In the episode, Jimmy McGill faces the repercussions of having defended Lalo Salamanca in court and Kim Wexler starts to believe she is being followed as they continue their plan to sabotage Howard Hamlin's career.

They drive past Kim Wexler and Clifford Main and Jimmy pretends to force Wendy out of the car, making it appear to Cliff that Howard is frequenting prostitutes.

While meeting pro bono clients at the El Camino Dining Room, Kim spots the car again and confronts the occupants, who drive away.

Despite poor maintenance and other problems, Kim approves, citing its proximity to the county courthouse and jail, and Albuquerque's bail bonds offices.

[6] Editor Kelley Dixon recalled Seehorn visiting the editing room of Better Call Saul during the second or third season and sharing her desire to direct an episode.

[7]: 5:29–8:36  Seehorn said she was very observant of other directors on set, including John Shiban, Norberto Barba, Scott Winant, and Michael Slovis.

Gilligan and Gould also gave her access to shot lists and she would work with frequent Better Call Saul director Michelle MacLaren to break down episodes.

"[6] Seehorn and Cherkis noted how the episode displayed intimate and vulnerable moments in a majority of the character's lives, from Howard's therapy session, Clifford Main's revealing his son has a drug problem, Gus being irritated with removing his concealed weapon, Bill Oakley's conversation with Jimmy about ethics, and Kim's initial realization that she is being followed.

[9][10] The strip mall location of Goodman's office had, since the end of Breaking Bad, been leased by a few sports bars, but by the time Better Call Saul was ready to shoot there, the property had become vacant.

[7]: 20:15–22:20  The song in the sequence, "Best Things in Life" by The Dreamliners, was selected early on in the production by music supervisor Thomas Golubić to highlight the developing contrast between the scene's beginning and end.

[7]: 30:18–37:10  Some visual effects in the episode added in during post-production by Rodeo FX included the red house from the opening sequence,[7]: 22:33–23:02  and the windshield and rear-view window of the car belonging to Mike's men in the long zoom shot when Kim confronts them.

It was the only scene that was not rehearsed beforehand and was inspired by Heat (1995), specifically by the first interaction between Robert De Niro's Neil McCauley and Amy Brenneman's Eady.

Some ideas for the scene would have seen Mike standing at a bus stop or sitting on a bench but these concepts were scrapped due to logistical issues, such as the amount of natural light, limited coverage of the actors, and the fact that the exterior of the diner had already been shown in "Wine and Roses".

[13] Scott Tobias, writing for Vulture, called the cold open a "fun tease" for its use of the 1965 song "Best Things in Life" by the Dreamliners.

"[3] Rolling Stone's Alan Sepinwall highlighted Kim and Mike's first interaction as a scene that was both "wracked with tension ... and yet also understated and lovely in the way you would hope for these two when they finally got to speak".