An argument about creating weapons in a factory owned by several brothers quickly escalates – and then one brother is on the floor, hit on the head with a metal bar. And lo they have a case, defending Marcus who is being charged with the murder of his brother.
I dislike Tom attacking Marcus for his atheism, especially since his own growing jadedness, lack of faith in the world and Mr. Mountjoy’s often questionable motives and bizarre actions have been getting him down as well. Still, after being convinced of Marcus’ innocence, Zak is determined to see him acquitted.
But there are other issues as well. The very nature of the armaments factory closing costing many jobs, of a long trial increasing the risk that it will lose its contract and the factory will be forced to close again costing jobs – yet at the same time, it’s a weapons factory that contributes to so much killing. And, of course Richard is using his naughty fallen angel influence to further have the factory closed (putting pressure on the defence as well). And his machinations put Hannah at risk of attack by disgruntled factory workers blaming her as the lawyer shutting them down.
Which cumulates into an epic confrontation between Zak and Richard in the Minster – angel wings! I don’t know this scene was impressive and beautiful with a gorgeous setting but… it could have been so much more! Personally, if I was going to have Zak walk yup the aisle, backlit so epicly then I would have had his wings stretch up and outwards, filling the space, not be so bedraggled and close. I would have had halos and flashes of light and darkness when they struck each other.
It’s still an incredible, powerful great scene and is an almost perfect example of demonic temptation and angelic fall in a beautiful setting (the Minster is a beautiful building and it was used extremely well).
We have relationship angst, of course, with Hannah (walking love interest with no real role or character) having fun with her soldier boy and Hannah seems to sort of remember Zak which is a problem. More of a problem is that she was brought to York by Richard expressly to tempt Zak – she’s another chess piece, a pawn in the battle between heaven and hell. Every now and then Hannah seems to be cast vaguely as their grounding with reality, as the only non-angelic regular cast member she could be the normalising factor, the practical factor, maybe even the factor that shows that miracles can’t always fix things. But we don’t really get there and I think it’s an opportunity lost.