Work Text:
Motivations
Bullseye
Page 1: 6-9 panels… Scene in a city - Washington DC - somewhere in a bad neighborhood. Kids are playing in the street, there are groups of people talking, and some guys standing around a car, smoking. Speech balloons will be scattered around the page in order, some round and some square with rounded corners.
Round: So, Doc, I gotta question.
Square: Of course.
Round: You know there was some science-guy who said there were a million other universes?
Square: You mean Einstein?
Round: Yeah, whatever it’s called. Anyway, do you think if someone went from one of them universes to another one, the same things would have to happen?
Square: Go from one to another?
Round: Well, if it’s possible. Like, would Kennedy still get assassinated? Or would Jeffrey Dahmer still eat people?
Square: I suppose many of them would be the same, but the theory also says that many of them would be different. Since there are an infinite number of them.
Round: Right. So, maybe I have the same job in other universes, too.
Page 2: 4 panels. One half page panel across the top, one horizontal panel under that, and two on the bottom row.
Panel 1: Establishing shot of an office building in a nicer part of town.
Square: I suppose so. Although in some universes maybe you’re President of the United States.
Round: Right.
Panel 2: Close in on the building, a view through the office window of a therapist and a patient talking. This should be from outside the building and we see silhouettes of the people talking. The Therapist speaks in the square with rounded corner balloons and Lester speaks in regular balloons
Therapist: What are you asking me, Lester?
Lester: Okay, yeah, so like in one of them universes, I’d be Captain America.
Panel 3: Close in on the two. The therapist is in the foreground sitting with his legs crossed, writing notes on a pad of paper. We don’t see his face, just his back and shoulders with the pen and paper. The patient is sitting in the chair across from him, leaning back, twirling a pen.
Therapist: Are you having trouble finding work, Lester?
Lester: Oh, there’s always work for me.
Therapist: What is it that you do? I don’t think you’ve ever told me.
Panel 4: Focus in on Lester. His head is tilted to one side, and he has a half grin. He’s still twirling the pen, but it’s up close to his face now.
Lester: What I do is not talk about what I do. It’s not really something I’m proud of.
Therapist: (off panel)I see.
Lester: You probably don’t. And I think our time’s up.
Therapist: Should I mark you down for next week, then?
Lester: Sure. Why not.
Page 3: A scene of a whole city, focusing on that bad neighborhood again. Lester is walking down the road with a messenger bag over one shoulder. Leave space in the background for the title “Bullseye: Motivations.” The text should be in the rounded balloons again, scattered around the page in a series of thoughts.
People do things for reasons.
Everybody does. If they tell you they ain’t got a reason for something, they’re a freakin’ liar.
Especially in a city with so many worthless lives walking around.
Now I’m not saying my reasons are any more important than anyone else’s,
But my reasons for doing things are at least helping the greater good in their own way.
We got too many humans walking around in this world. And all of them humans can be put into one of three categories.
Those who make trash.
Those who are trash.
Those who take out the trash.
And from what I know, it’s anyone’s best guess as to which is which.
Page 4: 7 panels. Two across the top, Three in the middle, and two on the bottom.
Panel 1: Lester is walking into his apartment building. The apartment should be an old-style brick home with 4 or 5 floors and an outside fire escape. One of the lamps outside the front door is broken, and all of the windows have bars on them.
Voice from an apartment: What’s this? You broke yer pencil again? What, you think I’m just gonna buy you another one?
Voice from the apartment: It’s just the tip dad. I just need to sharpen it.
Panel 2: Lester is opening the door to his apartment. There should be at least two locks on it. #301.
Lester (thinking):c He beats his kid for a reason. Who knows what that is. Maybe he feels powerful. Maybe he feels like he’s got some kind of control.
Panel 3: Lester is looking over at the other door. #303 The light isn’t very good, and we see a long shadow cast against the far wall.
Scared voice: I’m sorry, Dad. I have to get my homework done, and this pencil…
Angry voice: You just broke it again! Why the hell’d you do that you worthless piece of--
Scared voice: I didn’t mean to, dad. I think it’s broken insi--
Panel 4: Extreme close-up of Lester closing his eyes and scowling.
*smack*
Dad, I’m so--
*smack* SMACK *smack*
Panel 5: An image of Lester’s hand trembling on the key that’s still in the door lock.
Off panel: It’s a shame, Mr. Doe.
Panel 6: Lester looking up, surprised.
Panel 7: He’s still standing at the door, and there’s an older black man standing across the hall from him with a toolbox in his hand. Lester’s face has softened, and the old man looks sad as he stares at the door where the voices came from.
Lester: Evenin’ Mr. Connor.
Mr. Connor: That kid’s just tryin’ to do the right thing.
Page 5: 7 panels. Two along the top row, two in the middle, and three on the bottom row.
Panel 1: Lester opens his door, looking over his shoulder at Mr. Connor standing in the hallway.
Lester: They always do at that age.
Narration box: Kid’s gonna be #@$* up later on.
Panel 2: Mr. Connor waves a hand at Lester:
Connor: Oh, and thanks for taking down that Ivy on the East side of the building. You can take a hundred off yer rent for helping me out.
Lester: Yeah. Fine.
Panel 3: Lester is in his apartment, and can hear voices from the other side of his wall. He tosses his messenger bag on a chair.
Man’s voice from the wall: Go get me a beer!
Kid’s voice: There isn’t any in the house, dad.
Panel 4: He then goes to the bed and throws a few rolls of bills on it, one of them has blood stains on it.
Man: Then go to the store and get me one.
Kid: They won’t sell it to--
Panel 5: He is over at the window. The blinds are open. He picks up a couple of pencils from a jar on the table.
Panel 6: He is at the fridge and takes out two beers.
Man: ARE YOU TALKING BACK TO ME? GO!!
Panel 7: He goes back to the door and peeks outside to see the kid standing in the hallway.
Lester: Hey, kid. Come here.
Page 6: 5 panels
Panel 1: Lester standing in the hallway and holding a beer out to the kid.
Lester: My dad was like that, too.
Panel 2: Image of the kid’s arm with bruises from elbow to shoulder. The kid’s neck is also red.
Panel 3: Image of Lester looking at the kid’s arm as he takes the beer.
Lester: Wait here for five minutes, and then tell him you got it at the store. Study hard, kid.
Panel 4: Lester’s hand holding out the pencils in the foreground and the kid’s face in the background looking surprised/grateful.
Lester: Tell him I gave you these. Say they’re freebies from my work. Or something like that. Whatever you think he’ll believe.
Panel 5: The kid standing in the hallway, watching as Lester goes back into his apartment.
Kid: Thanks, Mr. Doe.
Page 7: 7 panels. 4 rows. One long, narrow one across the top of the page. Three in the second row - one small one the next one longer split in two. One full-bleed horizontal panel for the third row, then two on the bottom row. All of the dialogue is Lester thinking to himself.
Panel 1: Lester stands by the window. It’s night, and there are sirens, flashing lights, billboards, and helicopters outside.
This whole world is insane.
Panel 2: Lester looking at the bottlecap from his beer bottle.
That kid’s got no chance.
Panel 3-4: He flicks the bottlecap, and it flies across the room and slices a fly in half on the wall.
Panel 5: Lester tips back his beer and drinks.
Three possible outcomes:
The kid somehow gets away from that asshole of a father.
The kid stays, somehow lives, and turns into his father when he gets older.
The dad kills the kid in a fit of rage.
Panel 6: Image of Lester’s phone on the table flashing some encrypted text and three photo attachments.
Panel 7: A sadistic grin on Lester’s face.
Lester: Oh, there’s always work for me.
Page 8: 5 panels. Row 1: one panel across the top about ⅓ of the page. Row 2: two panels side-by-side. Row 3: one long panel with an inset on the right side. Speech is all in Lester’s thoughts.
Panel 1: Establishing shot from the outside of a large, expensive high-rise apartment in the nice part of Washington DC. There’s a helicopter on a pad on the roof. We should also see the rest of the city in the background.
Three photos.
First, an address.
Second, a face.
Third, a calendar and clock.
Photos are harder to hack than text.
Panel 2: An older, wealthy man is closing the door to a room filled with books and artifacts. There’s a computer on the desk and fine art on the walls.
Johnathan Harrington. Age 56. Owner and CEO of H&H Auction House.
Also, one of the most active human traffickers on the East Coast.
The client.
Panel 3: A young, blond, white man in his 20’s. He should look like some bratty college guy smoking with his headphones on. He should be in a room that reeks of too much indulgence and not enough discipline .
Bradley Lawson-Harrington. Age 22. Stepson of Mr. Harrington.
Junior at Georgetown University.
Two rape charges dropped during his freshman year.
The target.
Panel 4: Long distance shot of a small silhouette Bullseye wearing a jacket staring across and up at the apartment building from the roof of a neighboring building.
Bullseye: I want to kill them both.
Panel 5: Bullseye, posed gracefully with a couple of pencils in the fingers of one hand and few cards in the fingers of the other.
Bullseye: Those who make trash. Those who are trash. And I’m the one who will take out the trash.
Page 9: 8-12 panels showing Bullseye walking around, then in the building. Images of the men at the front desk, the parking attendant, the clock on the wall, various cars, maybe some people walking to their cars, etc.
Bullseye makes his way up to the front door of the apartment, and looks across at the security guards. They’re not really paying attention, and seem to be spending more time on their cell phones than looking at the side doors.
He goes in through the garage, waves to the parking attendant as if he knows him, and heads straight to the elevators.
The service elevator requires a key card, but he punches in a number on his phone and scans it on the access pad
The service elevator takes him up to the 23rd floor. He comes out into a large storage room with shelves of cleaning and maintenance supplies.
Bullseye (in the final panel): This is nice.
Page 10: 7 Panels. Row 1: Two panels on the top ¼ of the page. Row 2: Long, full-bleed panel about ¼ of the page. Row 3: 4 long, narrow panels. These can be at odd angles, or somehow drawn a little off and overlapping as his plan is going a little sideways.
Panel 1: Bullseye checks his phone and watches CCTV footage from inside the apartment.
Bullseye: Party time. Kid, dad, a dozen friends are all hanging around. Who knows where the hell mom is.
Panel 2: He picks up some ceramic tiles from a box and tucks them in a pouch on his belt. He’s wearing his costume under the jacket.
Bullseye:
Option 1: Kill the kid, get the money, go home.
No fun at all. Leaves a bad taste in my mouth.
Panel 3: He throws his jacket and bag into a laundry bin on wheels as he kicks it out of the way.
Option 2: Kill the kid, frame the dad, go home.
Nah, I don’t like loose ends.
Panel 4: Bullseye pulling the hood over his head.
Option 3: Kill the kid, kill the dad, let the partiers find them both.
Not bad. Certainly better than the other two options.
Panel 5: He kicks open the door and pulls out a pencil and starts twirling it.
Option 4: Kill the kid, kill the dad, kill the partiers, drink the good scotch, then go home.
Certainly more fun. But likely to ruin any future prospects of mine.
Panel 6: He looks down the hallway, there are two pencils twirling in his fingers on one hand.
Bullseye: Something else stinks. No security? CCTV cameras still on? It’s a trap.
Panel 7: Bullseye’s mouth curling up on one side in a smile.
Bullseye: I like traps. They make things more fun.
Page 11: 6 panels The first row of 3 panels should take up about half the page going across the top. Second row - a long horizontal panel spanning the page. Third row, two panels, one longer and an inset, skewed panel at the end.
Panel 1-3: Bullseye walks down the hallway toward the only door, taking out the lights along the way by throwing a pencil and then catching it as it falls back down.
Panel 4: He picks up some of the glass shards from the light fixtures.
Panel 5: From inside the apartment, there are several men hiding behind objects in a dark living room from an expensive and large apartment.
Bullseye (shouting): Knock, knock!
Panel 6: An image of the door open just a crack. There’s a sound of gunshot.
Bullseye (speaking in a balloon with no tail): I’m glad you could see me today, Doc.
Page 12: 4 panels. One large, full-page panel, and three inset panels along the side of the page.
Panel 1 (full-page): Bullseye slides into the room, throwing shards of glass toward the necks of the gunmen.
Panels 2-4 (inset): Close-ups of the gunmen falling back with glass sticking out of their necks.
Doc: Of course, Lester. I told you I could fit you in any time you need me.
Lester: Yeah. It’s just that promises seem to be broken so easily.
Doc: What’s on your mind.
Lester: Well, I told you I had another freelance job, right?
Doc: That’s right.
Lester: Well, the terms were sort of changed last-minute.
Lester: And I have a serious problem with that.
Page 13: Several panels of Bullseye killing off bodyguards and thugs on his way to the room where his client was sitting. He can be picking up household objects (pens, pencils, knives, playing cards, etc) to use as weapons.
On the far right side of the page, there should be four panels in a thick black box going down the side of the page.
Right panel 1: The client pulls out a gun.
Right panel 2: Bullseye throws a knife into the man’s wrist.
Right panel 3: The man falls back into his chair.
Right panel 4: Bullseye’s face looking fierce and smiling as he stares down at the man.
Lester: It was supposed to be a quick and simple job exactly like I always do. I go in there, I fix whatever needs to be fixed, then I pack up my things and leave
Doc: But this was different?
Lester: Well, when I got there, it wasn’t just one thing that needed fixing, it was the whole place. And then at some point, I realized that the guy wasn’t even planning on paying me.
Doc: Had you already done the work?
Lester: Well, some of it, anyway. It’s just… the principle of the thing, y’know? If you say you’re gonna hire me for something, then don’t change the rules on me.
Lester: I don’t like that.
Doc: So, did you talk to your client?
Lester: Yeah. But it wasn’t very pretty. I tend to lose my temper.
Page 14: Four horizontal panels.
Panel 1: Lester and the therapist are sitting opposite each other in the office again. The therapist has his pen and paper, and Lester is playing with a business card.
Doc: So, did you eventually get paid?
Panel 2: Image of the man from the previous pages, dead in his chair with the knife still in his wrist and a CD sticking out of his forehead. There should be blood all over the place.
Lester: Not in the way we had originally agreed, but I think I’m okay with it.
Panel 3: The scene in the therapist’s office again (same as panel 1, but a little different hand and body gestures.
Doc: I see. So you finished the job, but you’re more upset about him changing the terms?
Panel 4: Image of the man’s son (the original target), pinned to the wall with a knife through his neck.
Lester: Yeah. I finished the job. I mean, I have some professional pride, too. I didn’t want to leave everything a mess.
Page 15: 8 panels. First row, 3 panels across. Second row, one horizontal panel. Third row, horizontal panel. Bottom row, 3 panels of equal size.
Panel 1: The therapist is looking down at his notes, writing.
Doc: So, are you satisfied with the outcome?
Panel 2: Lester is looking up and to one side.
Lester: I suppose so.
Panel 3: The therapist looks up again.
Doc: Then that’s a good thing, right?
Panel 4: A wide shot of the therapist and Lester in the office. This should be from a distance, so they’re just silhouettes again. In the foreground, there are several bodies of the people Bullseye killed in the other scene.
Panel 5: The same as panel 4, only without the bodies.
Lester: Yeah. It’s a good thing.
Panel 6: Image of the therapist with a blank expression on his face. Just smiling slightly.
Panel 7: Image of Lester tucking the business card in his pocket.
Lester: So, you think I’m good for another week, doc?
Panel 8: Extreme close-up of the therapist clicking the top of his pen.
Doc: I think you’ll be just fine.
Page 16: 8 panels. Three across the top row, then one horizontal panel. The lower half should be split into two columns. The first one with two panels on top of a larger one below. Then an image of Lester’s face, lit by ambulance lights, looking off-page in the lower right corner.
Panel 1: Lester gets off the bus and walks down the street in his neighborhood.
Panel 2: Down the street, in front of his apartment, an ambulance is parked.
Panel 3: As he walks by, the ambulance door closes.
Panel 4: Horizontal panel of him in the middle walking toward Mr. Connor on the left with the ambulance on the far right. This should be a distance shot so we can see at least 3 or 4 buildings and several people hanging out on the steps outside their apartment buildings.
Mr. Connor: Aww, Lester. I dunno if you gots good timing or bad timing.
Lester: What happened?
Panel 5: Close-up of Mr. Connor’s face. He’s obviously upset and his eyes are sunken and tired.
Connor: That asshole Wilson next door to ya finally done it. Put his kid in the hospital with a broken jaw and bleedin’ inside.
Panel 6: Mr. Connor’s face again, but he looks very angry.
Connor: Musta called the cops on him fifty times, but they never done nothin’.
Now look at ‘im.
Panel 7: Connor again, this time looking up and off panel.
Connor: Had to take him almost killing his kid for the pigs to take him away.
This what happens when you white and got a brother in the sheriff’s department.
Panel 8: Lester’s looking off panel with a blank expression. The lights from the ambulance in his face.
Lester: What hospital’s the kid going to?
Off panel Connor: They ain’t got money. He’ll prolly be at County General.
Page 17: 6 panels. Four rows. First row: Horizontal panel on the top ¼ of the page. Second row, three panels. Row 3, a horizontal panel. Row 4 full bleed horizontal panel.
Panel 1: A horizontal panel of the hallway of Lester’s apartment. He’s standing in front of his door on the far right side. There is a policeman holding the kid’s father in handcuffs standing outside apartment #303.
Lester (thinking): Everyone has reasons. Good reasons, bad reasons, doesn’t matter.
She spends her nights selling drugs on the corner. She has a reason for that.
He hires a killer to come in and murder his son.
Maybe they’re valid and maybe they’re not. I don’t get to make that kind of judgment.
Not when it comes to adults.
Panel 2: Close-up on the door with the policeman standing outside. The door number #303 should be visible.
But when it comes to kids…
There’s no reason that can be considered valid.
Panel 3: Lester unlocks his apartment.
Lester: No reason to beat that kid.
Lester: I have few rules in my line of work.
Panel 5: A box of 12 pencils is thrown onto the bed.
Lester: On the top of that list is “don’t kill kids.”
Lester: So, that makes that garbage of a dad lower than me.
Panel 6: Wide shot of County General Hospital. Bullseye is standing in the parking lot outside the emergency entrance. He’s wearing his jacket again, and we can see his costumed legs and boots.
Rules are made for the masses, and exceptions made for the privileged few. You can smell the garbage beneath their tie pins and aftershave. They take care of each other.
They take care of their own. But they won’t even save one kid.
They gotta play by their own rules.
Page 18: 7 panels. First three on the top row taking up the top ⅓ of the page, then one vertical panel that takes up the left side of the page, and three going down on the right side.
Panel 1: Lester is walking down the hall of the hospital he has a stuffed bear in his hand.
Lester: So, Doc, have you ever had a really tough choice to make?
Doc: A tough choice? Like some kind of dilemma?
Panel 2 : Lester is asking for directions at the nurse’s station, showing her the stuffed animal.
Lester: Not really a dilemma. But when you know what you should do, and what you’re gonna do, but you’re not sure if it’s what’s actually right.
Panel 3: Lester is going into one of the rooms in the pediatric ward.
Doc: I suppose everyone has had that kind of choice at one point or another.
Panel 4: We see Lester’s back inside the room. The stuffed bear is well-lit, and we can see his white gloves holding it. The kid is in the background, wrapped in bandages, but his bed is in a position so he’s sitting, and he’s looking out the window.
Doc: So, do you want to talk about it?
Panel 5: Image of Lester holding out the bear to the kid.
Lester: I’m not sure. I mean, I know I did the right thing, whatever your definition of right might be. But something tells me, it might have some long-term effects that might not be so good.
Panel 6: The kid looks a little scared.
Doc: Part of taking responsibility for your actions is figuring out what to do with those effects, Lester. Do you feel confident you made the right choice?
Panel 7: Lester smiling gently in the hospital room.
Lester: Yeah. Definitely.
Page 19: Six panels: First three panels along the top row, then two square panels in the middle of the page, and one large panel on the bottom ⅓ of the page.
Panel 1: Lester takes a pad of paper and a pencil with a blood-stained tip out of his messenger bag.
Lester: Y’know that thing they say? That the enemy of my enemy is my friend? Or something like that.
Doc: Of course. Did you make a friend, Lester?
Panel 2: Lester’s hand writing the name Matt Murdock on the paper with a phone number (212) 565-
Lester (speaking): Now, I’m gonna be really straight with you. You can’t go home. You know that, right?
Lester (thinking): I wouldn’t say that. Maybe I kinda called a truce for this one thing.
Panel 3: He hands the phone number to the kid. There are a few blood spatters on his glove.
Lester: Yer gonna call this guy. He’s… he’s someone who can help.
Panel 4: The kid is looking down at the paper. His wrist is in a splint, but his fingers can hold the paper.
Lester: You gotta promise me you’ll call him. Or nothing’s gonna get better.
Panel 5: Similar to panel 4, but the kid’s face is looking up with the paper in his hand.
Kid: Yeah. I’ll call him.
Lester: If he asks where you got his number, you tell him Lester said he owes me one get out of jail free card, okay??
Panel 6: A shot of the whole room from the point of the view of the door, with Lester and the boy on the far side of the room by the window. Lester has one hand in his pocket and the other hand is twirling the pencil.
Lester: It’s gonna be okay, kid. Take care of yourself. And make that phone call.
Page 20: 6 panels in a grid.
Panel 1: Image of a sheriff walking into the police station.
Lester: I think this has to be our last session, doc.
Doc: Oh, I’m sad to hear that, Lester. Are you going somewhere?
Panel 2: The police officer opens the door to where the holding cells are.
Lester: Yeah. I gotta move to New York.
Doc: I think you’re in a really good place here, Lester. Do you need a referral to someone in the New York area?
Panel 3: They look into one of the holding cells, and we see horror on their faces.
Lester: Aw, doc, I’m not so sure. You know it’s hard for me to trust people.
Doc: I’m very happy to hear that you trust me. Are you sure you have to leave?
Panel 4: The sheriff shouts something at the police officer and points away.
Lester: Yeah. I think the opportunities here have all dried up for me. Gonna go someplace a little more inviting.
Doc: I see. Well, If you ever need to talk, I’m here for you.
Panel 5: We see the father of the kid in the cell with 11 pencils sticking out of his face - his eyes, throat, forehead, etc.
Lester: Yeah. That’s not really the way this works, Doc.
Panel 6: Close-up of the dad’s face with blood running out of the eye sockets.
Lester: Once I move on, I’m done with this. Maybe I’ll come back for a job, but otherwise… Once you take out the trash, you don’t bring it back into the house, y’know?
Page 21: 6 panels. Two on the top row, two in the middle row, and two on the bottom row. The last panel should sit “on top” of the other panels.
Panel 1 and 2: A split panel of the Doctor and Lester talking to each other in the office. The doctor is in panel 1 and Lester is in panel 2. The doctor looks confident and a little smug. Lester is leaning forward with his elbows on his kne es.
Doctor: So, tell me, Lester - or are you Bullseye right now? Tell me, am I the trash you’re taking out when you go to New York?
Lester: Maybe. Or maybe you’re the one taking out my trash.
Panel 3: Image of the therapist in the foreground and Lester in the background. The therapist is twirling his pen in the same way that Bullseye usually twirls the pencil. Lester is relaxed with his head tilted to one side, leaning back on the sofa.
Lester: But maybe it’s time I start taking out my own trash and not relying on you all the time?
Panel 4: Image of the pen tapping on a blank sheet of paper.
Doctor: I’m sure you can do a very good job at it, too. But you also know I tend to follow you.
Panel 5: The doctor looks up again, but this time, he looks like Lester, only wearing glasses and hair. He flings a business card at Lester in the same way that Bullseye throws it.
Doctor: You need me. Someone to talk to, right? The one who can ask you all of the really tough questions.
Panel 6: Lester, sitting back in the chair, holding the business card. We see Lester’s face in the background. The business card reads “John Doe, found by the river, March 12, 2018.” And under that Psycho-therapist.
Lester: Thanks, Doc. I really appreciate your help.
Page 22: 4 panels. First panel takes up ⅔ of the page. There are three panels below the main one.
Panel 1: Bullseye is leaning over the railing of the fire-escape, holding a beer. There are police and flashing lights down in the street. Some kids are standing out by the corner. He’s just looking over his neighborhood. There’s a sound of the phone ringing in his pocket. The ringtone should go throughout the last three panels.
Motivations. Reasons.
Reasons for killing people. Reasons for saving people. Reasons for seeing a therapist.
Reasons for living in a dump like this.
(Bullseye’s phone ringtone): Oh you hit the spot
Like the first embrace with a modest tide
You hit the spot
Like the pipe and slippers by the fireside
Matter of factly don't know exactly
What it is that you've got
But ooh you hit the spot
Panel 2: Bullseye looking at his phone.
Lester (speaking): Murdock. Didn’t take him long.
I guess there are reasons for leaving this dump, too.
Panel 3: Bullseye pockets his phone again without turning it off or answering it.
Lester (speaking): What’s he gonna do? Finding out is worth the trip.
Panel 4: Bullseye takes a drink of his beer.
Lester (speaking): I like this song.