THE LICENSE
CHAPTER THREE

PAGE ONE

PANEL ONE:
An “unsplash” page, in that we're setting a panorama rather than doing anything traditionally “splashy.” We're looking at Bronson and Momma's ranchhouse from a fair distance – see CHAPTER TWO, PAGE TWELVE, PANEL FOUR for a description. The sun is setting, and we can see that the sky, where it is dark, is going to be a deep dark blue with bright stars shining. This is the sunset you see in cowboy movies, and the stars you see only in legends. It's an American Sunset, and all that that implies. 

Extra note: there's a dog door (for Hopper) on Bronson's front door. It'll come into play later.

MR. K
(who we may not even be able to see clearly from this distance)
Hell of a dog you got there.

PAGE TWO

PANEL ONE
BRONSON sits down next to MR. K. on the porch. Hopper goes in through a dog door. 

BRONSON
That there's Hopper.

MR. K
I know.

PANEL TWO
BRONSON
So you with them black helicopter fellas?

MR. K
I pretty much am the black helicopter fella, Bronson.

BRONSON
You got a name?

PANEL THREE
MR. K
Call me Mr. K.

BRONSON
That ain't much of a name.

MR. K
All the name you'll need. There's some things we need to get straight, Bronson.

PANEL FOUR
Bronson is necessarily cautious, which Mr. K is quick to allay.
BRONSON
I said no rules.

MR. K
These ain't rules, Bronson, these are the way it is. This ain't something you just pick up an' put down. 

BRONSON
(2)
I'm no quitter. 

PANEL FIVE
The orange light is turning BLUE as the sun sets. It can be off-panel, I just want us to start to gradually transition into night. 

MR. K
Then abide by what you signed on for. You're restricted to unarmed combat, and you can't kill. Anyone, ever. The minute you pick up a weapon or take a life, you're liable for that – and everything to that point. That's eight assault charges by now, to say nothin' of property damage. They'll bury you so deep in Folsom you'll never see sweet sunlight again.

PANEL SIX
BRONSON
So what do I do if some fella comes at me with a knife? A gun?

MR. K
The best you can. I figger that's pretty good.

PAGE THREE

PANEL ONE
BRONSON
So why me? Why not some cop or soldier?

MR. K
This ain't a job for someone who gives a damn about pension an' dental, Bronson. This has gotta be someone who doesn't give a damn for the rules, who stands up for what is regardless of what else is goin' on. 

PANEL TWO
BRONSON
Seems like a lot of trouble just to get folks to be polite.

MR. K
Ahuh. Yeah. About that.

PANEL THREE
MR. K
Th' president. Ahuh. He's a good man, Bronson, but his reasons for doin' this thing... well, it's what he wants, you know? But that ain't my reason for doin' it. That ain't THE reason.

BRONSON
So why?

PANEL FOUR
It's night now, and MR. K is staring up at the stars from the porch. 

MR. K
Giants used to walk this land, Bronson. Paul Bunyan, John Henry, Tom Sawyer. They were all real once. They walked this earth and they built this country. They were giants, but in the end this land killed them. 

MR. K
(2)
It took 'em as somethin' to sell, not somethin' to inspire, and they faded into storybooks. And it happened again and again, and that's what's killing this fine country.

PANEL FIVE
MR. K
Ahuh. 
MR. K
(2)
We need to get some of them giants back. But what they call heroes today, on the set an' at the movies... it's just shootin' and blowin' things up. 
MR. K
(3)
Ain't no giant ever needed a gun, Bronson. That ain't fightin. That's just killin'. 

PANEL SIX
MR. K
But a man who walks this land, dust in his soles and sweat on his brow, a man that does what's right with just his knuckles and knowhow... that's something can give a man hope. That's a giant, or at least the makings of one.

PANEL SEVEN

BRONSON
You figure I'm that guy?

PAGE FOUR

PANEL ONE

MR. K
I do indeed, son.

BRONSON
Huh. That's a hell of a thing, mister.

PANEL TWO
Big panel. And this is the kicker: this is Mr. K, who we know to be Elvis and the reader knows to be Elvis but that we will never ever say is Elvis, looking back on how he lost his way, how he got taken in by celebrity and seduced by fame and became a mockery instead of what he always wanted to be. Mr. K is steeped in regret, he will live in shame and die feeling guilty because he was one of the Last American Heroes and he let his land down. That's why he started the License program, why he faked his death, and why he carries on every day. And somehow, this panel, a close pores-and-all look at the near-80-year-old Mr. K, should show that regret and guilt and fear. 

MR. K
I ain't sayin' it's gonna be easy, Bronson.  I dead-on guarantee it ain't. Being a giant can wear a man down, son. It can make you tired like nothin' else, tired like your bones ache every second of th' day an' you can't think but for the weight of all them hopes an' dreams pressin' down on you.

MR. K
(2)
An' when people see what you got, when they see what you are, they're gonna take that. They're gonna try. Because this is a land what eats its heroes, Bronson, that takes its giants an' carves 'em up. 'Cause everyone wants a taste. Everyone. And they just don't know when to stop.

MR. K
(3)
I keep hopin' one of you can live under that weight. 

PANEL THREE
Mr. K stands up, slaps Bronson on the knee, as old men are wont to do. 

MR. K
Hell, I'm rambling. I'd best let you get to dinner with your momma. You take care, Bronson. 

PAGE FIVE

PANEL ONE
MR. K is about ten feet from the porch when Bronson calls to him. He doesn't seem to have a car, by the way... is he walking? Where to? All part of the mystery.

BRONSON
Hey.
MR. K
Yeah?

PANEL TWO
Bronson is standing on the porch. There's an expression of... not worry, but mild concern... on his face.
BRONSON
You said others. What happened to 'em? How's this gonna end?

PANEL THREE
Mr. K looks back, half-hidden in the night.

MR. K
Would it keep you from doing the right thing?

PANEL FOUR
We're back to PANEL ONE, looking at both of them. 
BRONSON
...figure not.

MR. K
Well then.

PANEL FIVE
Mr. K is walking away again, leaving Bronson to enter the house. 

MR. K
Ahuh.

MR. K
(2)
You take care, Bronson. I'll be in touch. 

PAGE SIX

PANEL ONE:
Bronson is standing on the porch, staring off into the distance. 

BRONSON
Huh. 

PANEL TWO:
Closer on Bronson, as his head swivels... MOMMA is calling from inside.

MOMMA
Bronson? Your friend gone?

PANEL THREE:
Bronson turns towards the door, a smile on his face.

BRONSON
He sure is, momma.
MOMMA
(off)
Come on in for dinner, then.
BRONSON
Right.

PANEL FOUR:
As Bronson turns to go in, a SCREECH from behind him...

SF/X
SCREEEEEECH

PANEL FIVE:
A SMALL IMPORT CAR has pulled up near Bronson's house. We are looking mainly at it, but Bronson and the house are visible in the background.

BRONSON
Aw, man.

PAGE SEVEN

PANEL ONE
HANK gets out of the car. He's the older brother of HARLAN – the jarhead who Bronson smacked down in the beginning of Chapter Two – so you can go nuts with the family resemblance. 

HANK
You Bronson Tracy?

PANEL TWO
Bronson is ready for trouble. Again. 

BRONSON
That's me, mister...

PANEL THREE
Hank steps up to the porch. Bronson's still on it, so Bronson's looking down at him.

HANK
Hank Snow, Mr. Tracy. You handed my brother Harlan a hell of a beating today. 

PANEL FOUR
Much as Panel Three, as Hank and Bronson size each other up.

BRONSON
That may well be, Hank Snow. 
HANK
We Snow boys don't let debts sit long, Mr. Tracy. I figure we have some business.

PANEL FIVE
MOMMA's voice comes in from off-panel. 

MOMMA
(off)
Bronson? Meatloaf's gettin' cold!
BRONSON
Heck. Do we hafta do this now?

PANEL SIX
HANK is a little taken aback.

HANK
Come again?
BRONSON
Look, Momma's waitin' on me for dinner. I'd throw down with you in a second, but...
MOMMA
(off)
Bronson?

PAGE EIGHT

PANEL ONE:
Bronson is half-turned, calling back to Momma inside.
BRONSON
BE RIGHT IN, MOMMA!

PANEL TWO:
Bronson is turned back to Hank. He's not begging, he's not pleading... this is the sort of men they are, and this is the way it is. 
BRONSON
You can give me the time and place, I'll be there. Just not now.
HANK
Okay, then.

PANEL THREE:
Hank is consulting a little black agenda book.

HANK
I got a dentist appointment tomorrow late morning.
BRONSON
Best to do this before that, I figure.
HANK
Suppose so. 8:30,parking lot behind the Garrison plant?
BRONSON
You got it. 

PANEL FOUR:
Hank is looking up at Bronson.
HANK
I'm going to beat the hell out of you, Mr. Tracy.
BRONSON
You sure can try, Hank Snow. 

PANEL FIVE:
Hank's car pulls out of the driveway.

PANEL SIX:
BRONSON sitting down to dinner, and we finally see MOMMA. Visual reference: cover of License #1, but don't feel obliged to make her that cartoony. She's the epitome of the sweet, slightly spindly, big-eyed Momma that every good boy dotes on.

MOMMA
You get this in you, Bronson.
BRONSON
I better, momma. Big day tomorrow.

PAGE NINE

PANEL ONE:

We're back in FOLSOM, where the Warden (from Chapter One) is sitting at his desk, staring at Jasper(also from Chapter One). This is Jasper's POV, so the warden is looking at “us”. 

A special note on Jasper: his glasses are opaque. We can never see his eyes behind them. 

WARDEN
Flynn's a piece of work, a piece of shit, and a piece of hell all rolled up, you ask me. Which you are.

PANEL TWO:

More Warden, mainly being a fidgety weasel.

WARDEN
Just getting you in to talk to Flynn'd be a bit of work, you know what I mean.

PANEL THREE:

WARDEN
And what you're asking for... hell, that's some major-league dickin' around. So unless you're willing to accommodate some risk on my part...

PANEL FOUR:
Reverse POV from the warden – it's the President's aide, Jasper, sitting and facing him. Jasper wears an expression of extreme annoyance and is holding a cell phone to his ear.
JASPER
I understand your position, warden. Just let me make a brief call. 

PANEL FIVE:
Jasper speaks into his cell phone.
JASPER
Full coverage report on HT-56T. Thank you.
JASPER
(2)
Yes. Yes. Got it. Thank you.

PANEL SIX:
Jasper speaks to the Warden.
JASPER
At this moment in time, Warden, your wife is watching a rerun of The Rockford Files and eating a Swanson's Turkey Surprise TV dinner. 

PANEL SEVEN:
Jasper continues, his face tightly controlled but masking fury.
JASPER
Your eldest daughter Jessica is at a piano lesson, midway through a mangled version of the “Moonlight Sonata.” Your son Kyle is learning how to tie a bow line at a Scout meeting. Your younger daughter Kayla is currently watching “Finding Nemo” at a friend's house. Dorie has just begun speaking whale.

PANEL EIGHT:
The Warden's jaw is dropped, his face ashen. 

JASPER
It's a horrid world out there, Warden. Bad things happen every day.

PANEL NINE:
Very tight on Jasper, on his glasses – smooth, opaque glass, impenetrable. 
JASPER
This is not a world in which small men can dictate terms.

PAGE TEN

PANEL ONE:
Jasper is sitting in Flynn's cell: Flynn is on his bunk facing Jasper, and Jasper is sitting on a collapsible steel chair. 

FLYNN
You the new shrink?
JASPER
No.

PANEL TWO
Flynn is getting up, looking menacing.
FLYNN
They tell you what happened to the last one?
JASPER
Mister Flynn.

PANEL THREE
Close on JASPER looking exasperated.
JASPER
If you don't sit down right now I will arrange for both your Achilles tendons to be cut. You will then be gang-raped every day by a Mr. Nelles Brownstone and a Dr. Hubert Miles until you die of either AIDS or anal hemorrhage. 

PANEL FOUR
FLYNN is sitting down.
JASPER
I'm sure you're busy, Mr. Flynn. I'll be brief.

PAGE ELEVEN

PANEL ONE:
Jasper is consulting a clipboard.
JASPER
I have a proposition for you, Mr. Flynn. A chance for you to be free and to help your country.
FLYNN
If you think I'm gonna --
JASPER
Shut. Up.

PANEL TWO:
Jasper's glasses are opaque...
JASPER
Order in this country is founded on a network of police and civil security. And do you know what fuels that network?
FLYNN
Uh...money?
JASPER
Nightmares, Mr. Flynn.

PANEL THREE
Jasper is standing, moving towards the window, pulling a handkerchief from a pocket.
JASPER
Civilization is maintained by the public's fear of what would happen were we not here to protect them.
JASPER
(2)
The trick, of course, is having something to protect people from.

PANEL FOUR
Jasper is looking out the window – having wrapped his handkerchief around a bar so he doesn't have to touch it. 
JASPER
How many serial killers have there been in the last fifty years, Mr. Flynn? Take a guess.

PANEL FIVE
Jasper is looking back at Flynn, who is still seated.
FLYNN
Forty? Fifty?
JASPER
Five, Mr. Flynn. There have been five.

PANEL SIX
Jasper is approaching Flynn, tucking his handkerchief back in his pocket. 
JASPER
It's not that the evil isn't real. It's just not...consistent enough, Mr. Flynn. Not enough to justify what we need to keep order.

PAGE TWELVE

PANEL ONE
Jasper is sitting facing Flynn fingers steepled. 
JASPER
The deal, Mr. Flynn, is this: I set you free and you walk this land sowing terror.
FLYNN
What?

PANEL TWO
Jasper smiles.
JASPER
You can never go back to your home state. You can never target somebody you have ever known. And when you get caught, you get killed. But until then, you're free.

PANEL THREE
JASPER
Until then, you're the American nightmare, Mr. Flynn. You're the thing that people think can't happen to them. You're the voice in the night, the sound in the darkness. You're the wind of fear that keeps this country under wraps for the good people. 

PANEL THREE
Jasper is at the cell door.
JASPER
I'll give you a day to think about it. A life in prison or one last --
FLYNN
(off)
I'm in.

PANEL FOUR
Close on Flynn. The man is an animal. 
FLYNN
All you just said, that's all I ever wanted. You need men to scare the nation, I'm your guy.

PANEL FIVE
Jasper, leaving the cell, almost smiles.
JASPER
My name is Jasper, Mr. Flynn.

PANEL SIX
FLYNN, in his cell, is looking out the window at the moon. 
JASPER
(off)
We'll be in touch.