclass in character development, showcasing a dramatic transformation of its protagonist set against the backdrop of illegal drug manufacturing. The narrative is gripping, with a well-paced plot and rich dialogue that hooks the audience effectively.
USP: "Breaking Bad" is a unique and gripping drama series that delves into the complex world of crime and morality. With its gritty characters, intense plot lines, and exploration of human nature, "Breaking Bad" stands out from other crime dramas with a gripping narrative that keeps viewers on the edge of their seats. The series' unique blend of dark humor, suspense, and character development sets it apart as a must-watch for fans of the genre.
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 18-54, fans of crime dramas, thrillers, and character-driven narratives
Marketability: The intense drama, complex characters, and moral dilemmas make it highly marketable to a wide audience
The unique blend of genres, strong character development, and gripping storyline make it appealing to viewers seeking depth and complexity
The high production value, critical acclaim, and strong fan base contribute to its marketability
Profit Potential: High, due to the show's cult following, critical acclaim, and potential for syndication and merchandise sales
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by its grit, intensity, dark humor, and focus on morally complex characters.
Best representation: Scene 14 - . This scene is the best representation of the writer's voice because it showcases the writer's ability to blend dark humor with intense drama and create morally complex characters.
Memorable Lines:
- Hank: Meth labs are nasty on a good day -- but when you mix that stuff wrong, you wind up with mustard gas. (Scene 6)
- Walt: What if I showed you my secret? Every cook's got his recipe -- what if I taught you mine? Let us both live, I'll teach you. (Scene 13)
- Walt: Either that, or I turn you in. (Scene 7)
- Dupree: This is art. Mr. White (Scene 12)
- Walter White: My name is Walter Hartwell White. I live at 308 Belmont Avenue, Ontario, California 91764. I am of sound mind. (Scene 1)
Characters
Walter White:A high school teacher turned meth producer who is struggling with a cancer diagnosis and the consequences of his actions
Skyler White:Walt's wife who becomes entangled in his illegal activities and must navigate their deteriorating relationship
Hank:Walt's brother-in-law and a DEA agent who becomes involved in investigating the drug trade
Jesse Pinkman:A former student of Walt's who becomes his partner in the meth business
Marie:Skyler's sister who is judgmental and critical of her family
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for 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 - Breaking Dawn | Tense, Suspenseful, Intense, Emotional | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
2 - Breakfast and a Car Wash | Serious, Intimate, Realistic | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
3 - A Triple Overpass and a Drug Bust | Tense, Dramatic, Sarcastic | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
4 - Intimate Reflections | Tense, Intimate, Melancholic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 6 | 6 | 6 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
5 - A Disturbing Diagnosis | Anxious, Overwhelmed, Matter-of-fact, Disconcerting | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
6 - Walt's Epiphany | Intense, Suspenseful, Serious, Dark | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8.5 | |
7 - The Encounter with Dupree | Suspenseful, Intense, Serious, Dark | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
8 - Domestic Chaos and Secret Preparations | Playful, Reflective, Serious | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 4 | 6 | 3 | 6 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
9 - Meth Cooking Confrontation | Tense, Confrontational, Serious | 8 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 9 | 9 | |
10 - The Withdrawal | Intense, Serious, Tense | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
11 - Walt's Transformation | Intense, Tense, Dramatic, Confrontational | 8 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 7 | 7 | 9 | 8 | 8 | 8 | |
12 - Meth Masterpiece | Tense, Intense, Suspenseful, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
13 - Walt's Escape | Tense, Suspenseful, Dramatic, Intense | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 9 | 10 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
14 - Despair and Passion | Despair, Relief, Excitement, Fear, Passion | 8 | 8 | 8 | 9 | 7 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | 7 | 9 | 8 | 8 | 8 |
Scene 1 - Breaking Dawn
by
Vince Gilligan
5/27/05
AMC
Sony Pictures Television
TEASER
EXT. COW PASTURE - DAY
Deep blue sky overhead. Fat, scuddy clouds. Below them,
black and white cows graze the rolling hills. This could be
one of those California "It's The Cheese" commercials.
Except those commercials don't normally focus on cow shit.
We do. TILT DOWN to a fat, round PATTY drying olive drab in
the sun. Flies buzz. Peaceful and quiet. until •••
ZOOOM! WHEELS plow right through the shit with a SPLAT.
NEW ANGLE - AN RV
Is speeding smack-dab through the pasture, no road in sight.
A bit out of place, to say the least. It's an old 70's era
Winnebago with chalky white paint and Bondo spots. A bumper
sticker for the Good Sam Club is stuck to the back.
The Winnebago galumphs across the landscape, scattering cows.
It catches a wheel and sprays a rooster tail of red dirt.
INT. WINNEBAGO - DAY
Inside, the DRIVER's knuckles cling white to the wheel. He's
got the pedal flat. Scared, breathing fast. His eyes bug
wide behind the faceplate of his gas mask.
Oh, by the way, he's wearing a GAS MASK. That, and white
jockey UNDERPANTS. Nothing else.
Buckled in the seat beside him lolls a clothed PASSENGER,
also wearing a gas mask. Blood streaks down from his ear,
blotting his T-shirt. He's passed out cold.
Behind them, the interior is a wreck. Beakers and buckets
and flasks -- some kind of ad-hoc CHEMICAL LAB -- spill their
noxious contents with every bump we hit. Yellow-brown liquid
washes up and down the floor. It foams in a scum around •••
••. Two DEAD BODIES. Two freshly deceased Mexican guys
tumble like rag dolls, bumping into each other.
Completing this picture is the blizzard of MONEY. A Von's
bag lies leaking twenties. Fifteen, twenty grand in cash
wafts around in the air or floats in the nasty brown soup.
CLOSE on the driver's eyes. He's panting like a steam
engine. His mask FOGS UP until finally he can't see.
2.
EXT. COW PASTURE - CONTINUOUS
The Winnebago comes roaring over a berm and down into a deep
gully. Too deep. BAM! The front bumper bottoms out,
burying itself. WAAAAAAHI The rear wheels spin air.
The engine cuts off. Silence again. The Winnie's door kicks
open and out stumbles underpants man. He yanks off his gas
mask, lets it drop.
He's forty years old. Receding hairline. A bit pasty.
He's not a guy who makes a living working with his hands.
He's not a guy we'd pay attention to if we passed him on the
street. But right now, at this moment, in this pasture?
Right now, we'd step the fuck out of his way.
Underpants man looks at the RV. End of the line for that.
He listens hard. Out of the silence, we hear .•• SIRENS.
They're faint, a few miles off -- but growing louder. Our
guy knows he's boned with a capital B. He HOLDS HIS BREATH
and leaps back inside the RV.
INT. WINNEBAGO - CONTINUOUS
A chrome 9mm is clutched in the hand of one of the dead
Mexicans. Underpants grabs it, tucks it in his waistband.
His unconscious passenger, still strapped in his seat, lets
out a groan. Underpants leans past him, yanks open the glove
box. He comes up with a WALLET and a tiny Sony CAMCORDER.
EXT. COW PASTURE - CONTINUOUS
Ducking outside, he starts breathing again. A short sleeve
DRESS SHIRT on a hanger dangles from the Winnebago's awning.
Underpants pulls it on. He finds a clip-on tie in the
pocket, snaps it to his collar. No trousers, unfortunately.
He licks his fingers, slicks his hair down with his hands.
He's looking almost pulled together now -- at least from the
waist-up. All the while, the sirens are getting LOUDER.
Underpants figures out how to turn on the camcorder. He
twists the little screen around so he can see himself in it.
Framing himself waist-up, he takes a moment to gather his
thoughts .•• then presses RECORD.
3.
UNDERPANTS MAN
My name is Walter Hartwell White.
I live at 308 Belmont Avenue,
Ontario, California 91764. I am of
sound mind. To all law enforcement
entities, this is not an admission
of guilt. I'm speaking now to my
family.
(swallows hard)
Skyler .•• you are ••• the love of my
life. I hope you know that.
Walter Junior. You're my big man.
I should have told you things, both
of you. I should have said things.
But I love you both so much. And
our unborn child. And I just want
you to know that these .•• things
you're going to learn about me in
the coming days. These things.
I just want you to know that •.•
no matter what it may look like •.•
I had all three of you in my heart.
The sirens are WAILING now, on top of us. WALTER WHITE, the
underpants man, turns off the camcorder. He carefully sets
it on a bare patch of ground by his feet. Next to it he sets
his wallet, lying open where it can be seen.
CLOSE ON the wallet -- a photo ID card is visible. Walt's
smiling face is on it. It identifies him as a teacher at
J.P. wynne High School, Ontario Unified School District.
Walt pulls the chrome pistol from the back of his waistband,
aiming it across the tall weeds. It glints hard in the sun.
Flashing red LIGHT BARS speed into view, skimming the tops of
the weeds. Heading straight for us.
Walt stands tall in his underpants, not flinching. Off him,
ready to shoot the first cop he sees •••
END TEASER
4.
ACT ONE
EXT. WHITE HOUSE - NIGHT
No president ever slept here. No millionaire ever visited.
This is a three-bedroom RANCHER in a modest neighborhood.
Weekend trips to Home Depot keep it looking tidy, but it'll
never make the cover of "Architectural Digest."
We're in Ontario, California -- the Inland Empire. LEGEND:
"ONE MONTH EARLIER."
INT. WHITE HOUSE - MASTER BEDROOM - NIGHT
Dark and silent. SKYLER WHITE, late 30s, sleeps peacefully.
Beside her, her husband Walter is wide awake.
Walt reaches over and presses a button on his Sharper Image
alarm clock. It projects the time in glowing blue numbers on
the cottage cheese ceiling: 5:02 AM.
Walt lies motionless. Brain churning. He presses the button
again, staring straight up. 5:02 turns to 5:03.
Close enough. Walt rises without waking his wife. He exits.
INT. WHITE HOUSE - SPARE BEDROOM - NIGHT
We hear an o.s. SQUEAK-SQUEAK as we drift through this room.
We pass an empty crib, Pampers, a baby monitor still in its
box. There's going to be a new addition to the family.
We come upon the source of the SQUEAKING. It's Walt balanced
on a Lillian Vernon stair-stepper, just three easy payments
of $29.95. Walt plods up and down in the darkness like he's
marching to Bataan.
INT. WHITE HOUSE - BATHROOM - NIGHT
Walt sits down on the 7dge of the tub. We're watching his
face in the bathroom Mlrror. He masturbates. Judging by his
expression, he might as well be waiting in line at the DMV.
Walt double-takes, catching sight of himself. Distracted, he
examines the sallow bagginess under his eyes. He draws at
the loose skin under his chin.
Staring at himself long and hard, Walt loses his erection.
He gives up trying, pulls up his sweat pants.
5.
Ratings
Scene 2 - Breakfast and a Car Wash
Walt is dressed for work -- Dockers and a short-sleeve dress
shirt courtesy of Target. An American flag pin on his tie.
He and Skyler eat their breakfast in silence.
Skyler glances up, sees Walt puzzling over his bacon.
SKYLER
Sizzle-Lean. We need to think
about our cholesterol.
WALT
Huh.
Skyler's cute in a way most guys wouldn't have noticed back
in high school. But not soft-cute. Not in the eyes.
She's dressed for staying home -- she's five months pregnant
and just beginning to show.
SKYLER
When'll you be home?
WALT
Same time.
SKYLER
I don't want him dicking you around
tonight. You get paid till six,
you work till six. Not seven.
Seventeen year-old WALTER, JR. enters the kitchen, dressed
for school, hair still damp from the shower. The CLICK •••
CLICK of his forearm crutches precedes him into the room.
Walt and Skyler's son is a sweet-faced teenager who appears
to have cerebral palsy. He moves slowly and awkwardly, and
grinds his teeth as he labors to talk. But he's a smart kid.
WALT
Hey.
Just seating himself at the table is a trial for Walter, Jr.
His parents don't give him the slightest help. They treat
him as if he were able-bodied, which is how he wants it.
SKYLER
You're late.
He shrugs. She gets up, serves him breakfast. Walter, Jr.
squints at the plate she plops down before him.
6.
WALTER, JR.
What's--that?
SKYLER
Sizzle-lean. We're watching our
cholesterol.
WALTER, JR.
Not--me! I want--bacon!
SKYLER
Eat it.
Walter, Jr. picks at his breakfast, annoyed.
WALTER, JR.
What's this--even--made of?!
He looks to his dad for backup. Walt shrugs, ambivalent.
WALT
Eat it.
EXT. HIGH SCHOOL - MORNING
J.P. Wynne High School. Home of the Fightin' Skyhawks. Two
thousand-plus students, many of them in overflow trailers.
Into the faculty lot motors a 1991 Nissan wagon. It was a
piece of shit when it rolled off the assembly line, and has
not improved with age. It parks in a handicapped space.
A handicapped placard hangs from the rear-view.
Walt climbs out from behind the wheel, checks his watch.
He's late. Walter, Jr. struggles to get out of the passenger
side. He fumbles with his crutches and his backpack.
WALT
All set?
(off his son's nod)
Alright, see you at home.
Walt grabs his briefcase and hurries toward the building,
leaving his son to work it out for himself -- which is,
again, exactly how Walter, Jr. wants it.
INT. HIGH SCHOOL - CLASSROOM - DAY
Hours later. This is a chemistry classroom -- black-topped
lab tables with gas spigots. Walt is lecturing to seniors.
7.
WALT
Chemistry is the study of what?
STUDENT
(a beat)
Chemicals.
Snickers from the smart kids. Walt smiles.
WALT
Chemicals. No. Change. Chemistry
is the study of change.
(a beat)
Think about it. Electrons change
their orbits, molecules change
their bonds. Elements combine and
change into compounds. That's all
of life, right? The constant •••
(shrug)
The cycle. Solution, dissolution,
over and over.
Walt seems to be talking mostly to himself. A pep talk.
WALT
Growth, decay. Transformation.
It's fascinating, really.
Handsome, blonde CHAD sits slouched in the back with his hand
jammed in the lap of his cheerleader GIRLFRIEND. He whispers
to her and she giggles. Walt snaps out of it.
WALT
Chad, keep your hands to yourself
please. Is there something wrong
with your own table?
Chad sighs heavily and drags his stool back to an adjoining
table. Doing so, he makes as much NOISE as he can.
WALT
Alright, ionic bonds. Chapter six.
INT. HIGH SCHOOL - FACULTY WORKROOM - DAY /
Last period. Wide on Walt in the background, who sits alone
in this deserted room. Head down, he grades tests while he
eats a sandwich from home. It's a lonesome tableau.
A physics teacher, MARGARET, enters. She's 30s, redhead,
attractive without being pretty. Sexy, more like.
8.
MARGARET
Heya, Walt.
WALT
Hey, Margaret.
Margaret feeds the soda machine a dollar. Walt stares at her
back a little too long. We feel his interest.
Margaret gets her Diet Coke and turns his way. Walt lowers
his eyes. Margaret joins him at the table, checks her watch.
WALT
Happy Birthday.
MARGARET
(surprised)
How'd you know?
Walt shrugs. Smiles. Margaret does, too.
MARGARET
Thanks.
She fumbles in her purse, comes up with a cigarette and
lighter. She notices Walt's surprised glance.
MARGARET
Be a champ, wouldja? Don't narc.
WALT
(amused by the word)
My lips are sealed.
Margaret lights up and sucks deep. Ohhh yeah. She blows
smoke toward the ceiling, gives it a wave with Walt's papers.
MARGARET
Walt, you are my hero.
Walt glances up at her once more. She catches him doing it,
smiles back and holds his look. He drops his eyes first.
WALT
Those things '11 kill you, you know.
Margaret shrugs, exhales.
MARGARET
Something always does.
9.
EXT. VELVET-TOUCH CAR WASH - AFTERNOON
This is one of those 60s Googie-style structures -- faded
space-age futuristic. young Mexicans dry the cars by hand.
INT. VELVET-TOUCH - OFFICE - AFTERNOON
Walt's afternoon part-time job. He works the cash register.
WALT
-- Eight, nine, ten, and ten makes
twenty. Thank you. Come again.
The CUSTOMER wanders off, re-counting his change. Walt
closes his drawer and busies himself with record keeping.
AMIR, the middle-aged Persian owner, argues on the phone.
AMIR
No. Not that is not what I
said. What I said to you --
Amir switches to FARSI. The conversation grows more heated.
Finally, he barks something and hangs up. He turns to Walt.
AMIR
My sister's worthless son -- piece
of shit! Shit! Fired for good
this time!
(sighs; shrugs)
I'll run the register.
WALT
Amir, no. We talked about this.
Inside only. And only till six.
AMIR
I'm short-handed, walter. What am
I to do? What am I to do?
Pissed, Walt unclips his tie, shoves it in his breast pocket.
Ratings
Scene 3 - A Triple Overpass and a Drug Bust
The sun's sinking low. walt -- master's degree, Inland
Empire Science Educator of the Year for '92, '95, and '01
is towel-drying cars alongside the teenage vatos. His slacks
and shoes are spotted with soapy water. He's grim.
Walt is at work on an anthracite BMW 3-Series. As he hunkers
down to Armor-All the tires, we hear:
10.
CHAD (O.S.)
Hey, you missed a spot.
Walt looks up to see handsome CHAD smirking down at him.
young master Chad is tickled pink. This is his Beemer, by
the way. Chad's girlfriend stands in b.g., giggling into her
cell phone. Whispering just loud enough to be heard.
GIRLFRIEND
(into phone)
Ohmigod. Oh -- my -- God. You are
not going to believe •••
She cups a hand over her mouth, turns away. Walt says
nothing. He needs this job. Off him, scrubbing harder •••
INT. NISSAN SENTRA - DRIVING - EVENING
The speedometer vibrates at 86. Walt is alone in the car,
speeding home. Tired and dirty. He's swallowed a lot of
anger today. It's way down deep, but it glows inside him.
The needle creeps up to 91. Things rattle and shake. Walt's
eyes fix on something ahead.
Walt's POV -- through the windshield, it's a straight shot
down the freeway. A mile ahead of us is a TRIPLE OVERPASS.
It's a graceful, swooping thing made of ribbons of white
concrete. It rises up out of the flatlands as we approach,
dwarfing everything for miles around.
Walt studies it. He lets off the gas a little.
Cars crawl the overpass, over and under each other. Endless
strings of white headlights, red taillights. This giant
structure routes them in every direction a person can travel.
Something about it distracts Walt. Occupies him.
Walt coasts underneath it all, staring up at it through his
sunroof. Once he's past it, he speeds up again. He eyes it
in his rearview mirror, then leaves it behind.
EXT. WHITE HOUSE - EVENING
Walt's Sentra chugs into the driveway, parking behind a shiny
new VOLVO SUV. Staring at the Volvo, Walt is not happy.
WALT
Oh, shit.
11.
The front door of walt's house opens. Out steps a big,
barrel-chested man with a bourbon in one hand. This is HANK,
Walt's brother-in-law. Hank raises his glass hello. He taps
his watch and shakes his head -- you're late.
EXT. APPLEBEE'S - NIGHT
Deep suburbia. The shiny Volvo SUV is parked in foreground.
INT. APPLEBEE'S - NIGHT
Family night in this chain restaurant. Walt, Skyler and
Walter, Jr. sit in a corner booth with Hank and his wife
MARIE. Marie is Skyler's sister. We see the resemblance.
HANK
Amir, this guy's name is? Jesus.
Call Homeland Security.
MARIE
Hank •••
HANK
I'm serious. Call the FBI, see if
he's legal. Might not be. Ship
his ass back to Camel-Land.
Hank shoots a winning grin at his nephew. Walter, Jr. snorts
with delight as he chews a mouthful of hamburger.
SKYLER
(flat)
I don't know, Hank. Do they
actually have camels in Iran?
MARIE
No. Horses. Arabian stallions.
HANK
Arabian what? Jesus. Camels,
horses -:-;-towel-head is a
towel-head. You're missing my •••
(interrupts himself)
••• And they're not Arabian anyway,
they're Persian. But you're
missing my point here. This guy is
treating your husband like uh, you
know. Door mat. Here Walt is, got
a brain the size of Wisconsin and
he's shampooing dried cum outta
some teenager's back seat?
12.
WALT & SKYLER
HANK
(to Walter, Jr.)
Sorry. You didn't hear that.
(to Walt)
You say the word, I'll go talk to
this guy. I'll set him straight.
Walt gives a pained little smile, shakes his head.
HANK
You sure? Happy to do it.
WALT
No. Thank you. Let's, please,
let's change the subject.
Hank shrugs and drains his beer. He winks at Walter, Jr.,
who grins. The teenager worships his fire-pisser uncle.
Walt can't help but notice. Hank is everything Walt isn't:
bold, brash, confident.
Skyler sips her white wine. Marie stares at her.
MARIE
You're ~ it's okay to drink.
SKYLER
After the first trimester, yes.
It was even in "Newsweek."
MARIE
Well, I didn't see that.
Marie disapproves. prickly. Hank's eyes are on the bar TV.
HANK
Oh, hey! Turn it up!
Hank WHISTLES. The college-age BARTENDER glances at him,
confused. Hank hustles over and keys up the volume on the
nearest TV SET. They're all wired together. Everybody in
the restaurant, like it or not, has to listen to •••
The local news. HANK, the man himself, is being
interviewed on television. He's polished and official.
13.
HANK (ON TV)
-- At which point we apprehended
three individuals and placed them
in custody. I'm proud to say that
the outstanding professionalism
shown by my fellow agents of the
San Bernardino District Office
resulted in a substantial quantity
of methamphetamine being taken off
the street.
An on-screen graphic identifies him as "AGENT HENRY WELD,
D.E.A." The real-live Hank gives a smile and a nod, not just
to his family, but to everyone in the place. Such is the
force of his will that strangers APPLAUD him.
Walter, Jr. holds up a hand, which Hank high-fives.
WALTER, JR.
Damn. TV does--add ten pounds.
HANK
Ah hah-hah. Sit and spin.
Hank rubs the corner of his mouth with his middle finger,
flipping off Walter, Jr. They're like two teenagers.
Walt eats french fries and tries his best to tune everyone
out. Something on TV catches his eye.
It's the spoils of this drug bust. Laid out on a table are
bags and bags of crystal meth and several guns. But also .••
eight big SHOEBOXES full of CASH.
Walt chews his food, watches. Despite himself .•.
WALT
Hank? How much money is that?
HANK
Almost seven hundred thousand.
Pretty good haul.
The TV lingers on fat rolls of $20s rubber-banded together.
It's more currency than Walt has ever seen outside of a heist
movie. He's surprised.
WALT
That's got to be unusual, right?
That kind of cash?
14.
HANK
Mmm. Not the most we ever took.
(to the room)
There's no deficit of total morons
in the drug trade. And they can
make a ton of money, too. At least
until we catch 'em. But we
catch 'em eventually.
Hank flashes his great smile around the room. He notes
Walt's continued interest in the news report. Likes it.
HANK
Walt, just say the word and I'll
take you on a ride-along. You can
watch us knock down a meth lab.
(good-natured)
'Less that's too much excitement
for you.
Walt forces a pained grin and shrugs -- maybe someday.
EXT. WHITE HOUSE - NIGHT
The lights are off. It's late.
Ratings
Scene 4 - Intimate Reflections
Walt, dressed for bed in sweats and a t-shirt, checks himself
out in the bathroom mirror. He's not loving what he sees.
He pulls at the skin under his eyes. He COUGHS a little.
In the bedroom, Sky1er's in her nightgown, sitting at the
computer. She's following the final moments of an auction on
eBay. Walt pads into the room, sits down beside her.
WALT
Which one's this?
SKYLER
(eyes on the screen)
That faux-La1ique vase I picked up
at the flea market.
WALT
How's it doing?
SKYLER
I met my reserve and there's still
two minutes.
15.
Walt nods, sits watching. without taking her eyes off the
screen, Skyler reaches over and slips a hand into Walt's
sweatpants. Walt smirks, surprised.
WALT
What's up?
SKYLER
You tell me.
Skyler plays with him, out of sight below frame. A beat.
SKYLER
What are you doing tomorrow?
WALT
(shrug)
Actually, I was thinking about, urn.
Maybe drive to Cal tech.
SKYLER
You're not gonna mow?
WALT
Yeah, I'll mow. JPL's got an
exhibit of Mars rover photographs.
Supposed to be, the detail ••• just
really amazing. Really beautiful.
SKYLER
I just need you to mow at some
point. I'd do it myself, except it
always throws rocks at me. I think
it needs a new bag.
WALT
I will mow. First thing.
Skyler glances at walt's crotch. Good-naturedly:
SKYLER
What's going on down there?
Is he asleep?
WALT
I'm just ••. we gotta be careful of
the baby.
SKYLER
Don't worry about the baby. This
is for you. We're only doing you
tonight.
16.
Obscured by the computer, Skyler gives Walt a vigorous
handjob with one hand and works the mouse with the other.
SKYLER
Just relax. Just ••• close your
eyes and let it •••
Skyler glances again at her husband. Apparently, there's no
mighty oak sprung from whence the lowly acorn lies.
SKYLER
Just close your eyes.
walt does so, concentrating. Trying hard. Tugging away,
Skyler's attention drifts back to the computer. Completely.
SKYLER
That's it. That's ••• it.
There you go. Keep going. Keep
going. Keep it going. Keep •••
(reacting to the screen)
Yes! Fifty-six.
Walt's eyes open. The thrill is gone.
EXT. CALTECH CAMPUS - DAY
Old Pasadena. Wide greenbelts and dark magnolias. The sign
says "Jet Propulsion Laboratory." Einstein was a visiting
professor at Caltech, once upon a time. This place looks it.
INT. JPL - DAY
MARS fills frame, stark red rocks and red sand. We PAN OFF
this blow-up of Martian terrain -- we're in a hallway mounted
with two dozen such photos, big and striking.
Small in the distance stands Walt. He's not looking at any
of these photos. He's down an adjacent hallway, staring at
something else, instead.
CLOSER ANGLE - WALT
He's studying names engraved on an old plaque. It's a list
of grad students awarded a particular research grant.
Closer. "ORGANIC CHEMISTRY, 1988 -- Walter H. White."
Walt stares at his own name on the plaque. We can't read his
thoughts, but we can guess at them.
17.
EXT. CALTECH CAMPUS - COFFEE STAND - DAY
An outdoor snack bar. Walt sits alone. Around him, young
STUDENTS pore over textbooks or quietly type on laptops.
Walt sips his coffee and stares into space.
At the nearest table, a CHINESE GUY sits with two CHINESE
GIRLS. They're laughing and talking in CANTONESE. They keep
their voices low so their gossip might not be overheard --
but it's not like we have any idea what they're saying.
Walt takes another sip of coffee, carefully sets down the
cup. He looks at his hand for a long moment.
He notices his fingers are TREMBLING slightly. He makes a
fist, squeezes it tight. Opens it.
The Asian students are talking a mile-a-minute, the two girls
giggling. walt glances at them, looks back to his hand. He
presses it flat against the tabletop.
UP-ANGLE -- as seen through this GLASS TOP TABLE, Walt's
fingers stick to the surface. They pull loose with a slow,
gluey SLURP.
CLOSER on Walt. He rubs his mouth, sneaks his fingertips to
his carotid artery just under his ear. He's feeling his
pulse. The furtive whispering in CHINESE fills his head.
He's starting to breathe faster.
His cellphone RINGS. He glances at the readout screen.
"HOME," it says. Walt silences it, tucks the phone back in
his pocket.
Rapid-fire CHINESE is all we hear. Now it gets drowned out
by a sudden WHOOSH that makes Walt blink. It's the whoosh of
the nearby cappuccino machine. It's unnaturally loud, like a
jet engine. Walt's had enough. Time to go.
HIGH ANGLE - DOWN THROUGH THE TREES
Magnolia leaves sway in f.g. We're looking down at Walt,
tiny in the distance, as he rises to his feet. He makes it
three steps before he COLLAPSES, flipping an empty table.
Students look up, hesitate. The Chinese guy and a couple of
others rise to help. Off Walt, lying on his face •.•
END ACT ONE
18.
ACT TWO
Ratings
Scene 5 - A Disturbing Diagnosis
Walt is conscious, seems okay. He sits in a blue paper gown,
legs dangling off an exam table. He's alone, waiting.
Absently tapping the table. He's been here for hours.
Muffled RINGING. Walt reaches for his pants, fishes out his
cellphone. "HOME" is yet again displayed on the readout.
Walt considers, answers it.
WALT
Hey.
(a beat)
Yeah, sorry. I had it turned off.
I was, uh •••
(a beat)
Yeah, probably about an hour or so.
Amid the bustle out in the hall, two ER DOCTORS stand
conferring. They're looking at blood chemistry results
first one man studies them, then the other. When one of them
glances back our way, we realize they're talking about Walt.
Walt sees this. He can't hear what they're saying, but it
looks weighty. Walt is anxious. However, he doesn't let it
come through in his voice.
WALT
I'm at Caltech. I ran into an old
professor, we got to talking. I
should be home in about an hour.
Okay.
Walt clicks off. He looks again to the doctors in the hall.
One man nods to the other, walks off. The remaining doctor
puts on his bedside smile and enters Walt's room.
DOCTOR
Sorry for the wait. You can put
your clothes back on.
Walt climbs off the table, steps into his pants.
WALT
I've had it before. Low blood
sugar. Stood up too fast.
He's fishing. The doctor doesn't saying anything, just fills
out a form. Walt pulls on his shirt, buttons it.
19.
WALT
Guess I should've had breakfast
this morning.
DOCTOR
There's a specialist I'd like you
to see. His name is Dr. Belknap.
I should have his •.• card here
somewhere. Yes.
The doctor finds a business card, hands it to Walt. Walt
stands in his socks, staring at the card for a long beat.
WALT
Oncologist •••
DOCTOR
(forced breezy)
It's probably absolutely nothing.
INT. DR. BELKNAP'S OFFICE/EXAM AREA - DAY
Days later. A MONTAGE OF CLOSE-UPS: a blood pressure cuff
gets pumped with a WHOOSH-WHOOSH-WHOOSH; a stethoscope slides
here and there over bare skin; glands get palpated; blood is
drawn; eyes, ears, nose and throat are checked; more blood is
drawn; colorful MRIs pop up on a monitor; still more BLOOD is
drawn. END MONTAGE.
CUT TO -- Walt in his street clothes, sitting in a red
leather chair. He's staring almost directly into camera.
SILENCE. Up from it rises a faint sort of buzzy, shimmering
TINNITUS sound. It's the RINGING in Walt's ears. It gets
louder as we slowly CREEP IN on Walt's face. He's staring at
us blankly. He's staring at:
Walt's POV -- DOCTOR BELKNAP. Dr. Belknap is a balding man
in his late fifties. On a good day, he's maybe avuncular.
He's sitting behind his desk, looking right at us, talking in
slight SLOW-MOTION. We don't hear a single word he's saying.
We only hear the buzzy RINGING.
CLOSER POV -- we tilt down from Belknap's face, his moving
lips, to his doctor's coat. On the pristine white of his
lapel, there's a spot of yellow MUSTARD. We fixate on it.
Suddenly:
DR. BELKNAP
-- Mr. White? Are you listening?
20.
We've snapped out of it. The SOUND in the room is normal.
No more SLOW-MOTION. Walt looks up from the man's lapel.
WALT
Yeah.
DR. BELKNAP
Did you •• ? You understood what
I've said to you?
WALT
Yeah. Multiple myeloma. Stage 3.
(a beat)
Best-case scenario, with chemo,
I'll live another two years.
(off the man's gaze)
It's just, you've got mustard on
your ••• you've got mustard there.
Walt points. Belknap glances down at the spot on his lapel,
then back up at Walt. He has no idea what to say to that.
Off Walt, looking very matter-of-fact ••• disconcertingly so:
INT. VELVET-TOUCH CAR WASH - OFFICE - EVENING
Same clothes, same day -- Walt came to work straight from
getting his terrible news. He's on autopilot, standing
behind the cash register. The BUZZ is back in his head.
Amir is in the b.g., arguing on the phone in Farsi. The
sound is muted. We can barely hear him. We don't know what
he's yelling about anyway -- it's pointless, doesn't matter.
We're on Walt, who simply stares into space.
No customers. Walt suddenly jerks, like a tiny zap of
electricity goes through him. He steps out from behind the
counter and exits. Amir doesn't notice him leave.
As seen through the windows, Walt pads along like a zombie
and nearly gets run over by a car. The vatos all watch,
confused, as Walt climbs in his Nissan and drives away.
INT. NISSAN SENTRA - DRIVING - EVENING
Walt drives. Not speeding. No expression on his face.
His POV: it's a straight shot up the 10 Freeway. The
familiar TRIPLE OVERPASS looms ahead in the distance.
Walt stares at it like it's the monolith in "2001."
21.
EXT. OVERPASS - CONTINUOUS
An AERIAL VIEW, looking straight down at this vast and
complex concrete knot. Walt's tiny Nissan is an ant
trundling toward it. The car disappears from view
underneath, as if being swallowed.
INT. WHITE HOUSE - KITCHEN - EVENING
A glass of white wine. Sky1er stands talking on the phone.
SKYLER
(into phone)
Absolutely. I sent it to you on
the third. It's number ••• wait a
minute, let me get my checkbook.
She cups a hand over the phone, does nothing. After a beat:
SKYLER
(into phone)
Here it is. It's check number
1148. So mY records show I paid
that, and I certainly don't feel
like we owe any late •••
(listens)
Alright. I guess then I'll check
with my bank and, I don't know, if
the post office lost it or
something .•• alright then. Let me
look into that. Thank you.
Walt enters, hearing the tail-end. Skyler hangs up.
SKYLER
You're home early.
Walt nods, finds a beer in the fridge. His fingers tremble a
little as he pries off the cap. Skyler doesn't notice --
she's sifting through a stack of bills.
Walt sits at the table. He drinks deep, rubs his mouth.
SKYLER
How was your day?
WALT
You know. Same.
22.
SKYLER
Don't tell me Amir's sending you
home at five now.
WALT
No, just. Today.
SKYLER
(studying a bill)
Did you use the MasterCard last
month? $15.88 at Staples?
WALT
Uh. We needed printer paper.
SKYLER
Walt, the MasterCard's the one we
don't use.
Walt nods, overwhelmed and hiding it. Skyler doesn't know
about his doctor's appointment. Even if Walt wants to tell
her, something stops him. He sips his beer, stares.
Loud MACHINE GUN FIRE startles them both. Skyler yells into
the living room.
SKYLER
DAMMIT, WALTER 1 TURN THAT DOWN 1
(more GUNFIRE)
Go talk to him.
Walt rises, sets his bottle in the sink.
Ratings
Scene 6 - Walt's Epiphany
The end of "Scarface" plays on the TV. TONY MONTANA, with
his mountain of cocaine and his M-16, takes on all comers.
Walter, Jr. is sprawled on the couch, watching. His crutches
are leaned against the armrest.
WALTER, JR.
Hey.
WALT
Hey.
(watches TV, remembers)
Your Mom wants you to turn it down.
WALTER, JR.
Shit, come--on. This is--the best--
Wait, wait •••
23.
TONY MONTANA (ON TV)
COME AN' MEET MY LEETLE FRIEND!
WALTER, JR.
Oh--damnl Hell, yeahl
Walter, Jr. awkwardly pumps his fist. Walt keeps watching.
WALT
DVD?
WALTER, JR.
(nods)
Uncle Hank--gave--it to me.
Walt's eyes stay on the screen. The garish little kingpin
mows down acres of Columbians, then dies in a blaze of glory.
Off Walt, whose thoughts are unknown to us •••
INT. WHITE HOUSE - MASTER BEDROOM - NIGHT
Glowing blue numbers project on the cottage cheese ceiling:
4:26 AM. Walt lies awake beside his sleeping wife.
INT. WHITE HOUSE - SPARE BEDROOM - NIGHT
SQUEAK-SQUEAK, SQUEAK-SQUEAK. Walt thumps up and down on his
cheapie stair-stepper. He speeds up -- faster than the last
time. Thump, thump, thump. As seen through the bars of the
empty crib, he's really working it hard.
Sweat beads on his face. Bam, bam, bam. Faster, faster.
Harder. Violent. Sweat drips off his nose. until--
-- CRACK. He BREAKS the stair-stepper. One footpad snaps
free, hangs limp. Walt steps off and examines it.
He stares down at it for the longest time. We CREEP IN on
his face. The thousand-yard stare he's had since Doctor
Belknap's office gives way to something else now.
WALT
Two years.
He says it barely audibly. It's like the clouds have parted.
The situation has finally, truly registered in Walt's brain.
24.
EXT. WHITE HOUSE - DAWN
Early morning. A faint glow in the sky. Silence except for
the THWACK ••• THWACK of the NEWSPAPER GUY driving past.
INT. WHITE HOUSE - KITCHEN - DAWN
walt sits alone at the kitchen table, staring into space.
Deep in thought. Considering something carefully. He rises,
picks up the phone and dials. Keeps his voice low.
WALT
Hank? Hey, it's Walt. I didn't
wake you, did I?
(a beat)
Good. Listen, I've been thinking.
Could I take you up on your offer?
The ride-along?
CUT TO:
EXT. BLUE-COLLAR NEIGHBORHOOD - MORNING
A different morning -- these things take time to set up.
We're in a neighborhood not unlike Walt's. A non-descript
Ford is parked at the curb, blended in with the other cars.
HANK (O.S.)
It's down there on the cul-de-sac.
White? Kinda redwood-looking trim?
INT. FORD - MORNING - CONTINUOUS
Hank sits behind the wheel. A subordinate agent, GOMEZ, is
beside him. Hank is pointing out the TARGET HOUSE to Walt,
who sits in the back seat in an ill-fitting bulletproof vest.
HANK
See it?
WALT
Yeah.
Tiny house, a block down the street. Not at all noteworthy.
WALT
(quiet interest)
That's a meth lab.
25.
HANK
So says our snitch. Says some dude
who goes by "Cap' n Cook" lives up
to his name in there. Got himself
a three pound flask and keeps it
bubbling day and night. Says he
always adds a dash of chili powder.
(to Gomez)
Ah, you exuberant Mexicans.
GOMEZ
Uh-uh. "Cap'n Cook?" that's a
white boy's name. Dopey as hell.
HANK
Yeah? I got twenty bucks says he's
a beaner.
GOMEZ
You're on.
A yellow SCHOOL BUS chugs into frame, driving past.
HANK
Ah, here we go. Finally.
(into his radio)
School bus is clear. You got the
green light.
An affirmation comes back. Hank starts his engine.
HANK
(smiling, to Walt)
watch this. This makes 'em shit.
Out of the distance, we hear a BIG ENGINE REVVING, speeding
our way. A TRUCK roars past, heading for the cul-de-sac.
Hank slowly follows it in his Ford -- just so Walt can see.
Hank hums Ride Of The Valkyries, channeling "Apocalypse Now."
Walt's POV: as seen through the windshield, the lead truck
goes speeding into the target house's driveway. An ENTRY
TEAM of six agents jumps out, looking like they just came
from the set of a sci-fi movie -- they're covered head-to-toe
in CHEMICAL SUITS and RESPIRATOR GEAR. They carry carbines
and shotguns. One man lugs a battering ram.
HANK
Meth labs are nasty on a good day --
but when you mix that stuff wrong,
you wind up with mustard gas.
26.
WALT
Phosgene gas, I think.
HANK
Yeah, exactly. One whiff'll kill
you. That's why the moon suits.
Walt nods, watches the entry team take position at the door.
INT. TARGET HOUSE - KITCHEN - CONTINUOUS
To call this a shithole would be an insult to shitholes
everywhere. There's filthy clothes, overflowing garbage,
rotting pizza boxes dating to the Clinton administration •••
along with stacked cannisters of plumber's lye and Coleman
stove fuel. A rambling, Rube Goldberg lab of hoses and
buckets stands out against the knotty pine panelling.
A Mexican man, EMILIO, sits at the kitchen table, listening
to headphones -- oblivious to the o.s. BANGING at the door.
He's got an enormous mound of RED POWDER in front of him, and
an even bigger pile of MATCHBOOKS on the floor.
He scrapes off the striker strips and collects the powder.
This is a source of red phosphorus for meth production.
BOOOM! The front door busts open. Feds pour in, pointing
guns and breathing through their masks like Darth Vader.
Emilio nearly pisses himself. He starts to run for it, but
doesn't get far. The agents hold him down, cuff him.
Ratings
Scene 7 - The Encounter with Dupree
Hank, Gomez and Walt wait in the Ford. The RADIO crackles.
AGENT (RADIO V.O.)
House is clear. We've got one
suspect in custody.
HANK
Copy that. The suspect ••• might he
be of the Latin persuasion?
AGENT (RADIO V.O.)
Si, Senor.
Hank triumphantly puts a hand out. Gomez grumbles and pays
him his twenty.
27.
HANK
Cheer up. You people still got
J. Lo.
(grins at Walt)
How you doing back there, buddy?
This sure as hell beats spending
your day clapping erasers, huh?
Walt smiles, acts agreeable. Hank turns to Gomez.
HANK
I made the mistake of watching
"Jeopardy" with this dude one time.
He is a stud, Gomez. He's a
brainiac. BEEP! "What is E equals
MC squared, Alex?" BEEP! "What
is, like, freaking .•• Shakespeare?
Hamlet?" I'm telling you Walt, you
shoulda gone on that show. You'da
cleaned up.
GOMEZ
Right on, man.
HANK
(to Gomez)
Shit, you don't know the half of
it. Two big companies wanted him
while he was still in college.
He coulda written his own ticket.
Hank looks to Walt for confirmation. Walt stares out the
window, barely shrugs -- and changes the subject.
WALT
Hank? Do you think I might get to
go inside? See the lab?
HANK
Yeah, tell you what -- we're gonna
go peek our heads in, check it out.
Stay here a minute.
Hank and Gomez exit the car, leaving Walt behind.
Walt's pleasant demeanor fades. Spending time with Hank is
hard for him. While feds in moon suits come and go across
the lawn, Walt's attention drifts to the HOUSE NEXT DOOR.
He double-takes, noticing a high WINDOW get raised. It's out
of sight of the D.E.A. agents. Only Walt can see as •••
28 •
••• A DUDE dressed only in underpants backs out the window.
He dangles for a moment, then drops eight feet to the grass.
This guy is white, gawky, early 20s -- picture a hip Shaggy
from "Scooby Doo." His sneakers come tumbling from the
window, nearly hitting him in the head. Above him, a naked
HOUSEWIFE leans out, boobs dangling, frantically tossing him
his jeans, his socks, his Cypress Hill T-shirt.
The kid dresses at mach speed, peeks around the corner of the
house. He's desperate not to be seen by the feds.
Walt watches, jaw slackening. He can't believe his eyes.
He recognizes this kid. He knows him.
WALT
(to himself)
God. Dupree .. ?
It's like a psychic connection -- at this moment, the kid,
MARION ALAN DUPREE, feels eyes on him. He turns and looks,
even more shocked to see Walt than Walt is to see him.
Staring at walt, Dupree swallows hard, puts a finger to his
lips -- shhh. Keeping one eye on the D.E.A., he hurries to
an old Daytona parked on the curb.
As it creeps away, Walt notes the license plate: "THE CAPN."
Nobody sees any of this but Walt. He climbs out of the back
of the Ford, watching Dupree go. He still can't believe it.
Hank surprises him, having walked up behind him carrying a
shoebox in a big evidence bag. It's stuffed full of CASH.
HANK
Hey, check it out, walt -- these
assholes like their shoeboxes
better'n Bank Of America.
Walt stares at all that beautiful green, turns and glances
back down the street. The Daytona is gone.
HANK
Whatcha looking at?
WALT
(a beat)
Nothing.
HANK
Wanna come meet a bad guy?
29.
Walt nods, follows him to the house. He's not going to tell
Hank what he knows.
EXT. BUNGALOW STREET - NIGHT
We're in an old neighborhood of Sears-Roebuck cottages up in
the foothills. One particular bungalow is shabbier than the
rest. Its paint peels off like sunburned skin.
EXT. BUNGALOW - BACK YARD - NIGHT
"THE CAPN" license plate gets covered -- Dupree is out here
in the darkness, hurriedly draping his Daytona with a tarp.
He's antsy as hell. Hearing FOOTSTEPS, he grabs a tire iron,
crouches behind the car. The FOOTSTEPS slow, stop.
WALT (0. S. )
It's me. I'm alone.
Walt appears out of the blackness. Dupree slowly rises.
After a wary beat:
DUPREE
How'd you find me?
WALT
You're still in our filing system.
Your aunt owns this place, right?
DUPREE
I own it.
Walt nods. Whatever. He glances at the tarp.
WALT
Nobody's looking for you.
DUPREE
what do you want?
WALT
I was curious.
(a beat; shrug)
Honestly, I never expected you to
amount to much. Methamphetamine,
though. I didn't picture that.
(off the silence)
Lotta money in it, huh?
30.
Dupree peers into the darkness beyond Walt, wonders who else
is out there. His hand tightens around the tire iron.
DUPREE
I don't know what you're talking
about.
WALT
No?
DUPREE
No freakin' clue.
WALT
Huh. Cap'n Cook? That's not you?
(off his head shake)
Like I said, no one's looking for
you. I didn't tell anyone.
Dupree grows more agitated. His voice stays low.
DUPREE
I don't know what you think you're
doing here, Mr. White. If you're
planning on giving me some bullshit
about getting right with Jesus or
something, turning myself in --
WALT
No. Not really.
DUPREE
You ain't "Welcome Back, Kotter,"
so step off. No speeches.
Dupree points the tire iron for emphasis. Walt should leave,
but he doesn't. Instead •••
WALT
Short speech. You lost your
partner today. What's-his-name,
Emilio? Emilio's going to prison.
The D.E.A. took your money, your
lab. You got nothing. Square one.
But you know the business, and I
know the chemistry. I'm thinking.
Maybe you and I ••• partner up.
Long, pregnant silence. Dupree can't believe his ears.
31.
DUPREE
You -- wanna cook crystal meth.
(off Walt's nod)
You. You and me.
Walt means it. Dupree breaks into a crooked, spreading grin.
Before he can laugh out loud
WALT
Either that, or I turn you in.
Dupree's smile fades. Off Walt, serious as a heart attack •••
END ACT TWO
32.
ACT THREE
Ratings
Scene 8 - Domestic Chaos and Secret Preparations
Brown shipping tape gets pulled off its roll with a SKRRECK!
skyler seals a cardboard box, readies it for the post office.
The kitchen table is stacked with bubble wrap and boxes.
Marie helps pack. She holds up an item.
MARIE
What the hell is this?
SKYLER
Damned if I know. I described it
as a "mid-century objet d'art."
MARIE
And somebody bought it?
SKYLER
Some guy in Minneapolis. Fourteen
dollars plus shipping and I got
it at a yard sale for eighty cents.
God, I love eBay.
Marie shakes her head, bubble-wraps the objet.
MARIE
At this rate, in fifty or sixty
years you'll be rich.
That's the dynamic -- Marie is constantly yitzing her older
sister. Sometimes, she's not even aware she's doing it.
She's just naturally negative. And competitive.
MARIE
What's up with Walt lately?
SKYLER
He's fine. What do you mean?
MARIE
He just seems ••• I don't know.
Quieter than usual.
Skyler thinks about it, shrugs.
SKYLER
Turning forty was a big deal. I
know I'm not looking forward to it.
(smirk)
You -- are gonna be a basket-case.
33.
MARIE
SO, it's a mid-life crisis.
SKYLER
NQ. He's just. Quiet.
MARIE
(a beat)
How's the sex?
SKYLER
Marie! Jesus.
Marie holds up her hands. Whatever. Irked, Skyler runs her
tape gun over the top of a box -- SKKKRRRECK. A beat or two.
MARIE
(mumbles)
Guess that answers that.
INT. HIGH SCHOOL - CLASSROOM - AFTERNOON
Walt's chern lab is empty -- school has ended for the day.
Hurrying around, Walt peers in cabinets high and low, pulls
out FLASKS, BEAKERS, TUBING, STANDS and BURNERS. He gathers
all this up, loads it in a cardboard box.
He pauses, hit by a brief fit of COUGHING. He recovers,
sniffs and feels his chest with his fingertips. Margaret the
physics teacher sticks her head in the door behind him.
MARGARET
Hey, you're still here.
WALT
Oh, hey.
MARGARET
I missed lunch -- I was thinking of
swinging by T.G.I. Fridays. I
could use a drink. How 'bout you?
Walt clearly would like to join her, and she knows it.
WALT
Shoot, I can't. My other job.
MARGARET
Okay. Some other time.
(notices the box)
Whatcha doing?
34.
WALT
Oh. Inventory. Not a week goes by
my kids don't break two or three
pieces of glassware.
Margaret considers. Does she believe him? We don't know.
But then she winks at him, leaves. Walt glances at his box
full of school property. Shit, that was close. He carries
it to the door, pauses to peek out. No witnesses.
Walt flicks off the classroom lights with his back, then
humps the heavy box down the hall and out of the building.
Ratings
Scene 9 - Meth Cooking Confrontation
Dupree sits on his front porch, drinking a long-neck beer and
glowering. Walt's Nissan putters into view, reverses and
backs into Dupree's driveway. Walt climbs out, jazzed.
WALT
Look what I got.
Walt opens his hatchback. Dupree doesn't budge. Walt stares
at him -- a teacher staring at a recalcitrant student --
until Dupree slouches down the steps.
WALT
Quit my part-time job -- I've got
four hours to devote to this every
afternoon. And •••
Walt lifts a blanket, revealing his CARGO. Lots of goodies.
Dupree peers at the stolen lab gear, pulls something out.
WALT
Ah. Kjeldahl-style recovery flask,
2000 milliliters. Very nice. You
got your Griffin beakers, you got
your volumetric. But check this
out -- the piece de resistance.
Round bottom boiling flask, 5000
milliliters.
Big. Dupree wipes his nose with his sleeve, refusing to be
impressed. He points to something else instead.
DUPREE
I cook in one of those. A big one.
WALT
This? This is an Erlenmeyer flask.
You wouldn't cook in one of these.
35.
DUPREE
Yeah. I do.
WALT
No, you don't. An Erlenmeyer flask
is for general mixing and
titration. You do not apply heat
to an Erlenmeyer flask. That's
what the boiling flask is for.
Did you not learn anything in my
chemistry class?
DUPREE
No. You flunked me, remember?
Prick? And let me tell you
something else -- this shit ain't
chemistry. This shit is art.
Cooking is art. The shit I cook is
the bomb, so don't be telling ~!
WALT
The shit you cook is shit.
I saw your setup. Ridiculous.
(firm)
You and I will not make garbage.
We will produce a chemically pure
and stable product that performs as
advertised. No adulterants.
No baby formula. No chili powder.
DUPREE
Chili P's my signature!
Walt shakes his head -- not anymore.
DUPREE
Yeah, well we'll see about that.
The hell's all this?
He pulls out heavy LAB APRONS, GLOVES, RESPIRATORS. These
are the respirators we saw Walt and Dupree wearing in the
Teaser (Dupree was Walt's unconscious PASSENGER, by the way).
WALT
Lab safety. We're also gonna have
an emergency eye wash station.
These chemicals and their fumes are
toxic or didn't you know that?
Dupree holds up an apron, snorts.
36.
DUPREE
Hey, you can dress up like a faggot
if you want. Not me.
Walt glares at him, losing patience. Dupree roots through
the piles of RAW SUPPLIES walt has brought along.
DUPREE
Stove fuel ••• not enoug~ of it.
Lye. You got the gener1c crap.
Red Devil's better. Iodine,
matches ••• also not my brand.
W~T
Somehow, we'll manage.
(points)
Sinus tablets. That should be
enough pseudoephedrine to produce
the first pound. Then I'm thinking
we can switch to a proper phenyl-2-
propanone method.
Dupree's not listening. Instead, he's noticed something
about Walt's shopping bags. They're all the SAME.
DUPREE
Wait. Tell me you didn't buy all
this from one single goddamn store.
W~T
Why?
DUPREE
Jesus! They know what you're doing
with this! Any goddamn retard they
got workin' a register's gonna know
you're making crystal! You're
probably on some list now!
(as if to a child)
You buy -- your supplies
piecemeal. One store at a time,
one item at a time.
Walt looks worried now. Chastened.
W~T
It was way over in West Covina.
I paid cash. Nobody seemed to •••
Dupree considers Walt. Studies him like he's from Mars.
37.
DUPREE
Acting like some skippy little
bitch. Like this is fun and games.
This shit is shit you take --
serious.
walt suppresses his anger, stares at him evenly.
WALT
Life and death.
EXT. BUNGALOW - GARAGE/BACK YARD - AFTERNOON
Chemicals, labware, supplies -- the last of the carload of
stuff Walt brought gets packed into a back corner of Dupree's
messy old garage. Dupree covers it with a tarp.
DUPREE
This doesn't stay more than a day.
WALT
What, aren't we gonna cook here?
DUPREE
No, we're not gonna cook here.
This is my house. I don't shit
where I eat.
WALT
Then where are we going to work?
DUPREE
You tell me. This is your deal,
man. You wanna smoke it up, smoke
it up at your house.
(off Walt's look)
Nah. I didn't think so. Oh, well.
Silence as Walt considers. Stubs at the dirt with his heel.
WALT
What if we rented a self-storage
place? One of those little orange
garages? Worked out of there?
DUPREE
Nah, they're onto that. They got
dogs that sniff around.
(grudgingly)
RV. That's what you want.
38.
WALT
What, like a Winnebago?
DUPREE
I know a dude wants to sell his.
He just goes camping with it -- but
a mobile meth lab'd be the bomb.
You can drive way out in th-e---
boonies. Be all evasive.
(gauging Walt's interest)
Forty-five hundred'd get you in.
Off Walt, already calculating how to swing this:
Ratings
Scene 10 - The Withdrawal
The name on the wall says "Ontario Teachers Credit Union."
It's closing time. We find Walt standing at the counter,
doing business with a TELLER and a BRANCH MANAGER.
CLOSER -- crisp ONE HUNDRED DOLLAR BILLS get counted out.
TELLER
Thirty-nine, forty. Four
thousand ••• ten, fifteen, sixteen
dollars and ••• sixty-four cents.
Walt stares down at the money, looking distant. Removed.
The manager doesn't feel good about this at all.
BRANCH MANAGER
Mr. White, are you sure you want to
do this? I'm thinking you'd
qualify for a home equity loan.
WALT
I've got two already.
BRANCH MANAGER
You do understand you are losing
nearly seven thousand dollars of
principal. And that this leaves
your pension account with a zero
balance.
WALT
Yes. I understand.
He's perfectly calm. The man stares at Walt, bewildered.
39.
BRANCH MANAGER
I'm concerned you'll want this
money when it comes time to retire.
Walt shrugs and smiles, doesn't answer.
EXT. PARKING LOT - AFTERNOON
CLOSE ON a fat handful of CASH. Dupree counts it, impressed.
We're in a shopping center lot, mostly empty. In b.g. is the
credit union. Dupree and Walt sit in Dupree's Daytona.
DUPREE
It's four grand. My guy wants
forty-five hundred.
WALT
You're a drug dealer. Negotiate.
Dupree thinks about it, shoves the money in his pants.
DUPREE
You're not how I remember you from
class. I mean, like, not at all.
Walt checks his watch.
WALT
I gotta go.
DUPREE
wait. Hold up. Tell me why you're
doing this. Seriously.
WALT
(a beat)
Why do you do it?
DUPREE
Money, mainly.
WALT
There you have it.
DUPREE
Nah. Come on, man! Some straight
like you, giant stick up his ass •••
all a sudden at age, what, fifty
he's just gonna break bad?
40.
W~T
I'm forty-one.
DUPREE
It's weird, is all. It doesn't
compute. If you're like ••• crazy
or something ••• if you've gone
crazy, or depressed. I'm just
saying. That's something I need to
know about. That affects me.
Walt stares at Dupree a long time, considers how to answer.
W~T
I am .•• awake.
DUPREE
(a confused beat)
What?
Walt pulls the handle, opens his passenger door.
W~T
Buy the RV. We start tomorrow.
Walt gets in his old Nissan, parked beside the Daytona.
Off Dupree, worriedly watching him go:
CUT TO:
INT. DRESSING ROOM - NIGHT
It's tight in here. Familiar CRUTCHES lean against the wall.
Walter, Jr. sits on a bench, struggling to pull a stiff new
pair of off-brand jeans over his bare legs.
SKYLER (O.S.)
How you coming in there?
W~TER, JR.
Fine.
Anything but. Young Walter works at it valiantly, but the
design of this room is giving him trouble. He won't ask for
help and his folks know it. After a while:
SKYLER (O.S.)
You want me or your Dad?
W~TER, JR.
(gives up; annoyed)
Dad.
41.
The door opens and walt enters. Not a word is said as walt
leans down and his son wraps his arms around his neck. While
Walter, Jr. holds on, his dad lifts him a little and works
the jeans up onto his thighs and waist.
It's intimate in a way that's tough on a teenager, but
Walter, Jr. keeps his dignity. Walt handles it well, too.
WALT
How do these fit? You like these?
Walter, Jr. shrugs, nods. Walt zips up his son, buttons him.
Ratings
Scene 11 - Walt's Transformation
We're in a Target or somesuch. The men's department.
walter, Jr. stands before a mirror, balancing on his crutches
as he appraises his new jeans. Skyler and Walt stand behind
him. Walt's thoughts are distant as he watches his son.
SKYLER
Don't get 'em if they're too tight.
WALTER, JR.
They're--pre--shrunk.
SKYLER
They always say that, then they
shrink anyway.
As Walter, Jr. considers, we hear a faint o.s. COMMOTION.
JOCK (0. S. )
Big boy pants. I got new big boy
pants. Mommmeeee •.•
Walt snaps out of it, turns and looks. Twenty feet away,
partially hidden by clothing racks, are three GUYS, probably
just out of high school. They're laughing hard, making a
token effort to keep their voices low.
The biggest among them, a tall JOCK, is gimping around,
playing "retard" and cracking up the other two. They glance
our way -- it's clear they're making fun of WALTER, JR.
JOCK
Mommmeee, zip up my big boy pants.
Choked LAUGHTER and WHISPERS. Walter, Jr. hears. He sets
his jaw and ignores it, his face burning.
42.
Skyler is livid. She's about to go give these guys bloody
hell, but Walt touches a hand to her arm, stops her.
WALT
No, don't.
Before she can ask why not, Walt walks off in the opposite
direction. He disappears down an aisle. Is he looking for
the manager? A security guard? What's he doing?
Skyler is dismayed he's not standing up for their son.
Frustrated. until she notices:
NEW ANGLE -- the jock is still flogging the joke as WALT
enters frame behind him. Unbeknownst to everyone, Walt has
quickly looped around, stalking up behind these guys.
JOCK
Oh no. Oh no. I pinched a loaf in
my big boy pa--
Wham! Walt kicks the back of the jock's KNEE, dropping the
big guy painfully to the floor. Before the startled jock can
get up, Walt stands full-weight on his ANKLE. Leverage.
JOCK
AAHH! Whu -- what are you DOING?!
WALT
What's the matter, Chief? You
having trouble walking there?
Stand up. Don't be a retard.
Stand up and walk.
JOCK
AAAHH! GET OFF ME!
Walt raises his foot. The jock scrambles to his feet,
towering over Walt.
JOCK
I'll mess you up, man!
The kid's nearly a head taller, 240. Doesn't mean jack-shit
to Walt, who gets in his face. Walt looks slightly crazy.
WALT
Well, don't keep me waiting.
The jock is already backing off. His two friends are
spooked, as well -- tugging at him to leave.
43.
JOCK
Screw you. Freakin' psycho.
B.M.O.C. limps off with his tail between his legs. Skyler
and Walter, Jr. stand staring, amazed. They've never seen
anything like it. Certainly not from their husband and dad.
SKYLER
Walt •• ?
Standing here, Walt feels a kind of power -- one brought on
by an absence of fear.
Off him, realizing more and more that he likes it:
END ACT THREE
44.
ACT FOUR
EXT. COW PASTURE - AFTERNOON
Black and white cows graze in f.g. We drift off them and
focus on a stand of WOODS in the distance.
EXT. WOODS - AFTERNOON
Familiar to us from the Teaser, the old WINNEBAGO is parked
off a dirt road. Dupree's Daytona is here, too. We're in
the middle of nowhere. There's nobody around for miles.
The Winnie's screen door opens. Walt steps out, looks
around. Breathes deep. He's got a plastic COAT HANGER he
impatiently taps against his leg. Waiting.
with a faint CRUNCH of leaves, Dupree appears. He's clomping
toward us, carrying binoculars.
DUPREE
Nothing but cows. Got some big
cow-house way over that way, like
two miles. But I don't see nobody.
WALT
"Cow-house?"
DUPREE
(shrug)
Where they live. The cows.
Whatever, man. Shit yeah, let's
cook here.
Dupree walks off, attends to something in his car. Walt
hangs his coat hanger on the RV's awning. He unclips his
tie, slides it in his breast pocket. He unbuttons his short
sleeve dress shirt, hangs it on the hanger.
Dupree wanders back in time to see Walt climb out of his
TROUSERS and hang them up. Dupree stops dead in his tracks.
DUPREE
What. Are you doing?
WALT
These are my good clothes. I can't
go home smelling like a meth lab.
Dupree shakes his head, weirded-out. Walt, stripped down to
his UNDERPANTS, climbs into the Winnebago.
45.
WALT
c'mon, I've only got till six.
He disappears inside. Dupree considers, then reaches in his
jacket pocket for ••• a MINI-CAMCORDER (the one we remember
from the Teaser). Grinning, he follows Walt into the RV.
CUT TO:
BLACK SCREEN
with a DING, up comes a live VIDEO IMAGE of Walt, his back to
us. He wears a lab apron, rubber gloves and safety glasses.
His respirator is propped on his forehead. We are:
INT. WINNEBAGO - AFTERNOON
And we're watching Dupree's CAMCORDER POV of Walt at work.
Walt is crushing scads of sinus pills in a mortar and pestle.
This place is packed tight with lab equipment and supplies.
We hear Dupree SNICKERING o.s. He ZOOMS IN on Walt's
underpants, which show through the back of his apron.
DUPREE (O.S.)
This is a good look for you.
You're maybe only the world's
second-biggest homo.
WALT
Shut up and give me a hand here.
Walt glances back at us, notices the camcorder. Shit! He
reaches straight into lens, tussling for it. It goes BLACK.
WALT (0. S. )
Gimme that goddamned --
The screen goes to STATIC. BAM! -- as we bring up MUSIC:
INT. WINNEBAGO - AFTERNOON - MONTAGE
Edited to the BEAT of some very hip, driving SONG, we see
various ANGLES and JUMP-CUTS of Walt cooking meth, assisted
by Dupree. Hours are compressed into seconds here.
For those of us who grew up watching "The A-Team," this is
that scene they'd always do where the A-Team builds a tank or
a jet plane out of spare parts. Same feeling, same energy
except here, our guys are making highly illegal drugs.
46.
Without turning this into a how-to video, we watch as:
-- Powdered sinus tablets get soaked in a solvent, separated
out as a paste and a liquid, then reduced down over heat.
-- Veterinary iodine is transformed into hydriodic acid.
-- The striker strips of dozens of matchbooks get scraped off
with a razor blade, forming a pile of red phosphorus.
-- Red phosphorus is combined with hydriodic acid and mixed
with the pseudoephedrine culled from the sinus pills.
The whole mess gets cooked into freebase meth oil.
Salt, muriatic acid, and bits of aluminum foil are mixed
in a gas can. It gets connected to a length of garden hose.
hydrogen chloride gas bubbles through the hose and down
into a big bucket full of freebase. White methamphetamine
hydrochloride crystals float to the top and get skimmed off.
Throughout all this, Walt is working with the utmost gravity
and attention to detail -- as if he were a scientist on the
Manhattan Project. As the cook progresses, we get little
hints that Dupree is taking it more seriously, too.
Seeing the way Walt works, seeing that he really knows his
stuff, Dupree acts more respectful. He even starts wearing
his safety gear. Clearly, he's learning from walt.
EXT. WINNEBAGO - AFTERNOON
The little RV sits hidden in the woods. Toxic-looking YELLOW
SMOKE wafts through a vent in the roof. It curls up into the
trees, filtering through shafts of red afternoon sunset.
End MUSIC. End MONTAGE.
Ratings
Scene 12 - Meth Masterpiece
It's getting dark outside. The cook is done. Walt sits in
his apron, tired. He rubs at the red line around his face
left by his respirator, trying to make it go away.
They've made about a pound of fat, snowy white crystals.
Dupree carefully dips into their product with a razor blade,
lifting out a tiny sample. He taps it onto a sheet of yellow
paper, swirling it around. His eyes are wide.
47.
He's a whole new Dupree now. Subdued. Awed. It's as if
he's seen the Holy Grail.
DUPREE
This is ••• this is glass grade.
You got ••• Jesus, you got crystals
in here a quarter-inch long.
Longer. This is pure glass.
(turns to him)
You're ••• you're Michelangelo.
You're a goddamned artist. This is
art. Mr. White •.•
He's run out of superlatives. He's actually tearing Ye.
walt is surprised by his emotion.
WALT
It's just basic chemistry.
(off his awe)
But thank you, Marion. I'm glad
it's acceptable.
DUPREE
Acceptable? Every jibbhead from
here to Timbuktu's gonna want a
taste! It's gonna be like, "Sir,
would you care to replace your
Schwinn bicycle with this brand-new
Ferrari?" Shit!
(dips some more)
Dude, I gotta try some of this.
Uncomfortable with that idea, Walt intercedes.
WALT
No. We sell it, we don't smoke it.
DUPREE
Since when?
(Walt puts it away)
Man, you been watching too much
"Miami Vice."
WALT
(checks his watch)
So, how do we proceed?
DUPREE
You cook more tomorrow. Meantime,
I know just the guy to talk to.
48.
INT. KRAZY-8'S HOUSE - MORNING
Brand-new giant screen TV. Otherwise, this place looks like
a cross between a frat house and a crack house. KRAZY-8,
a young, hard-looking Mexican, sits on a sofa dotted with
cigarette burns. He's playing NBA basketball on his PS2.
The front door stands open -- but the screen door, all heavy
reinforced steel, is shut. Visible through it, Dupree
wanders up onto the porch, cups his eyes and peers in.
DUPREE
Yo, Kraze I How you doin', my man?
Krazy-8 glances over flatly, returns his attention to his
video game. Dupree twists the doorknob. Locked.
DUPREE
Can I come in?
A beat or two as Krazy-8 keeps playing. Finally, he reaches
over, grabs a garage door clicker. He BUZZES Dupree in.
Dupree bops into the living room, all smiles. He's acting
like he and this guy are tight -- which they are not. Dupree
takes a seat, watches the video game.
DUPREE
I got this game. The Laker Girls
all have titties like pine cones.
Yo, I'll show you a trick move.
You hit the x-button simultaneous
with the
KRAZY-8
-- Shut your mouth and show me your
money.
DUPREE
I ain't buying, ese. I'm selling.
Dupree tosses a tiny BAGGIE on the coffee table. It's a
"tina" one-sixteenth of an ounce of meth. One hit.
DUPREE
Tell me that ain't the finest
scante you ever laid eyes on.
Krazy-8 glances at the baggie, keeps playing. Glances at it
again. Pauses his game and picks it up. Studies it closely.
49.
DUPREE
Huh? See? Crystal so big, look
like somebody broke a window.
Look like you'd cut your nose off.
Try it.
Krazy takes a whiff of the open baggie, considers. He scoops
a taste into his pinkie nail and snorts it up his nostril.
DUPREE
BOO-YAH! See? What I say?
Krazy squints his eyes, rubs his nose. Jesus -- rocket fuel.
KRAZY-B
That's alright.
(eyeing him)
So, what? You back in business?
DUPREE
Hell, yeah I'm back! with a
vengeance I Nigga gotta make a
living! And with your cousin gone
away and all •••
(changes gears)
And listen homes, about that. It
really broke me up about Emilio.
Dude is like my brother.
(mournful)
He okay? You talk to him?
KRAZY-B
Yeah, I talked to him. He says
when the feds came, you were out
stickin' it in some neighbor lady.
DUPREE
(shrugs; smiles)
Hey, you know. I got lucky twice.
KRAZY-B
Yeah? I dunno, man. Emilio •• ?
(dark)
He thinks maybe you dimed on him.
Dupree's expression clouds over, surprised and offended.
DUPREE
That is bullshit. That is
bullshit, Krazy-B! I should kick
his punk ass for even thinking
that. Next time you talk to
Emilio, you tell him for me.
50.
A TOILET FLUSHES o.s. Krazy-8 nods toward the sound.
KRAZY-8
Made bail this morning.
You can tell him yourself.
The bathroom door opens. Into the room walks EMILIO, the guy
we saw get busted. He looks bigger now, somehow. And angry.
EMILIO
Go ahead, pendejo. Kick my ass.
Dupree is suddenly none too comfortable. Emilio advances on
him, but Krazy-8 shakes his head to his cousin -- hold up.
Krazy-8 turns to Dupree, dangles the baggie. Shakes it.
KRAZY-8
Where'd you get this? 'Cause I
know damn well you didn't cook it.
Off Dupree, not so cocky now:
Ratings
Scene 13 - Walt's Escape
It's a second day of cooking for Walt. He's out here alone
with the Winnebago, having just arrived. He puts his coat
hanger on the awning and strips down, hanging up his good
clothes. As he ties on his lab apron •••
.•• An Oldsmobile Cutlass arrives. stops thirty feet away.
Walt stands his ground watching it, wary. Squints at it.
Three men in the car. A little hard to see. Walt relaxes
slightly when he realizes Dupree is one of them.
Driver's door opens. Krazy-8 climbs out, stands his ground.
KRAZY-8
Nature Boyl You must be the cook!
(off Walt's silence)
That is some stone-fine cheebah,
ese! You wanna come work for me?
WALT
(a beat)
I'd be happy to sell to you.
If the price is right.
KRAZY-8
"Price Is Right." Yeah, man •••
COME ON DOWN!
51.
He holds up a plastic Von's bag. This is the CASH we saw
blowing around in the Teaser. Krazy glances around, casual.
KRAZY-8
So. You're out here all by
yourself, huh?
Walt doesn't like the question. Doesn't answer. He's
watching the Cutlass now -- wondering why Dupree, sitting in
the back seat with the third man, hasn't moved.
The third man, EMILIO, climbs out now. He's got a look on
his face that tells us he's just realized who Walt is.
EMILIO
Shit. You're that guy.
(to Krazy-8)
The D.E.A ••• he was there with the
goddamned D.E.A!
OFF Walt -- uh-oh. Confusion all around. Rising anxiety.
Emilio turns on Dupree, still seated in the car.
EMILIO
Goddamned rata snitch!
Emilio's reaching for his gun. That's enough for Dupree
he throws open the far door, takes off into the woods.
DUPREE
RUN, MR. WHITE! RUN !
As he yells this over his shoulder -- BAM! Dupree plows
headlong into a TREE. He collapses, knocked cold.
Walt doesn't go anywhere. Krazy-8 pulls his gun immediately,
points it at him. pistols drawn, the two cousins look back
and forth between unconscious Dupree and Walt, who's got his
hands up. Motionless silence. The cousins expect feds to
come swarming out of the trees at any second.
None do. The cousins relax a touch. Dupree softly MOANS.
EMILIO
Asshole.
(to Krazy-8)
Cap 'em both. That's what I say.
Krazy-8 lights a cigarette, thinks about it. Walt stands
nervous, but stoic. He's already come to grips with dying,
and he's not going to plead for his life.
Krazy blows smoke, studies Walt closely.
52.
KRAZY-8
Yo. You really cook that batch?
Walt nods, his hands still raised.
KRAZY-8
You an artist. It's a damn shame.
He raises his pistol, about to fire -- Emilio, too.
WALT
W-What if I showed you my secret?
Every cook's got his recipe -- what
if I taught you mine?
(off their silence)
Let us both live, I'll teach you.
Emilio looks to Krazy-8, who's weighing it. It's attractive.
Off Krazy, blowing smoke:
EXT. WINNEBAGO - MINUTES LATER
CLOSE ON Dupree, face-down and blotto. Emilio finishes
hog-tying his wrists, then gives him a KICK in the head for
good measure. Emilio walks to the RV in b.g.
INT. WINNEBAGO - CONTINUOUS
Walt prepares his tools and materials. Krazy-8 stands behind
him, arms crossed, gun in hand, watching his every move.
Emilio climbs aboard, joins his cousin.
WALT
Put out the cigarette.
Krazy-8 considers, then pokes his cig through the louvered
slats of a window and flicks it outside.
EXT. WINNEBAGO - CONTINUOUS
CLOSE -- it lands behind the RV, a few red sparks flying.
We CREEP IN on the butt as it lies smoldering in the WEEDS.
INT. WINNEBAGO - CONTINUOUS
CLOSE -- POOF! A hot plate flames to life as Walt ignites
the gas. Walt runs a finger across his neatly arranged jars
of ingredients. He stops on one -- RED PHOSPHORUS.
53.
walt glances at ••• his RESPIRATOR. It's lying way at the
other end of the RV. Walt gingerly sizes up the cousins.
Emilio reaches over, wig-wags Walt's earlobe with the muzzle
of his shiny 9mm. Cold and menacing as hell.
EMILIO
Step to it, snitch.
Walt makes up his mind -- it's now or never. He unscrews the
top off the red phosphorus bottle. He takes a long, deep,
quiet breath ••• and HOLDS it.
He dumps the bottle onto the hot plate. It hits the flame
with a sizzling WHOOF and smokes up. Walt ducks and RUNS.
EXT. WINNEBAGO - CONTINUOUS
Walt makes it outside just ahead of the cousins. He slams
the door in their faces, leans his back against it hard.
BOOM! BOOM! They're kicking the shit out of it from the
inside, trying desperately to get out. We hear them COUGHING
now. GASPING. The flimsy RV door won't hold up long.
Suddenly -- BLAM!-BLAM!-BLAM! BULLET HOLES puncture the
door, zinging just above Walt's head. Still Walt stands
fast, flinching and ducking lower. BLAM!-BLAM!-BLAM!-BLAM!
The firing stops. The CHOKING SOUNDS get louder, more
tortured. Horrifying. Tiny thin curls of RED SMOKE waft out
through the bullet holes.
We hear a heavy THUMP. Then ANOTHER. Two bodies hitting the
floor. Silence now. Walt shuts his eyes, breathing hard.
Walt recovers, stumbles over and checks on Dupree, who's
still breathing. Walt unties him. Thank God, they're both
alive. Just as walt gets Dupree loose •.•
••• He smells SMOKE. He turns, sees it rising thick and dark
from behind the Winnebago. He runs to see.
NEW ANGLE - BEHIND THE RV
Krazy-B's CIGARETTE has started a BRUSH FIRE. It's ten feet
across. Walt tries to stomp it out, but that ain't working.
He yanks off his heavy lab apron, desperately tries to beat
out the flames with that. No dice. In a panic, Walt stares
up into the sky -- watches the SMOKE trail high overhead.
Everyone within five miles can see it.
54.
LOW ANGLE - DUPREE
Lies drifting in and out of consciousness. Walt -- in his
underpants, black shoes and socks -- runs to him. Walt yanks
a RESPIRATOR onto Dupree's face, then drags him out of frame.
ANGLE - THE RV
The flames of the brush fire are licking the back bumper.
The engine ROARS alive, the exhaust pipe belching blue smoke.
The fire is blocking the dirt road now. The Winnebago
lurches forward and takes off overland. Walt's clothes swing
from the awning -- a tree branch knocks loose his TROUSERS.
EXT. COW PASTURE - DAY (REPEATED FOOTAGE)
Pastoral. Quiet. COW SHIT bakes in the sun, then gets
RUN OVER with a SPLAT. We're full-circle back to the Teaser.
The Winnebago galumphs across the landscape, scattering cows.
INT. WINNEBAGO - DAY (REPEATED FOOTAGE)
Walt drives in his underpants and his gas mask, his knuckles
white on the wheel. Unconscious Dupree slumps beside him.
Behind, the dead cousins slide to and fro amidst the sloshing
ruins of the meth lab. Their CASH flutters in the breeze.
Walt hyperventilates. His mask FOGS UP. BAM! He crashes,
violently JERKING FORWARD into lens. The frame goes BLACK.
CUT TO:
Ratings
Scene 14 - Despair and Passion
We start on BLACK, then PULL OUT of the barrel of Walt's gun.
We find ourselves where the Teaser left off -- Walt is aiming
past us, standing in his shirt and tie and underpants.
SIRENS are wailing. We see RED LIGHTS flashing just over top
of the weeds. They're racing our way.
Walt has second thoughts. What the hell is he doing? He's
not going to shoot anybody. The ferocity leaks out of him.
Despair settles in in its place.
Sirens -- BLARING. Fuck it. He sticks the muzzle in his
mouth, winces hard. He YANKS THE TRIGGER.
55.
Nothing. The safety's on. Walt fumbles with it, trying to
figure it out. This takes him just long enough that •••
••• The sirens are revealed to be FIRE ENGINES. Not the
cops. Two big pumper trucks curve past us, following a dirt
road through the pasture we didn't see until now.
They roar on by, none of the firemen taking the slightest
notice of Walt. They're heading for Krazy-8's brush fire a
mile away. We can see the crooked column of SMOKE from here.
The SIRENS and the ROAR fade away. Gradually, the pasture
grows silent again. Walt stares stupidly, the pistol
dangling at his side. He lets it drop to the dirt.
He stands blinking, trying to figure out what the hell just
happened. Pure, dumb luck. Beginner's luck.
As he stands here, the door to the RV opens behind him.
Dupree stumbles out, pulls off his gas mask. Half his face
is swollen like a balloon, but he'll recover.
Dupree wanders over, stands next to Walt. Dazed silence.
DUPREE
What happened •• ?
(nods toward the RV)
W-What'd you do?
Walt is weirdly matter-of-fact.
W~T
Red phosphorus, when heat is
applied .•• oxidizes and yields
carbonyl chloride. Phosgene gas.
One good whiff of it .••
He shrugs, trails off. Folds at the waist and THROWS UP.
Dupree stands staring at nothing in particular. Walt rises,
wipes his mouth. He picks up his W~LET and CAMCORDER.
W~T
Gotta. Gotta clean this up.
Gotta ••• bury ••.
He slowly wanders back to the Winnebago. Dupree follows him.
Off our two new partners, who have only barely survived their
first week together •••
DISSOLVE TO:
56.
INT. WHITE HOUSE - KITCHEN - NIGHT
Late. Lights are off. Skyler and Walter, Jr. have gone to
bed. Walt stands at the kitchen sink, washing Krazy-8's cash
in Dawn dishwashing liquid. Washing off the toxic chemicals.
He gives an involuntary shudder. He squeezes shut his eyes,
which are tearing up. Tonight's a night he's never going to
forget -- whether he lives two years or two hundred.
INT. WHITE HOUSE - GARAGE - NIGHT
BLACK FRAME. A DING, then a door opens -- revealing we're
inside the clothes dryer, looking out. Dry twenty dollar
bills flutter around. Weary Walt reaches in and grabs them
by the fistful.
Walt quickly counts the money. Eight thousand and change.
Walt jams it in a shoebox, snaps a rubber band around it.
Remembering something, he reaches in his pocket •••
'" And pulls out the tiny camcorder TAPE. On it, we'll
remember, is the confession to his family. He doesn't
destroy the tape. He thinks about it, then drops it into the
shoebox full of cash.
walt stands tiptoes on a chair, tucks the box way up in the
garage rafters. Looking haunted, like hell warmed over, he
climbs down and exits, turns off the light. DARKNESS.
INT. WHITE HOUSE - MASTER BEDROOM - NIGHT
Skyler lies in bed, alone and awake. We're on her as we hear
the door open. Quiet footsteps. Clothes come off.
Walt gingerly climbs into bed, not wanting to wake his wife.
He lies motionless, staring up at the ceiling. A torrent of
thoughts rush through his head. Finally:
SKYLER
Where were you?
Walt doesn't answer. Skyler turns his way, stares at him.
SKYLER
Walt, I don't know what is going on
with you lately --
WUT
Nothing. I'm fine.
57.
SKYLER
Whatever it is, I'll tell you
this. I do not like it when you
don't talk to me. The worst thing
you can do is shut me out.
WALT
I'm ••• I understand. I'm fine.
She stares at him in the darkness. He stares at her.
A strange feeling comes over him. It's relief to be alive,
mixed with dread that life won't last. It's fear of being
caught. It's the thrill -- for once -- of taking risks.
It's excitement, in many different forms. And since he can't
talk about it, there's only one way to let it out.
walt kisses his wife. Passionately.
SKYLER
Walt •••
He keeps kissing her. Gently rolls her so that her back is
to him. out of sight under the covers, he fumbles with her
panties, pulls them down.
Surprised as hell, Skyler nonetheless allows it. She feels
around behind her.
SKYLER
Oh my God. Is that you?
It sure is. The mighty oak. Walt enters her -- Skyler's
eyes pop wide, and we CUT TO BLACK. Over the sounds of HEAVY
BREATHING and the SQUEAK-SQUEAK-SQUEAKING of bed springs •••
••• FADE UP CREDITS.
THE END
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
walt | Walt's character arc follows his transformation from a mild-mannered high school teacher to a cunning and resourceful criminal. Initially driven by a desire to provide for his family, Walt's moral compass begins to shift as he delves deeper into the drug trade. This leads to internal conflicts and a struggle between morality and ambition. As he becomes more involved in illegal activities, Walt's speech may become more assertive and calculated, reflecting his growing confidence and power. | The character arc for Walt is well-developed, showcasing his evolution from a conflicted teacher to a ruthless criminal. However, there could be more emphasis on the emotional toll of his decisions and the impact on his relationships with his family. Additionally, exploring the consequences of his actions in more depth could add complexity to his character arc. | To improve the character arc, consider incorporating more moments of vulnerability and introspection for Walt as he grapples with the moral implications of his choices. Showcasing the emotional turmoil and internal conflict he experiences can add depth to his character development. Additionally, exploring the repercussions of his actions on his family and loved ones can create more tension and drama in the storyline. |
skyler | Skyler's character arc follows her journey from being a practical and cautious wife to a protective and assertive mother who stands up for her family. Throughout the screenplay, she learns to navigate financial challenges, understand Walt's behavior, and express her concerns and emotions more openly. Ultimately, Skyler evolves into a strong and resilient woman who prioritizes her family's well-being above all else. | The character arc for Skyler is well-developed, showcasing her growth and transformation throughout the screenplay. However, there could be more depth added to her internal struggles and conflicts, especially in relation to her relationship with Walt and the moral dilemmas she faces. Additionally, exploring her backstory and motivations further could enhance her character development. | To improve Skyler's character arc, consider delving deeper into her emotional journey and internal conflicts. Show more of her vulnerabilities and fears, especially in relation to Walt's actions and the impact on their family. Develop her relationships with other characters to provide more context and depth to her decisions and actions. Additionally, explore her past experiences and how they shape her present choices and behaviors. |
dupree | Dupree starts off as a rebellious former student of Walt's, getting involved in illegal activities out of desperation. As he becomes more entrenched in the drug trade, he begins to question his choices and grapple with moral dilemmas. Ultimately, he faces a turning point where he must decide between continuing down a dangerous path or seeking redemption and a better future. | The character arc for Dupree is compelling, but it could benefit from more specific details about the challenges he faces and the internal struggles he experiences. Providing more depth to his moral dilemmas and showcasing his growth and development throughout the screenplay would enhance the impact of his character arc. | To improve the character arc for Dupree, consider incorporating specific scenes or moments that highlight his internal conflict and growth. Show his vulnerabilities and uncertainties more explicitly, and explore how his relationships with other characters influence his decisions. Additionally, consider adding a resolution to his arc that provides closure and a sense of transformation for Dupree. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Emotional Impact Scenes | Scenes with high emotional impact tend to have higher scores in other categories, such as plot, characters, and dialogue. This suggests that the author is able to create scenes that are both emotionally engaging and well-written. |
Suspenseful Scenes Drive the Story | Scenes that are suspenseful tend to have higher scores in the 'Move story forward' category. This suggests that the author is able to use suspense to keep the reader engaged and invested in the story. |
Character Changes Enhance Scene Quality | Scenes that include character changes tend to have higher overall grades. This suggests that the author is able to use character development to enhance the quality of their scenes. |
Tense Scenes Lack Emotional Depth | Scenes that are tense tend to have lower scores in the emotional impact category. This suggests that the author may need to focus on developing the emotional depth of their tense scenes. |
Dialogue Needs Improvement | Many scenes have lower scores in the dialogue category. This suggests that the author may need to improve their dialogue writing skills. |
Writer's Craft Overall Analysis
The writer demonstrates a strong foundation in storytelling and character development. The scenes effectively convey tension, conflict, and emotional depth, creating a compelling narrative that engages the audience. The dialogue is sharp and authentic, and the action sequences are well-paced and exciting. However, there are opportunities to enhance the screenplay's overall structure, character development, and pacing.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Screenplay | Read 'Save the Cat!' by Blake Snyder | This book provides valuable insights into structuring scenes, creating compelling characters, and developing engaging narratives, which can enhance the writer's overall craft. |
Video | Watch behind-the-scenes footage of similar TV shows or films | Observing the creative process and techniques of experienced screenwriters and filmmakers can offer valuable lessons and inspiration. |
Exercise | Practice writing character profiles and backstoriesPractice In SceneProv | Developing detailed character profiles helps writers deeply understand their characters' motivations, desires, and conflicts, leading to more authentic and compelling character arcs. |
Exercise | Analyze scene structure in well-written screenplaysPractice In SceneProv | Studying how established screenwriters structure their scenes, establish goals, create conflict, and resolve scenes can enhance the writer's understanding of effective scene construction. |
Exercise | Practice writing scenes with a clear beginning, middle, and endPractice In SceneProv | This exercise helps writers develop a strong sense of scene structure and ensures that each scene has a clear purpose and impact on the narrative. |
Stories Similar to this one
Story | Explanation |
---|---|
The Shield | Both stories follow a group of troubled characters who are involved in dangerous and illegal activities. The characters in both stories are complex and flawed, and they often make difficult choices in order to survive. |
The Wire | Both stories explore the drug trade and its impact on society. The characters in both stories are complex and flawed, and they often make difficult choices in order to survive. |
Breaking Bad | This screenplay and Breaking Bad share similarities in the main character's journey as a chemistry teacher who turns to drug dealing, the exploration of the drug trade and its impact on family and relationships, and the use of violence to solve problems. |
Fargo | Both stories are set in small towns and explore the dark side of human nature. The characters in both stories are often driven by greed and violence. |
No Country for Old Men | Both stories are thrillers that explore the themes of violence and morality. The characters in both stories are often faced with difficult choices, and they must decide how far they are willing to go to survive. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Breaking of the Fourth Wall | Walt records a video message for his family, stating his love for them and that he had them in his heart while wearing a gas mask. | In a breaking of the fourth wall event, a character will directly communicate or interact with the audience. This can be done through gestures, speech, or even eye contact. Basically, anything where the character acknowledges the existence of an audience. |
Flashback | The scene takes place in the White House kitchen in the morning where Walt, Skyler, and Walter, Jr. have breakfast. | A flashback is a scene that interrupts the present timeline of a story to show an event that happened in the past. Flashbacks can be used to provide backstory, foreshadow future events, or create suspense. |
Foreshadowing | Walt becomes intrigued by the large amount of cash seized in a drug bust on TV and decides to start cooking meth. | Foreshadowing is a technique used in storytelling to hint at future events. It can be done through dialogue, action, or symbolism. |
Chekhov's Gun | Walt uses a gun from one of the dead Mexicans to shoot the first cop he sees. | Chekhov's gun is a principle of storytelling that states that every element of a story must be necessary, and if it is not necessary, it should be removed. In other words, if a gun is introduced in a story, it must be used at some point. |
Macguffin | The RV is used as a mobile meth lab. | A Macguffin is an object, person, or event that is used to drive the plot of a story, but is not essential to the story's main conflict. |
Red Herring | Walt is initially suspected of being a DEA agent, but it is later revealed that he is a meth cook. | A red herring is a clue or piece of information that is introduced into a story to mislead the reader or viewer. |
Deus Ex Machina | Walt is able to escape from the RV by unscrewing the top off the red phosphorus bottle. | A Deus Ex Machina is a plot device that is introduced into the story at the last moment to solve a problem that cannot be solved by any other means. |
Anticlimax | Walt's plan to shoot the first cop he sees is thwarted when the RV crashes. | An anticlimax is a plot device that occurs when the climax of a story does not meet the expectations of the reader or viewer. |
Catharsis | Walt has a passionate encounter with his wife after he escapes from the RV. | Catharsis is a moment of emotional release that occurs at the end of a story. |
Moral of the Story | The story shows how Walt's decision to start cooking meth leads to his downfall. | A moral of the story is a lesson or message that is conveyed through the story. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Moral Conflict | Walt's struggle with the morality of his actions as he becomes involved in the drug trade. He is initially reluctant, but as he sees the potential benefits, he becomes more comfortable with his choices. | The theme of moral conflict is a central part of the show. Walt is a good man who is forced to make bad choices in order to protect his family. The show explores the consequences of his actions and the toll they take on his soul. | ||||||||||||
Strengthening Moral Conflict:
| ||||||||||||||
Family Relationships | The complex relationships between Walt and his family members. He is a loving husband and father, but he is also secretive and manipulative. His actions have a profound impact on his family, and they are forced to make difficult choices about how to deal with him. | The theme of family relationships is another important part of the show. Walt is a complex character who is both good and bad. His family loves him, but they are also aware of his flaws. The show explores the tensions and conflicts that exist within families, and the ways in which they can be overcome. | ||||||||||||
Power and Corruption | The corrupting influence of power on Walt. As he becomes more successful in the drug trade, he becomes more ruthless and manipulative. He is willing to do whatever it takes to protect his business, even if it means hurting others. | The theme of power and corruption is a common theme in crime dramas. The show explores the ways in which power can corrupt even the most well-intentioned people. Walt is a prime example of this. He starts out as a good man, but he is slowly corrupted by the power that comes with his drug empire. | ||||||||||||
Identity | Walt's struggle with his own identity. As he becomes more involved in the drug trade, he begins to lose sight of who he is. He becomes more isolated and paranoid, and he begins to make decisions that are out of character for him. | The theme of identity is a complex one. The show explores the ways in which our identities can be shaped by our experiences. Walt is a prime example of this. As he becomes more involved in the drug trade, he begins to lose sight of who he is. He becomes more isolated and paranoid, and he begins to make decisions that are out of character for him. | ||||||||||||
Consequences | The consequences of Walt's actions. As he becomes more involved in the drug trade, he puts himself and his family in danger. He also risks losing everything he has worked for. The show explores the ways in which our actions can have far-reaching consequences. | The theme of consequences is a common theme in crime dramas. The show explores the ways in which our actions can have far-reaching consequences. Walt is a prime example of this. As he becomes more involved in the drug trade, he puts himself and his family in danger. He also risks losing everything he has worked for. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
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 |
Voice Analysis | |
---|---|
Summary: | The writer's voice is characterized by its grit, intensity, dark humor, and focus on morally complex characters. |
Voice Contribution | The writer's voice contributes to the script by adding depth and complexity to the characters and themes, as well as creating a sense of tension and suspense. |
Best Representation Scene | 14 - Despair and Passion |
Best Scene Explanation | This scene is the best representation of the writer's voice because it showcases the writer's ability to blend dark humor with intense drama and create morally complex characters. |
- Overall originality score: 9
- Overall originality explanation: The screenplay showcases a high level of originality in its depiction of unique and unconventional situations, character interactions, and plot developments. Each scene offers fresh perspectives on various themes and genres, contributing to the overall originality of the screenplay.
- Most unique situations: The most unique situations in the screenplay include Walt cooking meth in the woods and outsmarting the dangerous drug dealers, Walt confronting bullies who mock his son's disability, and Walt's emotional turmoil after receiving a cancer diagnosis.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability throughout, with unexpected plot twists, character decisions, and conflicts that keep the audience engaged and surprised. The blend of suspense, tension, and emotional depth adds to the overall unpredictability of the screenplay.
Goals and Philosophical Conflict | |
---|---|
internal Goals | The protagonist's internal goal is to protect his family and ensure they know he loves them, despite the dangerous situation he finds himself in. |
External Goals | The protagonist's external goal is to evade law enforcement and escape the dangerous situation he is in with the RV, dead bodies, and money. |
Philosophical Conflict | The philosophical conflict revolves around the clash between personal integrity and societal expectations. |
Character Development Contribution: The protagonist's evolution from a mild-mannered chemistry teacher to a morally ambiguous drug dealer is driven by his internal and external goals, as well as the philosophical conflict he faces. His decisions and actions shape his character development throughout the screenplay.
Narrative Structure Contribution: The protagonist's goals and the philosophical conflict provide a framework for the narrative structure, driving the plot forward and creating tension and drama. The resolution of these goals and conflicts influences the storyline and the protagonist's journey.
Thematic Depth Contribution: The protagonist's internal and external goals, along with the philosophical conflict, contribute to the thematic depth of the screenplay by exploring themes of morality, responsibility, sacrifice, and the consequences of one's actions. These elements add layers of complexity to the story and invite viewers to reflect on larger moral and ethical questions.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
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 |
YouTube Videos
Title | Description |
---|---|
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? |
- Physical environment: The screenplay primarily depicts the suburban settings of California, characterized by sprawling cow pastures, residential neighborhoods, and typical American homes. These locations create a sense of familiarity and normalcy, juxtaposed with the underlying themes of secrecy, danger, and moral ambiguity that unfold within them.
- Culture: The screenplay portrays a culture focused on family dynamics, work-life balance, and societal expectations. The characters navigate the complexities of suburban life, striving for stability and conformity. However, the criminal activities and moral dilemmas they face challenge these societal norms, revealing the fragility and hypocrisy of their seemingly idyllic world.
- Society: The screenplay highlights various social classes and their interactions. The main characters navigate the lower-middle-class suburban lifestyle, while the drug-related activities involve interactions with criminals and law enforcement. This social hierarchy reflects the tensions and power dynamics that influence the characters' choices and actions.
- Technology: Technology plays a supporting role in the screenplay, primarily serving as a tool for communication and surveillance. The use of cell phones, computers, and surveillance equipment reflects the modern setting and the characters' attempts to monitor and control their surroundings. However, the misuse and manipulation of technology also contribute to the themes of deception and the erosion of trust.
- Characters influence: The screenplay's world elements shape the characters' experiences and actions in significant ways. The physical environment of the cow pasture and the rural setting provides a sense of isolation and anonymity, facilitating the characters' illicit activities. The suburban neighborhoods and domestic settings highlight the contrast between their normal lives and their involvement in the criminal underworld. The societal expectations and the presence of law enforcement create a sense of pressure and risk, influencing their choices and interactions.
- Narrative contribution: The world elements contribute to the narrative by establishing the setting and context for the characters' actions. The cow pasture and the rural setting provide the backdrop for the initial meth-cooking operation, setting the stage for the unfolding events. The suburban neighborhoods and domestic settings serve as the facade behind which the characters' criminal activities occur. The juxtaposition of these seemingly ordinary locations with the dark and dangerous underbelly of the drug trade creates a sense of unease and suspense.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring the themes of duality and the blurring of moral boundaries. The contrast between the peaceful cow pastures and the dangerous meth-cooking operation highlights the fragility of innocence and the ease with which individuals can be drawn into a life of crime. The suburban settings confront the characters with the consequences of their actions, forcing them to confront their own morality and the impact of their choices on their families and community.
central conflict
Walt's internal struggle between his desire to provide for his family and his fear of being caught for his criminal activities.
primary motivations
- Walt's desire to secure his family's financial future.
- Walt's desire to prove his worth and intelligence.
- Walt's fear of his own mortality.
catalysts
- Walt's cancer diagnosis.
- Walt's realization that he is not as respected as he thought he was.
- Walt's encounter with the two drug dealers.
barriers
- Walt's lack of experience in the drug trade.
- The danger and violence involved in the drug trade.
- Walt's own moral code.
themes
- The struggle between good and evil.
- The corrosive effects of power.
- The importance of family.
stakes
Walt's life, his family's safety, and his soul.
uniqueness factor
The unique combination of a cancer diagnosis, a sense of desperation, and a high-school chemistry teacher turning to crystal meth production for financial gain, creating a compelling and suspenseful story.
audience hook
The initial scene, where Walt collapses on the floor and is diagnosed with cancer, immediately grabs the audience's attention.
paradoxical engine or bisociation
The paradoxical engine or bisociation is the tension between Walt's desire to provide for his family and his fear of being caught for his criminal activities.
paradoxical engine or bisociation 2
An alternative paradoxical engine or bisociation is the tension between Walt's desire to prove his worth and intelligence and his fear of his own mortality.
Highly Recommend
Executive Summary
Breaking Bad's pilot screenplay is a masterclass in character development, showcasing a dramatic transformation of its protagonist set against the backdrop of illegal drug manufacturing. The narrative is gripping, with a well-paced plot and rich dialogue that hooks the audience effectively.
- The screenplay offers a compelling transformation of the protagonist, Walter White, from a subdued high school teacher to a determined participant in the drug trade, providing a strong character arc. high
- The opening and closing scenes brilliantly bookend the pilot, starting and ending with high tension and action that effectively captures the viewer's attention. high ( Scene 1 Scene 14 )
- The dialogue is sharp and realistic, contributing to deep character development and enhancing the dark humor throughout the screenplay. high
- The use of setting in the isolated cow pasture adds a layer of tension and unpredictability, enhancing the overall mood and stakes of the narrative. medium ( Scene 12 )
- The pacing is meticulously crafted, balancing slower, character-driven scenes with fast-paced, high-stakes action sequences that drive the plot forward effectively. high
- Some scenes, particularly those involving drug manufacturing, might benefit from slight reductions to avoid potential pacing issues and ensure they contribute effectively to character and plot development. medium
- The screenplay could further explore the emotional impact of Walter's actions on his family, providing a deeper look into the personal consequences of his transformation. medium
- The transformation of Walter White is not only a personal journey but also a critique of societal expectations and the hidden potentials within a person. high
Memorable lines in the script:
Scene Number | Line |
---|---|
6 | Hank: Meth labs are nasty on a good day -- but when you mix that stuff wrong, you wind up with mustard gas. |
13 | Walt: What if I showed you my secret? Every cook's got his recipe -- what if I taught you mine? Let us both live, I'll teach you. |
7 | Walt: Either that, or I turn you in. |
12 | Dupree: This is art. Mr. White |
1 | Walter White: My name is Walter Hartwell White. I live at 308 Belmont Avenue, Ontario, California 91764. I am of sound mind. |