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Turns out, Saul's new-identity guy is played by Robert Forster, and he has very specific requirements for getting both Walt and Saul out of Albuquerque. Walt is obsessed with getting revenge on Jack's crew, asking Saul to find him the names of assassins he can use, completely unaware of the irony in his situation. He also seems to think there's still a way to funnel his money back to his family, so this whole ugly enterprise won't have been for nothing, but Saul thinks he's absolutely crazy.
Back on the home front, Walt's attempts to exonerate Skyler last week were not 100 percent successful. She's still the target of prosecutors who want her to give them something on the whereabouts of her husband. After a late-night visit from ski-masked Todd and his crew -- who tell her specifically to clam up about having seen Lydia -- you can imagine Skyler clams up even more. As we fast-forward in the episode several months, Skyler and the kids have had to leave the house, and she has taken up a job as a taxi dispatcher.
By this point, Walt has been ferried to an isolated cabin in New Hampshire (hence the episode title). Robert Forster is actually quite kind to him, bringing him newspapers and Ensure and, most crucially and fantastically, chemo treatments. But he makes no bones about how Walt can't leave, lest he get caught. Walt, of course, tries to do just that, in an attempt to get a care package of cash sent home. But when he calls Walter Jr. at school and attempts to set up a drop-off with one of Flynn's friends, he gets loudly rebuffed, with Flynn asking him why he hasn't just died already.
Dejected, Walt sits in a bar and ends up catching a bit of Charlie Rose with his old business partners Gretchen and Elliott, who are in the process of publicly distancing themselves from their notorious old associate Heisenberg. This seems to stiffen Walt's spine, remove the last vestiges of conscience from his being and spur him into whatever conflict awaits in the finale.
Meanwhile, with Jesse's help, Todd has gotten the purity of the blue meth up to the mid-90s. Lydia is impressed, though still majorly skittish about all the risk that this enterprise has suddenly taken on. Todd is thankful enough that he brings Jesse ice cream late at night, the little psycho. Jesse, meanwhile, is working on an escape plan. But climbing his way out of that pit and making it off the property to freedom are two different things. He's caught, and then he's made to watch helplessly as Todd shoots Andrea in the back of the head. With the threat of Brock over his head, a somehow even more broken Jesse is taken back to work. One more episode left to brutally murder Todd, Vince Gilligan! Don't let me down!
Want more? The full recap starts right below!Previously: Seriously, stop. I can't with this right now.
I'm not sure why I never gave a thought to whether we would ever see Saul's "vacuum cleaner repair" guy or beyond that, who would play him. But here we are, being ushered into the back room of the guy's place, and he's played by Oscar nominee Robert Forster. If ever there was a nonsense-free, seen-it-all, no-time-for-this-fuss face, it's Robert Forster's. It initially looks like we're resuming things from last week's roadside pick-up of Walt, but this time the red van is delivering another poor soul looking for a change of identity and a new life: Saul Goodman. Not for the first time this season is Saul wearing his bright purple shirt, and it's also not the first time I wonder if this portends a future interaction with Marie. She IS single now.
Poor Saul. His hair is looking stressed, too. He expresses some mild surprise that Forster is actually running a vacuum cleaner shop, but he shouldn't. This guy impresses me as someone who defines thorough. He's taciturn and to-the-point, but he's not curt, nor is he grumpy like you might expect -- just very goal-focused and mellow. Saul is slightly chagrined to learn that his new destination will be somewhere in Nebraska. Not for a few days, though -- he's a somewhat notable local figure (recall Flynn's wide-eyed reaction to him a few episodes ago), so it'll take some time to properly arrange an exodus. Until then, he'll be bunking in a secure room downstairs… with some company. Walt is also a special case that will take some finessing, so yeah, he's still here. Forster flips on a monitor and lets Saul peek in on the client that ruined his life and career, pacing in his little cell. The closest he will likely ever get to going to prison. And looming oh so large in the frame? His big black barrel of money.
Credits. Elements.
After the break, Marie is returning home. I have been really turned around by the passage of time this season, and this episode already has me spinning. I guess Marie has been staying at Skyler's place during the whole Holly abduction? I'm not sure I wholly believe that. How could Marie even be in the same room as Skyler after learning what happened to Hank? Even if she bought Walt's phone call (not a given), her sister is still the walking embodiment of the poison that ultimately felled her husband. Or is this not supposed to be the first time Marie has returned home since Hank died? She's being driven home by some D.E.A./FBI/APD person, who is assuring her that they will find Hank and Gomez out in that desert. Maybe she had to go downtown to answer questions? You guys, I don't know. All I know is that Marie looks like she's had the life drained out of her. Appropriately, she's wearing black instead of purple. When they pull up to the house, the agents immediately go on alert. The camera takes us inside, with papers strewn about, locks busted, the whole place completely ransacked. So much broken purple interior decoration, I almost can't handle it. HASN'T THIS WOMAN LOST ENOUGH? The Feds speed Marie away to a secure location, while other agents scour the house. But it's gone. Obviously, this was the work of Uncle Jack and the Nazettes, searching for the video with Jesse's confession.
Back at Nazi base camp, Jack, Todd and the rest watch Jesse's video with a mixture of revulsion ("Does this pussy cry through the entire thing?") to wide-eyed awe at everything that Walt and his organization accomplished. Jesse is explaining his shooting of Gale on the tape, unable to talk about what he did without breaking down. They fast-forward past the part with all the uncomfortable emotions and guilt, to the part where Jesse talks about the train heist. A lot of people have theorized that these new villains, Todd in particular, represent the strain of Breaking Bad fan who want to blow past all the thorny moral implications and just watch Badass Walt escape from one thorny situation to the . I'm not sure if I entirely buy that -- Vince Gilligan doesn't seem to have the same tempestuous relationship with his fans that, say, David Chase had during The Sopranos -- but Todd certainly does seem to idolize Walt in the same way that so-called Team Walt fans enjoy the show. Naturally, Todd disgusts me. When Jesse gets to the part about "Opie dead-eyed piece of shit" Todd shooting the kid on the dirt bike, Todd looks somewhat skittish -- he omitted this part when he recounted the story to Jack and Herc earlier for a reason, after all -- but he can't help smirking a little, too, at his own ruthlessness. God, I want him so dead. The smirk is the appropriate reaction, it turns out. You can't scandalize a man like Uncle Jack.
Outside, Todd tries to make the case for keeping Jesse alive. They still have all that methylamine that needs to be cooked, after all. Jack doesn't understand why the kid is even talking about meth anymore -- "We won the lottery!" They've got upwards of $70 million dollars; what do they need to be selling crank for? "This is millions," Todd squeaks. "No matter how much you got, how can you turn your back on more?" Todd really is a far more perfect student of Walt's than Jesse ever was. Jack deduces that this is all because Todd has a crush on Lydia. Yeah, I hope you didn't think you were keeping that one under wraps, douche. They all give him shit about having a thing for the woman with "a wood-chipper for a cooch," and Todd kind of sets his jaw and doesn't respond. Ultimately, Jack figures "the heart wants what it wants" (even when what it wants doesn't want anything but a smooth flow of operations for her multi-national meth business) and pulls his nephew into an embrace. They head back inside to watch more of "that crybaby rat."
Speaking of whom, Jesse is still in his underground pit, covered up by a burlap drop cloth so that he can't even see outside. Underneath, Jesse sits there -- lit dramatically -- face all sort of busted open. He's holding the photo of Andrea and Brock in his hands, along with the paper clip that had attached it to whatever it was attached to on the wall. Big, dumb mistake on Todd's part. Doesn't he watch TV or movies or anything where someone in handcuffs picks the pick with a paper clip? And so Jesse gets to work.
Back beneath the vacuum stop, Walt is furiously scribbling a manifesto or something onto a legal pad, alternately barking out orders to Saul like they're still operating under their old dynamic. He wants Saul to write down a list of potential hitmen they could hire to take out Jack and his crew. He bowls over any possible concerns Saul might have, like he's exhausted with even the thought of Saul having his own opinions on the matter. Saul, meanwhile, doesn't even have the energy to engage in a proper discussion of how it's all over and Walt can't order him around anymore and also that he doesn't know any hitmen. He verbalizes that last one, to which Walt's like, "Yeah, yeah, you know a guy who knows a guy, get going." Walt is all sorts of fired up, full of righteous anger ("He killed Hank! And stole my life's work!") and an enemy he can identify. Never mind that he's in this mess in the first place because he hired hitmen to take care of his last problem. Never mind that, as Saul says, the best thing he could possibly do for his family would be turning himself in. Never mind that, as Saul also says, there is no way his money is ever getting to his family, if Mike's repeated efforts to give Kaylee her nest egg are any indication. Walt still thinks one last Grand Plan will set everything right. I think he might not be alone in that line of thinking, going by the fans of the show.
Walt scoffs at Saul's suggestion that Walt should turn himself in to spare Skyler. Didn't he hear about Walt's phone call exonerating Skyler to the cops? Doesn't he realize what a masterstroke that was? Saul's like, "Yeah, good job, it'll probably get her a mistrial in a year and a half, but until then, she's fucked." She's going to lose the house, their bank accounts, her future job prospects… all of it. And the feds are going to end up leaning on her for information on Walt's whereabouts that she doesn't have, so she'll have nothing to trade. I LOVE this show for taking what played like a dramatic masterstroke last week and revealing it to be a temporary patch on the situation at best. Saul pitches a decent (if imperfect and certainly unglamorous) solution, wherein Walt turns himself and his barrel of money in and maybe horse-trades with the authorities to let Skyler and the kids keep their house. Walt snaps back that it's not going to happen: he's going to kill Jack and his men, retrieve his money ("ALL OF IT!"), and give that money to his family. "Then -- and ONLY THEN -- will I be finished." He's wheezing even as he says this, a subtle reminder that "finished" has a very specific meaning with him.
Forster peeks in and asks if everything's okay. He's all set on Saul's transport, so it's time to go. Saul moves to shake Walt's hand, but Walt's like, "Change of plans. He's coming with me." Saul flat-out says, No," but Forster exits to let them work it out. Saul tells Walt that he's a civilian now, nobody's lawyer. "Fun's over." He grouses that, a month from now if all goes well, he'll be managing a Cinnabon in Omaha. Hey, bite your tongue -- there are worse fates. Walt just glowers at him and back him up to the wall. Poking a finger at his chest, Walt begins to reiterate his threat from a few seasons ago: "It's not over until I say it's over." Only this time, Walt can't even make it through the full threat without collapsing to his bed in a coughing fit. Saul looks down with something approaching pity. "It's over," he says. Then he picks up his luggage -- which my Twitter pal Myles immediately noted was obviously and unacceptably empty -- and walks out. And that, I would guess, is a wrap on Saul Goodman on Breaking Bad, everybody!
After the break, we get to see just what kind of luxurious life Walt's grand exoneration plan has bought Skyler. Honestly, I can't imagine things being much different than this even without the call. She's sitting at a conference table, while (federal?) prosecutors lay out the conditions for her… I guess plea deal? It's hard to know for sure, since Skyler is tuning everybody else out. The prosecutor snaps her back to attention and asks if she's even following what he's saying. Skyler gets the gist: "I understand I'm in terrible trouble. I understand that you will use everything in your power against me and my children unless I give you Walt." Only problem is, she says, she doesn't have a clue where Walt is. Like Saul said before, Walt's left her with nothing to trade. The prosecutor tersely tells her to go home, wrack her brain and hope she comes up with something.
That night, cops sit watch outside the White home, as much protecting Skyler and the kids as they are hoping Walt makes contact. Skyler sits on the couch, peers out the window and smokes. When she goes to check on the baby, however, she's ambushed by three men in ski masks. It's a seriously effective scare. We soon realize the main home-invader is Todd, and they're not here to hurt Skyler. They just want to make sure she shuts the fuck up… about certain things, at least. Todd's like, "You're talking to the cops and that's okay. That's what you should be doing." AWFULLY GENEROUS, TODD. All he wants is for Skyler to know that certain raven-haired, twitchy seductresses are off-limits. He probably does more to help Skyler remember who Lydia is than anything else. Still, he makes her promise that she'll never breathe a word of this bug-eyed goddess to anyone, and of course Skyler does. Todd makes it clear that they can get to her at any time, and she shouldn't tell anybody else that they were there. So, you know, add Skyler to the list of people I would love to see kill Todd. Hell, add Holly to the list, too.
The day, Todd is waiting at a restaurant to meet with Lydia. This scene is just chock-full of little touches that delight me. Starting with the fact that all the other meetings on this show seem to happen in diners, but this one is ever so slightly fancier, in keeping with Todd's feelings for this classy woman. Second is Todd's outfit: khakis and a blue button-down, like it's his day to go visit colleges with his parents. Lydia tries to do that thing that Mike didn't have time for, where she sits at the table back-to-back with Todd for maximum clandestine appeal. Todd, of course, lets her do whatever she wants to do, and so we see what Mike saw; how stupid it would all look. Two people, carrying on conversations with nobody, until Todd turns fully around and is speaking over her shoulder, while she stares intently at her tea. What a couple of weirdos. The topic of conversation is Todd's late-night visit to scare Skyler into silence. He's like, "I think it was a very positive meeting." He's confident in Skyler's compliance. Lydia, as you might recall, is not a fan of leaving anything to chance, however. She does not like all these loose ends. I worry for a second this could mean she's going to start ordering the deaths of Skyler, Marie and the kids. Rather, it just seems like she's advocating cooling off the business arrangement for a while. Clearly, Todd would rather kill people. He protests that he's got the meth purity up to 92%, and blue besides, which his lady love finds very impressive. But the fact that he reached this milestone with Jesse as his slave only underlines the volatility of the arrangement for Lydia. "I just think we work together good," he doofs. "We make a good team. I think it's kind of… mutually good." She whispers "92%" to herself. He picks a stray hair off of her jacket. Good lord, if week opens up with an explicit sex scene between these two, I don't even know.
Back to Walt, who has finally found his way out of New Mexico. Forster's devised method for ferrying Walt out of town? The empty tank of a propane truck. And given the fact that they drove all the way to snowy New Hampshire (the Granite State of the episode title), I can't imagine Walt's neck is anything but one big kink. Forster welcomes "Mr. Lambert" (Skyler's maiden name) to his new home.
After the break, Forster gives Walt the lay of the land in his manifesto-ready isolated cabin. He's got a month's worth of mostly canned food, a generator, a wood-burning oven and no TV reception. Just a short stack of old DVDs topped by Mr. Magorium's Wonder Emporium. Two copies. Like the cancer isn't bad enough? Forster, however, is seriously a hell of a guy. He offers to pick up movies on his supply run. Walt grouses about how much these supply runs will cost him, but Forster explains that they're risk and he's already taking on heaps more risk with Walt than he's used to. Walt's the hottest client he's ever had, complete with a nationwide man-hunt and his face plastered all over TV. So no phones, no contact with the outside world, nothing. Walt, being Walt, begins to challenge him, asking what's to stop him from just leaving. Forster handles Walt better than anybody else on this show has handled Walt ever. Part of it is that Walt is weakened physically, and also weakened in terms of his power. But still, Forster doesn't argue with him, he doesn't display anger and he doesn't bargain. He simply says that Walt is free to do what he likes. Wander down the hill in the snow to the one-horse town below if he wishes. But he will get caught. And it'll be the last of Forster's supply visits, besides. "You paid good money for this," he tells Walt. Maybe this is just the place for Walt to rest up, think about things. "If you look around," he says. "It's kind of beautiful." Boom. Outta here. See you in a month.
Of course, almost immediately, Walt starts being stupid. He fills up the pockets of his parka with as much cash from his barrel as he can manage (he seriously barely skims the surface), obviously preparing to make a break for it or try to send the money home or something. He pauses for a moment before digging through his things and pulling out the ol' Heisenberg pork pie hat. The music is all heavy and portentous, which is silly, because this is easily the comic highlight of the year. Like, honestly, how big of a horse's ass is Walter White that he needs to doll himself up in his own iconography before escaping from his mountain refuge?
So there he goes, striding out into the snow. This weather cannot be good for his lungs, I should note. Of course, by the time he makes it to the gate, he's winded, and the dramatic, purposeful music has become wobbly and questioning. After a small coughing fit and a glare that indicates he might be thinking better of it, he declares "Tomorrow," to the nobody left to listen to his badass pronouncements anymore and retreats to the cabin, where he starts a nice warm fire and hangs his hat on the deer antlers.
Back in the land of people trapped in prisons without Natalie Portman DVDs, Jesse has freed himself from his handcuffs and has constructed something of a makeshift pile of stuff that could conceivably get him high enough to reach the grate above. This is like that scene in The Dark Knight Rises, where Batman just has to jump for it, only if he misses he's gonna hurt the fuck out of himself, so his biggest obstacle is fear. And then all the old French prisoners started chanting for him and he was inspired by bats and he did it and thus ended the most boring part of that movie. Anyway. Jesse doesn't even get a chance to jump for it, as he hears Todd approaching and bails on his plan. Todd, the ridiculous fuck, is bringing him Ben & Jerry's as a thank you for getting the last batch right (96%!). "But Joe," you're saying, "could a guy who recognizes what a reward Americone Dream truly is ever be bad?" YES I AM. I'm sorry to the delicious flavor that is Stephen Colbert's Americone Dream, but I will not allow that to change my tune about awful Todd. Jesse takes to the ice cream warily but hungrily. Todd lights up a cigarette and looks like he might want to make small talk? Like he might want to make a friend here? I don't even know, but he instead just tells Jesse to rest up for tomorrow's batch. Jesse meekly asks Todd to leave the grate uncovered tonight. You know, so he can look at the stars. You guys, this slave relationship is really blossoming!
Cut to some time later. Paper clip: straightened. Cuffs: unlocked. Junk in his cell: stacked. Batman leap: accomplished. So now Jesse is going to reenact every moment of shame from my childhood, where I was unable to navigate monkey bars or do a chin-up due to zero upper-body strength. But I guess smoking weed on a near-constant basis and being a burned-out husk of a man for nearly a year (not to mention the recent weeks of bodily harm and semi-starvation) are really doing wonders for Jesse's conditioning, because he's able to move himself into position, reach an arm up above he grate (despite NO leverage) and unlock the hatch. Then, off-screen, he pulls himself up and out of the hole. Like, I love Jesse, and I love this show and in the interests of getting on with it, I will say fine, but: come on.
The shitty thing is, after all that work to climb out, Jesse makes a run for it, and… can't get past the fence before the surveillance cameras spot him and Uncle Jack's guys easily catch him. Boy, is that not this season in a nutshell, huh? Jesse doesn't even turn around. He just wails, "DO IT! JUST KILL ME NOW AND GET IT OVER WITH! BECAUSE THERE'S NO WAY I'M DOING ONE MORE COOK FOR YOU PSYCHO FUCKS!"
scene. Sketchy part of town. Todd walks up to the front door of one of the houses and knocks. It's Andrea, and here comes the dread. Todd introduces himself as a friend of Jesse's (run, Andrea) and tells her that Jesse is in fact out in the car (Run, Andrea!) and he needs to speak to her (RUN, ANDREA!!!). Andrea is too concerned with Jesse's well-being to know to be afraid, of course. She steps out onto the porch, past Todd, who is telling her to just look a bit farther down the street. Once her back is fully to Todd, he takes a quick peek inside to make sure no one else is around. This has been interpreted as wanting to shield Brock from seeing what comes . Forgive me if I'm dubious. In the car, a bound and gagged Jesse is trying his best to scream and bash himself against the door, to no avail. "Just so you know," Todd says, "this isn't personal." And then he shoots Andrea in the back of the head, so Jesse can see. And Jesse, for the billionth but certainly the most severe time on the show, completely fucking falls apart. He screams and thrashes and wails, until Uncle Jack has to shut him up with the implicit warning: "There's still the kid."
After the break, Walt is once again trudging to the snowy gate. It's colder this time. His parka hood is up. I can't tell if this is the latest in his attempts to walk far enough to escape or if he's only here to greet the arriving Forster in his truck. The look of surprise on Walt's face tells me this was not an expected arrival. Inside, Walt greedily digs into the stack of Albuquerque newspapers Forster has brought him, as Forster updates him further on the outside world. Skyler and the kids are living in an apartment -- together for the moment -- while she works as a taxi dispatcher. No court date has been set. She's being represented by an inexperienced public defender. She's gone back to using her maiden name. Forster describes the old house as being fenced in, after it became a "tourist attraction" for local nogoodniks. Again, working our way up to that flash-forward.
Walt is bearded now, and his hair's grown out to match what he looks like in the flash-forward. The look completes when Forster lets Walt pick out a new pair of glasses. Forster brought him a few cases of Ensure to maybe get his weight up. The cancer is really taking its toll. Speaking of which, Forster has also been able to acquire chemo treatments to administer. This guy really is a full-service operation, is he not? He apologizes for "last time" and says he's since watched some YouTube videos that told him how to best find the vein. Walt decides to stick the needle in himself, but he's too weak to do it properly. They hang the chemo bag on the deer antlers, which is a nice touch. Forster packs up his shit to go, but Walt rather meekly begs him to stay a little longer. Just an hour. Maybe play some cards or something. Keep him company. He'll give him another $10,000. Oh, this is sad. "One of these days when you come up here," Walt says, "I'll be dead." He asks what will become of his money on that day. "What if I ask you to give it to my family? Would you do it." Forster gives Walt the best answer he can: "If I said yes, would you believe me?" Part of me feels like Walt wants to say yes, if only so he can die believing in a lie that comforts him. It's really all he realistically has left.
By nightfall, Forster is gone and Walt has pored through all his newspapers, cut out all the articles having to do with his case, and taped them to the wall. Perhaps just so he can feel of a type with all the master criminals he sees on TV. Walt tosses and turns on his little cot, and when he rolls over, his wedding ring falls off his increasingly slender fingers. So he finds a piece of string and fashions a necklace to keep his ring on him. Of course, now that he's awake, he looks across the room at the box full of Ensure and gets an idea. Coughing all the way, he empties the box and begins filling it with stacks of cash (he still doesn't seem to have made much of a dent in his barrel).
The morning, with his parcel neatly wrapped in plain brown paper and tied up with some hemp, Walt finally ventures past the gate at the edge of his property. Walt's Headed To Town!
After the break, we see Walter Jr. (he's still going by "Flynn White" and still in the same school, FYI) get called out of class for a phone call from his Aunt Marie. Of course, when he gets to the phone in the principal's office, it's not Marie, but rather some bar wench in New Hampshire who Walt paid to help him get his son on the phone. He begs Flynn not to say anything, and Flynn complies. Walt immediately begins tearing up at the sound of his son's voice. He begins to monologue: "The things that they're saying about me… I did wrong… I made some terrible mistakes. The reasons were always… things happened that I never intended -- I NEVER intended!" He then gets to the meat of the call: Flynn's friend Louis Corbett -- does he still live at the same place? See, Louis is a good kid and will understand when Walt sends him a care package full of Ensure and $100,000 cash. He'll give the money to Flynn and not alert the authorities or anything like that.
Good plan, Walt! You finally figured it out! Now time for your son to show you the awed gratitude you're owed! Ready? Are you ready? Ready for all that sweet gratitude? Flynn: "You killed Uncle Hank! YOU KILLED HIM!" He can't believe, after everything he's done to his mother, to Hank, that Walt would call him. "Just stop. Just stop it! I don't want anything from you. I don't give a shit!" While Flynn continues to accuse his dad of killing Uncle Hank, Walt is on the other end of the line, begging for a happy ending. "Please! It can't all have been for nothing!" he wheezes. "Just leave us alone! You asshole!" Flynn continues. "Why are you still alive? Why don't you just die already? Just die!" If you're keeping score, that's now three characters openly expressing their hope that Walt will succumb to his cancer, just in the last 10 episodes or so. Flynn hangs up, and Walt looks thoroughly defeated.
So defeated, in fact, that he calls up the D.E.A. . He gets some paper-pusher on the phone and says he has information about the Walter White case. And that his name is Walter White. He then drops the receiver, confident the D.E.A. trace will do the rest. And then he makes his way to the bar to wait.
But then, fortune (or contrivance) smiles on the man. The bartender flips through channels, and Walt perks up to the sight of one particular show: Charlie Rose is interviewing a pair of biotech billionaires, his old pals Gretchen and Elliott. Oh, this should be good. It seems Gretchen and Elliott have come under some degree of public scrutiny of late (from Andrew Ross Sorkin, no less!), and they're trying very hard to distance themselves from the fact that the now-notorious Walter White is inexorably tied to their business, Gray Matter. Gretchen and Elliott distance as best they can, to the point where they stress that the only thing Walt had any influence on in their company was the name. Beyond that, he was barely a factor. Walt, having historically been sore over being bought out of the business so cheap, now has to endure this outright lie in the name of public relations. He begins to clench his fists. Charlie makes mentions of reports that state that blue meth is still being reported throughout the southwest, and even Europe. When asked for her thoughts on whether Walter White is still around, Gretchen definitively says he is not. "I can't speak to this Heisenberg that people refer to. But whatever he became, the sweet, kind brilliant man we once knew? He's gone." God love Jessica Hecht, I should add.
At this point, Walter's jaw is beyond set. He could melt steel beams with his eyeballs. He mad. In the background, the Extended Walter White Final Revenge Plot remix of the Breaking Bad theme song plays. By the time the New Hampshire authorities show up ad storm the bar, he's long gone. Somebody has a finale to get to. Does this mean he's setting out to kill Gretchen and Elliott (in addition to Jack and Todd)? Or did this just inspire him to finally let Walter White die once and for all and ride a 96% pure Heisenberg back into town one last time? One more episode to go.
Joe R can't even begin. He can be reached for lavish praise and nothing but at joseph.reid21@gmail.com.
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