“Rafe asks him, could the king’s freedom be obtained, sir, with more economy of means? Less bloodshed?
Look, he says: once you have exhausted the process of negotiation and compromise, one you have fixed on the destruction of an enemy, that destruction must be swift and it must be perfect. Before you even glance in his direction, you should have his name on a warrant, the ports blocked, his wife and friends bought, his heir under your protection, his money in your strong room and his dog running to your whistle. Before he wakes in the morning, you should have the axe in your hand.”
-Hilary Mantel’s ‘Bring Up The Bodies’
I imagine this scene tinged with hues of this kind of kingly power normalized by the midwestern airspace that owned it. Like decrees issued from a man who’d ruled long enough to know his power was complete. Jason Kreis. Who’d question? And yet this man emblematic of Salt Lake City is putting down is crimson scarf for big lights, big money. We nod. And the Salt Lake shrugged and wondered who’d question? We love him. He is going because we made him. And yet who can we elevate in his stead?
Cassar. Of course it was Cassar.