Television Breaking Bad

Yeah I don't know how you're still arguing against this. It's mental, but funny as feck too.
 
Walt was lying to Jesse about the ricin as we know he had it. Jesse, however, didn't. The 'ricin' that Walt planted back at Jesse's house was a harmless replicate that Walt had made specifically to trick Jesse into thinking that the cigarette was in the hoover all along.

I completely understand that Jesse realises that Walt was playing him. I have no problem with that. What I have a major issue with, however, is the remarkable conclusion that Jesse comes to when he just assumes that Walt poisoned Brock with ricin. How in feck's name can he think that when a) Brock was poisoned by Lily of the Valley, and b) How could Walt have pulled it off without being caught? Not to mention the huge plot hole of nobody asking Brock how he managed to ingest the poisonous plant in the first place.

As I said, I suspect the writers/directors deliberately left the scene of Brock's poisoning out so they'd have options going forward. By not explicitly revealing how Brock was poisoned, or by who, they gave themselves an "out", and the apparent culpability of Walt could be a red herring all along. Unlikely, maybe, but a possibility.

My main gripe is with Jesse blaming Walt for Brock's poisoning. He's now about to burn down the man's house based on Huell lifting his dope from Goodman's office. It's an enormous conclusion to jump to. I love Breaking Bad's cliffhangers as much as anyone, but sometimes I think Gilligan and co. are trying to be too clever, and this is a case in point.

I don't think Jesse thinks Walt poisoned Brock with ricin. I think Jesse thinks Walt poisoned Brock with Lily of the Valley, as doing so (along with taking the ricin from Jesse) would trick Jesse into thinking ricin had been used.

I don't think it's an enormous conclusion for Jesse to come to, it's the only logical conclusion. Otherwise he has to believe that Brock getting poisoned with Lily of the Valley was a total coincidence and had nothing to do with Walt taking the ricin. So why else would Walt take the ricin?

You have to keep in mind that Jesse already has Walt sussed as a manipulative liar, he already knows he doesn't have a massive problem with people dying and he had originally suspected Walt was the poisoner. It's not a big leap for him to make, especially when it's the most likely and logical explanation for what happened.
 
Why does Jesse keep shouting at Goodman in his office, "Mr. White poisoned Brock with the ricin Huell lifted from me*"?

Paraphrasing there, but he definitely said "poisoned with ricin".

Nope. He definitely doesn't say that at all.
 
nahealai, why do you keep suggesting that Hank's realisation of Walt's involvement was a great leap?

He knew from his diary that Gale idolised somebody he referred to as WW in elegant prose.

He then found the inscription in Walt's book, idolising Walter White in elegant prose whilst referring to him as WW - in Gale's handwriting no less!

Hank suspected previously that the WW in Gale's diary was in reference to Heisenberg, but Walt threw him off the idea.

Hank's supposedly a really good detective, but even Inspector Gadget could put two and two together there and realise that Walt was Heisenberg! Where's the great, unrealistic leap you keep referring to?!
 
Where's the great, unrealistic leap you keep referring to?!

How about not simply assuming that Walt - if he was involved in cooking meth - was simply that; a meth cook working for a more superior figurehead.

When Hank confronts Walt about it, he accuses him outright of being the kingpin of the entire operation, a ruthless murderer who has killed countless people to keep his empire going.

It's a huge conclusion to jump to without ever questioning the man. Nerd brother-in-law to ruthless killer in about twenty minutes. Breaking Bad.
 
It's not though, as Cider just explained. "Hank suspected previously that the WW in Gale's diary was in reference to Heisenberg".....and given he already knows all about Heisenberg's brutal exploits, at least enough to know he is much more than a simple meth cook, it's obvious that he would view Walt as Heisenberg after making the first connection with the WW's.
 
One thing a lot of you seem to be overlooking in the Jesse/Cigarette/Brock thing is Jesse's realisation that Walt killed Mike. Jesse knows what Walt is capable of and then subsequently capable of lying convincingly about right to Jesse's face; Huell lifting the weed from Jesse's pocket is but the straw that broke the camel's back for Jesse in his realisation (in fact re-realisation) that Walt poisoned Brock and then lied about it. He certainly didn't figure it all out from the weed going missing; he knew long before that, he just needed that one final thing to fall into place and cause him to snap.
 
I'll have to re-watch it again. I was convinced that he uttered the words "poisoned with ricin".

Jesse: "No! Before! The cigarette!"
Jesse: "You stole the cigarette."
Saul: "What?"
Jesse: "The ricin cigarette!"
Jesse: "You had him steal it off of me!"
Jesse: "And all for that asshole Mr White"
Jesse: "He Poisoned Brock....he poisoned Brock and you....You helped him!"
 
Just re-watched that scene there. Jesse states that he thinks Walt poisoned Brock, but he didn't say "poisoned with ricin".

However, I still believe it's a stretch that Jesse would instantly think that Walt poisoned Brock. The doctors said youngsters ingest the plant unwittingly all the time, but Jesse is going to burn down Walt's house on a "gut feeling".
 
One thing a lot of you seem to be overlooking in the Jesse/Cigarette/Brock thing is Jesse's realisation that Walt killed Mike. Jesse knows what Walt is capable of and then subsequently capable of lying convincingly about right to Jesse's face; Huell lifting the weed from Jesse's pocket is but the straw that broke the camel's back for Jesse in his realisation (in fact re-realisation) that Walt poisoned Brock and then lied about it. He certainly didn't figure it all out from the weed going missing; he knew long before that, he just needed that one final thing to fall into place and cause him to snap.

Plus Jesse also saw how little it bothered Walt that Todd shot that kid. There's a scene where they both see the kid reported missing on the news and Jesse gets upset. Walt tells him he feels the same way and lets him go home early. As he's leaving Jesse hears Walt whistling happily to himself, clearly not that bothered with what's happened. That's what finally makes Jesse decide he's done with the operation.
 
It's not though, as Cider just explained. "Hank suspected previously that the WW in Gale's diary was in reference to Heisenberg".....and given he already knows all about Heisenberg's brutal exploits, at least enough to know he is much more than a simple meth cook, it's obvious that he would view Walt as Heisenberg after making the first connection with the WW's.

What does he actually know about Heisenberg's brutal exploits specifically? He (rightly) chalks most of the pre-series 5 violence up to Fring and the Cartel.
 
What does he actually know about Heisenberg's brutal exploits specifically? He (rightly) chalks most of the pre-series 5 violence up to Fring and the Cartel.

Walt has spent years building up this underworld reputation as Heisenberg the Kingpin Mastercook; it's been no secret to anybody, let alone Hank, that Heisenberg isn't just a pawn but the brains behind the whole operation - the top man. Every tweaker in town has heard of the master-cook Heisenberg and his ruthless nature. Even when Gus was in charge the wider community thought that Heisenberg was in charge; especially now with Gus dead, Hank knows that finding Heisenberg means finding the kingpin.
 
Just re-watched that scene there. Jesse states that he thinks Walt poisoned Brock, but he didn't say "poisoned with ricin".

However, I still believe it's a stretch that Jesse would instantly think that Walt poisoned Brock. The doctors said youngsters ingest the plant unwittingly all the time, but Jesse is going to burn down Walt's house on a "gut feeling".

:lol: he's not burning it down on a gut feeling after Saul owns up to it is he you feckin idiot?
 
Just re-watched that scene there. Jesse states that he thinks Walt poisoned Brock, but he didn't say "poisoned with ricin".

However, I still believe it's a stretch that Jesse would instantly think that Walt poisoned Brock. The doctors said youngsters ingest the plant unwittingly all the time, but Jesse is going to burn down Walt's house on a "gut feeling".

In the context of what Walt has done so far, what he knows he is capable of and that he initially suspected him of it in the first place with the ricin he now knows Walt lied to him about, really shows it isn't a stretch. Plus what Cassius just said.
 
Walt has spent years building up this underworld reputation as Heisenberg the Kingpin Mastercook; it's been no secret to anybody, let alone Hank, that Heisenberg isn't just a pawn but the brains behind the whole operation - the top man. Every tweaker in town has heard of the master-cook Heisenberg and his ruthless nature. Even when Gus was in charge the wider community thought that Heisenberg was in charge; especially now with Gus dead, Hank knows that finding Heisenberg means finding the kingpin.


Part of the confusion is that Gus is Heisenberg, or at least what Hank considered Heisenberg to be.

This is from episode 7 in the fourth series:

Now, this Gale Boetticher is a bona fide chemistry genius.
I mean, he's got degrees up the wazoo, right? And, uh, as you might expect, he's a nerd's nerd.
Vegan, sandals and socks kind of guy.
As it turns out, he's also an A-number 1 meth cook.
And what caught my eye is, uh, his specialty product's blue.
So what are you thinking? This is your Heisenberg? No.
What I think we got here is, uh, ahem, Heisenberg's former cook and maybe a line on Heisenberg himself.
Anyway, uh, lo and behold, amidst all the hippie-dippie nonsense, ahem, I find this.
Now, this here I do a little Google-fu, and I- I realize it's a parts number specifically for this baby.
Now, that there is a high-volume HEPA industrial air filtration system.
That's a $300,000 gadget.
Perfect for a pharmaceutical plant or microchip factory or maybe the biggest meth lab north of the border.
Okay.
So this little dingus here is manufactured by a big international concern- Madrigal Electromotive.
I call their Houston office, and eventually I get through to the nicest little I use some of the Schrader sweet talk on her.
Before you know it, she's pulling files for me.
Turns out six months ago, one of these systems was shipped to a depot right here in ABQ.
Who signed for it? Gale Boetticher.
So I asked my new girlfriend who paid for it, and she says "Nobody.
" They have no record that anybody actually paid for this thing.
So I go back and push more, and before you know it, uh, the temp's gone, there's no forwarding address, and I'm talking to some snot-nose corporate lawyer who's asking me for my badge number.
Brick wall.
So I take a peek into Madrigal Electromotive.
Now, Madrigal is based in Hanover, Germany, but they're what they call highly diversified- Industrial equipment, global shipping, major construction, and a tiny little foothold in American fast food, specifically a local chain- Pollos Hermanos.
Okay.
So what, right? Boetticher's dead.
I got no line on who's been bankrolling him or where his lab was.
The whole thing's a snipe hunt, right? But now I get this crazy idea, and I can't shake it.
I mean, I- I stay up nights staring at the ceiling and trying to make sense of it.
It's that napkin.
Remember I told you Boetticher's vegan, right? I mean, we're talking this guy makes his own fermented lentil bread or whatever the hell that is.
What's a vegan doing in a fried chicken joint? Maybe he's meeting somebody.
Like who? Well, like maybe this guy.
I mean, what do we know about Gustavo Fring? Huh? This whole "friend of law enforcement" thing, eh, could be a case of keep your friends close but your enemies closer.
He's got the money to finance this operation.
Maybe he's got the connections, too.
Maybe, just maybe he's our guy.
Hank, no offense, but I think you're really reaching.
If your guy had his meeting at KFC, you wouldn't immediately assume that he's sitting down with Colonel Sanders.
You know, I- ahem- I couldn't agree more, guys.
Gustavo Fring, blue meth, you know The whole thing is off-the-map nuts.
I ought to be wearing a tinfoil hat, you know? Except I can't seem to wrap my mind around this one little thing, and that is what are Gustavo Fring's fingerprints doing in Gale Boetticher's apartment?

For Hank, the person funding the superlab is Heisenberg. That's Gus.

The writers kind of got confused with their Heisenberg narrative somewhere in the middle of the third season.
 
But Hank realizes Heisenberg is still out there after Gus dies. When he's looking into Mike and the 9 prisoners, doesn't he think it's Heisenberg responsible for murdering them, not Mike? Also when they arrest the lawyer with the money he knows there's still someone else behind it? Maybe I'm remembering that wrong though.
 
But Hank realizes Heisenberg is still out there after Gus dies. When he's looking into Mike and the 9 prisoners, doesn't he think it's Heisenberg responsible for murdering them, not Mike? Maybe I'm remembering that wrong though.

The point is Hank is wrong though - Gus was the 'Heisenberg' he was looking for, the one who funded the superlab and the meth empire.

Hank accuses Walt of the prisoner murders in the garage scene. But to me it was implausible and I can't see how he wouldn't think Mike was responsible.
 
Just picked an old episode at random to watch to kill some time, what in the hell was the point of the whole 'Marie is a kleptomaniac' storyline?!

According to Betsy Brant it's to show how Marie is under a lot of stress and is unhappy. She can go and pretend to be someone she isn't and if she gets caught she knows Hank will get her off the hook.

It's also the same cop who gets her off the hook as a favour to Hank, who asks for Hanks help with a murder case; Gale Botticher (?).

I also thought the scene where Hank came to Skyler appealing for help had something to do with it. He's at his wit's end because his childless wife steals stuff, while her husband has terminal cancer, goes missing for days on end without saying what's happened, lives a life of secrecy, whilst being the mother to a child with CP and a newborn baby, and "Marie's the one with all the problems."
 
Part of the confusion is that Gus is Heisenberg, or at least what Hank considered Heisenberg to be.

This is from episode 7 in the fourth series:



For Hank, the person funding the superlab is Heisenberg. That's Gus.

The writers kind of got confused with their Heisenberg narrative somewhere in the middle of the third season.

Love that scene, Hank is a pro. None of that Miami Metro bullshit.
 
Just re-watched that scene there. Jesse states that he thinks Walt poisoned Brock, but he didn't say "poisoned with ricin".

However, I still believe it's a stretch that Jesse would instantly think that Walt poisoned Brock. The doctors said youngsters ingest the plant unwittingly all the time, but Jesse is going to burn down Walt's house on a "gut feeling".

fecks sake, can you please stop trying so hard to discredit the show and actually read the explanations being given to you. They're not having to "rush" anything, they had 16 episodes to tie the show up, they aren't making it up as they go along and have only just realised they're running out of episodes.
 
fecks sake, can you please stop trying so hard to discredit the show and actually read the explanations being given to you. They're not having to "rush" anything, they had 16 episodes to tie the show up, they aren't making it up as they go along and have only just realised they're running out of episodes.

That's not that tbh, we're allowed to ask ourselves some question are we not ? A huge percentage of posters still love the show. That doesn't mean it cannot be questioned on certain aspects.
 
The thread would be boring if all the posts were just 'OMG hOw good is THis?>!'

Personally, I think Breaking Bad is second only to The Sopranos in the recent US TV drama resurgence, but that doesn't mean we can't consider the missteps and oversights of the writers.
 
That's not that tbh, we're allowed to ask ourselves some question are we not ? A huge percentage of posters still love the show. That doesn't it cannot be question on certain aspects.

That's fine, I'm not saying everyone should lick the show creators' feet but it's just the one-eyed nature of certain posters' criticisms which get frustrating. Once they've formulated a theory, they won't let it go. I find the way people try to over-credit the show equally frustrating, some of the fan theory's floating around the web are so convoluted that there's no way the writers actually planned half of them.
 
they aren't making it up as they go along

Er, actually they are. Gilligan has been on record loads of times saying that they didn't know how to end the show after having Hank find the book in Walt's en-suite toilet (another massive plot hole, but whatever). They had no conclusion in mind when recording S5a and even Cranston and co. had no idea of the ending when acting out certain flash-forwards scenes. Gilligan has said him and his fellow-writers sat down for hours debating different storylines before realising they had "wrote themselves into a corner". You actually believe the entire series has been written and decided upon from the very beginning? :lol:

Also, Jesse and Gus were only supposed to be brief characters when the show was originally concepted but they impressed so much, Gilligan and his co-writers re-wrote it to make them more central characters.
 
some of the fan theory's floating around the web are so convoluted that there's no way the writers actually planned half of them.

Gilligan laughs when he's asked about this. He says it's a great honour that fans of the show put that much thought into it, but much of the time the examples of foreshadowing are simply coincidence.

Which also proves the writers are only writing maybe a season at a time (with a vague idea of where the show might end up).
 
they aren't making it up as they go along and have only just realised they're running out of episodes.

Vince Gilligan said:
I hate to admit it. [laughs] We were writing ourselves into a corner a little bit. I don't spend weekends in Vegas gambling the mortgage payments, but I kind of get why some people do, why some people crave that excitement.
The closest I ever get to it, I suppose, is the "Breaking Bad" writers' room. We come up with an image -- for instance, the Denny's scene where Walt buys a Cadillac with an M60 machine gun in the trunk. We come up with these scenes, my six writers and I, that intrigue us and resonate with us, and then we say, “OK, what does that mean? Where does that go?”
I'm not going to lie and say we had no idea whatsoever. We had some broad-stroke ideas of how and when that would pay off. But we knew surprisingly little about how exactly and in what precise detail it would pay off. And so those kinds of moments where we risk painting ourselves into a corner are ill-advised.
I wouldn't suggest that someone about to start the job of showrunner come up with stuff without knowing how and when it's going to pay off.
But in our case we painted ourselves into a corner and then for many weeks or months on end had low-grade anxiety attacks. I banged my head against the wall in the writers' room. And finally we figured out how it all paid off. That's my form of middle-aged excitement, I guess.
 
Er, actually they are. Gilligan has been on record loads of times saying that they didn't know how to end the show after having Hank find the book in Walt's en-suite toilet (another massive plot hole, but whatever). They had no conclusion in mind when recording S5a and even Cranston and co. had no idea of the ending when acting out certain flash-forwards scenes. Gilligan has said him and his fellow-writers sat down for hours debating different storylines before realising they had "wrote themselves into a corner". You actually believe the entire series has been written and decided upon from the very beginning? :lol:

Also, Jesse and Gus were only supposed to be brief characters when the show was originally concepted but they impressed so much, Gilligan and his co-writers re-wrote it to make them more central characters.

If you don't think, after the length and depth of the show, that they have a pretty tight grasp on where the show is heading and where it will end, then you're deluded. Also, actors often aren't entirely sure of the plot of a show until around the time they begin filming. I'm not saying they had everything set in stone from episode 1, I mean it's surely Gilligan's choice to end after season 5? Do you really think he'd do a rush job a la Arrested Development?

In relation to the theory you were proposing, do you think they would have been satisfied having Jesse come to his conclusions in some botched, half-arsed way? They know the fans are far too dedicated for that.
 

Vince Gilligan said:
I hate to admit it. [laughs] We were writing ourselves into a corner a little bit. I don't spend weekends in Vegas gambling the mortgage payments, but I kind of get why some people do, why some people crave that excitement.
The closest I ever get to it, I suppose, is the "Breaking Bad" writers' room. We come up with an image -- for instance, the Denny's scene where Walt buys a Cadillac with an M60 machine gun in the trunk. We come up with these scenes, my six writers and I, that intrigue us and resonate with us, and then we say, “OK, what does that mean? Where does that go?”
I'm not going to lie and say we had no idea whatsoever. We had some broad-stroke ideas of how and when that would pay off. But we knew surprisingly little about how exactly and in what precise detail it would pay off. And so those kinds of moments where we risk painting ourselves into a corner are ill-advised.
I wouldn't suggest that someone about to start the job of showrunner come up with stuff without knowing how and when it's going to pay off.
But in our case we painted ourselves into a corner and then for many weeks or months on end had low-grade anxiety attacks. I banged my head against the wall in the writers' room. And finally we figured out how it all paid off. That's my form of middle-aged excitement, I guess.

The bolded part is the point that I'm making. It's not like the series ending has snuck up on them or was enforced by another party.
 
In relation to the theory you were proposing, do you think they would have been satisfied having Jesse come to his conclusions in some botched, half-arsed way? They know the fans are far too dedicated for that.

Let's play devil's advocate here. What method do you propose Jesse thinks Walt used to poison Brock? How would he have managed it without Jesse knowing? Why didn't Jesse, or anyone else for that matter, ask the boy how he managed to get poisoned?

In fact, the entire aftermath of the poisoning was skirted around, which was unusual for a show of such attention to detail. Hence why I suggested earlier that this was intentional on the writers' behalf, to give them "outs" in future episodes. Either that or all will be revealed with a flashback episode soon.

Also, I don't understand the hate for the odd poster who dares questions the show or how it's presented. We're all in agreement that the show is quality and we all love it. I don't see the problem with highlighting some instances whereby we think the writers are being a little liberal is all. Hell, they probably earned it after being on the money about practically everything thus far, but still.

(Last criticism of the night from me. It's a minor one, but a criticism nonetheless.) Maybe it's just me or my expectations are too high after the writers nailing everything to date, but the three major game-changing incidents since S5E08 have been hastily handled in my view. Hank using Walt's en-suite, Hank coming to realise Walt is a mass-murdering druglord and Jesse realising Walt poisoned Brock. One monumental incident with a massive oversight (Hank in Walt's toilet) and two huge realisations that, if you blinked, you'd have missed them. I know I'm nit-picking but the show was almost perfect up to then - as well as adopting its almost trademarked slow-burning nature - and when it's coming to its conclusion, I suppose you're waiting to be completely mesmerised and blown away by clever writing and direction.

I will say, though, that Walt's faux-confession scene was one of the best of the show to date, or any show I've seen for that matter. Pure genius. I was wondering whether they'd explore the idea of Hank being implicated through Walt and Skyler paying for his treatment, but the way they did it was completely left-field. Brilliant writing it has to be said.
 
Er, actually they are. Gilligan has been on record loads of times saying that they didn't know how to end the show after having Hank find the book in Walt's en-suite toilet (another massive plot hole, but whatever). They had no conclusion in mind when recording S5a and even Cranston and co. had no idea of the ending when acting out certain flash-forwards scenes. Gilligan has said him and his fellow-writers sat down for hours debating different storylines before realising they had "wrote themselves into a corner". You actually believe the entire series has been written and decided upon from the very beginning? :lol:

Also, Jesse and Gus were only supposed to be brief characters when the show was originally concepted but they impressed so much, Gilligan and his co-writers re-wrote it to make them more central characters.


Again I have to take issue with this, there's a difference between you not liking something and a plot hole. There is nothing at all that makes it a plot hole.
 
Here ye go, an interview with Vince Gilligan after season 4. This should settle it:


Interview with Vince Gilligan said:
We have to start at the ending, with that shot of the Lily of the Valley plants in Walt's backyard. This is a very, very bad thing he's done, isn't it?

Yes it is. Walt has come a long way in 46 episodes, that is for sure. But he had a reason for doing it. As bad as it is, my personal take on it is that it was not about murdering a child. It was about making a child very sick but making it seem, more importantly, to Jesse that a child who was very close to him had been poisoned with Ricin. To our way of thinking, it was a very cold-blooded and yet pragmatic way of getting Jesse back in Walt's sphere of influence. It was a very big gamble that Walt was taking, to essentially make Jesse think he had poisoned this child, so Jesse would come to him, ostensibly to kill him, but then to ultimately hear him out and get back on Walt's side. It was a very big gamble that could have ended in Walt getting his head blown off by Jesse, but also a very, very dark secret that goes pretty much hat in hand with the secret that Walt keeps from Jesse about Jane - his guilt about Jane's death. Walt's a pretty bad guy these days, but as usual, everything he does, he does for a very specific reason, cold-blooded though it may be.

I want to get into the mechanics of the plan that Walt hatched. A big deal is made in the previous episode about the chain of custody of the ricin cigarette. What happened to it?

I think Jesse had the right idea. I think it was lifted off him by Huell. When he comes to Walt in the previous episode, and Walt asks how on earth would he could have done it, and Jesse says, "The big man mountain security guard of Saul's just had to see me, and he pats me down. You got him to get it off of me." So having done that, he could've just flushed it in the toilet, because as we find out, the child wasn't poisoned with ricin, he was poisoned with something else.

And Walt was somehow able to get access to Brock, to give him the berries.

Yeah. That part's probably the trickiest part. I can't remember the specifics, but we worked it out in the writer's room. He technically had enough hours to do it. How he found his way over there unseen is probably a little improbable, perhaps, but not impossible, is the way we figured it.

Well, one of the things I found interesting was that even earlier in the episode, before we find out about the Lily of the Valley plant, there's the scene where Walt goes to the house, and he sends his neighbor in, basically as the canary in the coal mine. So there's a couple of points in the episode where Walt is risking innocent civilian lives to protect himself.

That's true. And by the way, the little old lady next door is my mom. (laughs)

Was that bit there to set up the idea that Walt has already moved past that point, so it'll perhaps be a little bit less out of character when you then see the Lily of the Valley shot at the end?

Yeah, I think so. Walt has been a dark guy for a while, but he's definitely darker than he's ever been.

What exactly causes Gus's incident of Spidey-sense in the parking garage that keeps him from going to the car?

I think with that, he finds out in the previous scene in the chapel, he knows his lynchpin remaining meth cook is acting up, and hears this child's in the hospital, figures he has to go talk to the kid, get him right with Jesus, get him cooking, despite what's going on in his personal life. I think his Spidey-sense is all about the way Jesse looks at him in the chapel when he says the little boy's not sick, he was poisoned. That in and of itself sounds strange and sounds too coincidental not to be somehow involved with Walter White. I think his Spidey-sense keys off of Jesse's strange behavior in this hospital chapel.

Well, watching that episode, you have set all of us up to believe what Jesse believes, which is that Gus has poisoned him. It definitely makes more sense from the perspective we have now, but at the time, we don't quite know that.

I think it works on both levels. At the time, if you believe that Gus did indeed poison the little boy, then what you'd assume if you were Gus, when you get this kid alone and he says the little boy has been poisoned - then Gus is too smart to say, "Who do you think poisoned him?" But he's assuming Jesse will say, "I think Mr. White did it." But because Jesse never says who did it, or who he thinks, that's another reason for Gus's Spidey-sense, as it were, to tingle.

How hard was it to say goodbye to Giancarlo Esposito, and to Mark Margolis as Tio? The story had reached a point where they had to go, but was that hard for you as a writer and producer of the show?

Very hard. We knew months and months ago how we were going to end the season, so I called up both of those gentlemen and told them 5 or 6 episodes in advance and of course swore them to secrecy. It was tough. Having that conversation with Giancarlo was tough, I felt I was letting him down somehow, but he was an absolute gentleman and a mensch. He said, "It sounds like a fun episode. Whatever you've got to do for the story, man. I'll miss being here, but do what you gotta do to tell your story." But it's tough. It's like ripping off your own hand or something, because these guys are an integral part of the show. But as you yourself just said, it was time. In the sense of the old "Highlander" movie, there can be only one. I think we got to the point where the town wasn't big enough for the both of them.

And if the goal is to ultimately have Walt become Scarface, you can't have Scarface's boss around anymore.

Exactly. At a certain point, you have to kill off Robert Loggia so Al Pacino can rise to prominence.

But on the other hand, you conveniently left Mike recuperating in Mexico. Have we seen the last of Mr. Banks?

I don't think we've seen the last of Mr. Banks. By the way, in keeping with the fact that people may die but don't completely leave us on "Breaking Bad," I would say that while we don't necessarily have plans for it at the moment, I can't imagine us getting through another 16 episodes of "Breaking Bad" without seeing Gus or Tio again in some flashback or another. I would hope, because it was just so much fun having those guys on the show. We historically do that: we bounce back and forth through time. I don't know why we couldn't do that again. But as far as Mike, you're right. Mike's still alive and kicking again down in Mexico, and I imagine we'll see him again next season.

Next season is 16 episodes, it sounds like they'll air over two years. How are you planning it out? Are you going to insert a specific break point around episode 8, 9 or 10?

I think so. It sounds to me like the thinking on the part of AMC is to split it into two seasons. So we'll try to have a proper cliffhanger, I would think, at the end of the first 8. Which I don't think would be too tough for us, because we try to do a cliffhanger more or less with everything we do. We try to play each one like it's our last as much as we possibly can. Hopefully, that won't be too tough.

That's another thing that occurred to me. By the time the negotiations came down to the wire, it was clear you were either going to continue on AMC or go to another network, but there was a chance when you were writing this episode that it might be the last episode of the show ever. Would you have been comfortable with Walt on the parking deck and then the shot of the White backyard being the end of the series, if it had come to that?

I think I personally would have been, yes. I think an argument could be made that the end of episode 13 of season 4 is, in essence, everything - but one thing, perhaps - that we promised the viewer, or implied to the viewer from day one, which is the idea of taking Mr. Chips and turning him into Scarface. Walt is pretty much as bad as one could imagine at the end of episode 413. There are two big questions left wanting for answers: one is what is the state of Walt's cancer, and the other is what about Hank? Will Hank ever figure out who Walter White truly is? Those would be the only really, for my money, big questions left outstanding. If for some reason a meteor hit the earth or something and then episode 413 was the last episode we were ever gonna do, I would feel pretty good except for those two being the only outstanding questions. However you slice it, I feel fortunate that we've got 16 more. I'm happy about that.

There's also the question about how Jesse will be if or when he finds out about Brock, about Jane, and about all the things Walt has done to him and the people he cares about.

Well, you're right. (laughs) Now that you say that, I can think of a few other outstanding questions. But having said that, something feels satisfying on some level to me about the way 413 ends, so if we had to end it there, I don't think it would be a terrible tragedy. But having said that, I've got a lot more I want to do with the show, so I'm proud to have 16 more episodes to play with.

Getting back to Walt's cancer, you're not going to tell me if it's back or not, and I don't want to know. But Bryan was coughing an awful lot in the last few episodes, which brings to mind the fact that much earlier in the season, Mike was coughing a lot for a while. I've been trained watching years of TV that there's no such thing as a coincidental cough. Was this a coincidental cough?

(Laughs)

Did Jonathan Banks just have a cold at the start of production?

(Laughs) You know what? I don't know quite how to answer that. I hate to sound coy, but sometimes there are coincidences and other times there aren't. I have to let that one pass unremarked, so as not to give too much away.

Well, that brings to mind something that became a running gag on the blog this year. Every little element of the show started being compared to the Chekhov's gun theory: Chekhov's throw rug, Chekhov's Ricin cigarette, Chekhov's .38 snub. You plant these things and then you pay them off later on. How far in advance do you have to work to introduce those things?

The one with the rug, not so very hard, because it was all contained within one episode. But the Ricin cigarette, for instance - the short answer is, we try whenever we possibly can, we prefer the long set-up versus the short one. It pleases us. It satisfies us as writers when we can play a very deep game, and play it as many moves ahead as possible. To that end, setting up Tio as Gus's nemesis, that we didn't realize how deep their enmity towards each other was, we started that in earnest this season with episode 8. That was a pretty good lead time, five episodes ahead. But some part of me wishes it had been deeper still, maybe another season before that. Although you kind of get hints the very first time Tio meets Gus along with the Cousins, that the old bastard does not care for Gus.

And also in the flashback in "One Minute," he clearly has a low opinion of "the Chicken Man."

That's true. So we're proud of playing that long game. Sometimes, the game looks like it's been played longer than it truly has. As you just said, that flashback in "One Minute," I don't think we were thinking back then about how Gus and Tio would meet their demise. But we looked back over everything we'd done and we knew there was no love lost between those guys from day one when they first met. We realized we could build on that reality, and add to it and amplify it. The audience realized that these guys don't just dislike each other, they loathe each other. The deep game we try to play, sometimes it feels a little deeper than it truly is. Sometimes, we look around, see where we are and realize fortuitous bits of happenstance that we can build on.

Who was it, and how long ago was it, that came up with the idea that Tio's bell would detonate the bomb that would kill Gus?

In the writers room, it really is a group mind, and you often forget who came up with what. Though I will say in this instance I think it was me. I will take a little executive privilege here. I loved the idea of Tio dinging that bell and blowing up Gus. I think we talked about that at the very beginning of the season, and then we shelved it for a while, and then we came back to it.

This is the first time where I can think a Walter White plan actually worked. Pretty much every other time he's plotted to kill somebody, something's gone wrong, he's had to improvise and kill them at the last minute. This all went to form, at the same time that Walt has, as you say, gone to a very, very dark place. Thematically, is that a coincidence? Or is it deliberate in your mind that Walt could only succeed at that level when he becomes this evil?

That's a very interesting question. I hadn't really thought of it in those terms. This world that he finds himself in, he doesn't find himself in this world by accident. He has made a conscious decision, starting in the very first episode of season one, to be a criminal, to be a bad guy and to live on the wrong side of the law. A guy as smart as Walt should realize pretty quickly that you don't play with fire and not get burned. What's the best way to put this? I'm hoping that when people watch this, they'll think this is the lost episode of the Roadrunner and the Coyote where the Coyote actually gets the Roadrunner. I guess it's a good argument you make: the darker Walt goes, the more chance he has of competing on a level playing field with Gustavo Fring. I hadn't thought of it in those terms, but I guess there is truth to that. This is yet another section of the very dark path he has long ago chosen to tread. So it's nothing new in one sense. In one sense, he's gone very dark indeed, but in another sense, this is the same path he's been on for quite a long time. It starts to feel somewhat inevitable, to me at least, that he would go this dark.

(Our phone interview ended here, but I had one e-mailed follow-up later.)

You've kept certain story points about what Walt is up to from viewers before (like Jesse still being in Albuquerque after Walt killed the drug dealers in "Half-Measures"), but never something this big, for this long. This is, if not a complete departure from your narrative style, definitely outside the norm, which is that we see Walt during everything interesting he's doing and know what he's up to. Why did you choose to tell this part of the story this way, as opposed to, say, letting us know from the start that Walt poisoned Brock and was manipulating Jesse?

I think it's because there's no bigger reveal than the fact that Walt would poison a child (albeit to save his own life and the lives of his family). That's the moment that truly makes him no better than Gus. Simply put, it seemed wise to me to save Walt's deepest, darkest secret until the very end.

Having said that, the lily of the valley is hinted at in episode 412 the week before. Walt sits by his pool, waiting to die. He spins his pistol twice in a row, and both times the muzzle winds up pointed straight at him. Is this fate telling him to shoot himself? But then, on the third spin, the muzzle points at the nearby lily of the valley. This, to me, is the moment that Walt begins to get his bold (and reprehensible) idea of poisoning Brock. Divine -- or devilish -- inspiration? Who knows?

http://www.hitfix.com/blogs/whats-a...-creator-vince-gilligan-post-mortems-season-4
 
Let's play devil's advocate here. What method do you propose Jesse thinks Walt used to poison Brock? How would he have managed it without Jesse knowing? Why didn't Jesse, or anyone else for that matter, ask the boy how he managed to get poisoned?

In fact, the entire aftermath of the poisoning was skirted around, which was unusual for a show of such attention to detail. Hence why I suggested earlier that this was intentional on the writers' behalf, to give them "outs" in future episodes. Either that or all will be revealed with a flashback episode soon.

Also, I don't understand the hate for the odd poster who dares questions the show or how it's presented. We're all in agreement that the show is quality and we all love it. I don't see the problem with highlighting some instances whereby we think the writers are being a little liberal is all. Hell, they probably earned it after being on the money about practically everything thus far, but still.

(Last criticism of the night from me. It's a minor one, but a criticism nonetheless.) Maybe it's just me or my expectations are too high after the writers nailing everything to date, but the three major game-changing incidents since S5E08 have been hastily handled in my view. Hank using Walt's en-suite, Hank coming to realise Walt is a mass-murdering druglord and Jesse realising Walt poisoned Brock. One monumental incident with a massive oversight (Hank in Walt's toilet) and two huge realisations that, if you blinked, you'd have missed them. I know I'm nit-picking but the show was almost perfect up to then - as well as adopting its almost trademarked slow-burning nature - and when it's coming to its conclusion, I suppose you're waiting to be completely mesmerised and blown away by clever writing and direction.

I will say, though, that Walt's faux-confession scene was one of the best of the show to date, or any show I've seen for that matter. Pure genius. I was wondering whether they'd explore the idea of Hank being implicated through Walt and Skyler paying for his treatment, but the way they did it was completely left-field. Brilliant writing it has to be said.


Have they got any other toilet in the house? I can't remember there being another one.