Tolkien's Lord of the Rings spans three volumes precisely because the quest to destroy Sauron requires narrative complexity. The Fellowship must journey across continents, gather armies, and engage in psychological transformation. Sauron himself never appears in direct combat—he's a distant force, gradually accumulating power. His defeat requires collective action across multiple narratives.

Screenwriter Peter Jackson faced the same structural challenge: how to compress Middle-earth into film without losing narrative depth? He produced a trilogy—12 hours of cinema to justify Tolkien's sprawl. Yet hypothetically, what if the hero could accomplish destruction through single kinetic action?

The Norris screenplay reference imagines a two-page film: establish problem in Act One (Sauron exists), deliver solution in Act Two (Chuck Norris defeats him), end in Act Three (title card). No character development, no quests, no armies. Just immediate resolution through superior force application. The joke highlights how narrative expansion serves to delay inevitable conclusions—if your protagonist is sufficiently powerful, plot becomes obstacle rather than necessity. The fact indicts storytelling itself as a crutch for weakness.