Later, at Jesse's house, Jesse and Walt go over some sketches of equipment Jesse drew, as he explains to Walt his ideas for most efficiently moving the equipment into and out of the houses. Walt is impressed at the work, and despite how fucked up this whole situation is on a macro level, I'm still SO PROUD of Jesse for how far he's come. He's even imparting wisdom from his little study-abroad excursion with Gus into Mexico! Applied learning! Anyway, he's cut off when Andrea and Brock return home, and that's when my stomach starts to turn. Walt introduces himself as Jesse's friend, and then instead of escaping into the night like the vermin he is, Walt makes a point to shake little Brock's hand and ask how he's feeling after being sick. On the bright side, I now officially know that no matter how loud I scream "KILL HIM, JESSE!" at the TV screen, the characters can't hear me. Andrea and Jesse leave the living room, leaving Walt and Brock on the couch, and Walt stares over at Brock like he's the living embodiment of his damnation. Which he very much is.
After the break, the Vamonos Pest crew rolls up on a nice looking house, and while Ira goes over the paperwork with the family's father, the tent is already going up over the house. The dad blanches at the volume of equipment being rolled into the house, but Ira talks enough about larvae and such that he ends up signing the papers and leaving with his family and no further questions. No sooner is the family gone than Walt and Jesse arrive, to the silence Mike earlier mandated. Todd is the only one who pipes up, informing the Sirs that there's a nanny-cam inside; he already disabled it, but he wanted them to know. Brown-noser. So is this the extent of Landry's role on this show, or should we expect him to become important later on?
Inside the house, it's MONTAGE TIME, as Walt and Jesse set up their equipment and get to cooking. To some smooth, jazzy rendition of "On a Clear Day." This show really likes to stretch out its muscles, visually speaking, when it comes to these meth montages. Slow-mo and molecular-view animations (the crystallization process looks like the opening credits of Fight Club).
After the cook is finished, Walt and Jesse relax on this borrowed family's couch, crack open a beer, and watch the Three Stooges. Their talk soon turns towards Andrea, and Walt plays the part of concerned -- more moreover proud -- father figure, whose speech to Jesse is all about how he needs to make his own choice about whether to tell Andrea about what he's doing with his life. On the six levels that this conversation is operating on, one of them acknowledges that letting his wife in on his secret life certainly has not improved their relationship. On another, there's almost a hopefulness in Walt to believe what he's saying to Jesse -- that someone else might manage it better than he did. Of course, at the most basic level, we can only assume that while Walt is talking the talk of openness and Jesse making his own decisions as a man, Walt has no intention of letting Andrea fuck up his business, and we know just how far he's willing to go to stop it. So the effect, when we see Jesse's face brighten at Walt's assertion that he can choose to tell Andrea if he wants, is of watching Jesse wade into shark-infested waters unknowingly.