Roots: Grand Guignol theatre. Love Lies Bleeding 'Max Paul' is a play on Paula Maxa, a genuine Guignol actress and, as proclaimed, "the most assassinated woman in the world". Moulin Rouge - specifically the Baz Luhrman adaptation (Lucie is eager to 'meet' Ewan McGregor), Max recalls the fate of Sidney Carlton in A Tale of Two Cities. Lucie calls Doctor Baroque 'David Dickinson' (after the UK-famous TV antiques expert), misquotes Hamlet Act III,(i) ("I'll get me to a nunnery"), mentions Derren Brown the British illusionist and quotes from Edith Piaf's 'Non, je ne regretted rien". The Doctor has seen The Third Man (but Lucie hasn't heard of it). Doctor Baroque quotes from Leviticus 16:22 - the origin of the legendary 'scape goat'.
Goofs: The bleating of the spectator goats in episode two sounds suspiciously like sheep, not goats.
Despite being on a wooden stage with a trapdoor space below, Doctor Baroque's footfalls sound like horse hooves on a solid surface.
The Doctor says he has changed "eight times", instead of seven (it's the TV Movie all over again!)
Dialogue Triumphs: The Doctor is interrogated by the gestapo: "Rank?" "Prydonian renegade, I suppose"
"Are we to believe such an advanced craft would be unarmed?" "That's why it's so advanced."
Double Entendres: "Our first play, 'The Executioner's Son' concerns The Reign of Terror."
Continuity: The Baroques are a species of humanoid goats who travelled from another planet as part of an almost planet-wide diaspora following a cosmic catastrophe a thousand years in the past. Outwardly goat-like in appearance and behaviour (the males 'scent mark', for example), they are nevertheless technologically sophisticated, if at times savage in their own amusement, including a regular 'hunting' season in which targeted individuals are torn apart and devoured by members of their own clan. The role of the 'scapegoat', a figure of universal derision and persecution, is revered among the Baroque as a means to satisfy their savage desires while securing the safety of the wider population (the Doctor suggests this may be an outdated and unnecessary practice, however, maintained only by tradition.) Their technology seems to be based around quantics, including a quantigram (a hologram which disguises Le Theatre), a quantic beam (which Mme Baroque uses to ensnare the TARDIS) and a quantic re-animator, a device which 'heals' grievous wounds by returning the wound site to a time before the injury occurred - although a 'ghost' of the wound can remain. The technology would appear to be based on temporal energy, which the Baroques access by siphoning power from captured time machines. On their home world their race has apparently thrived, having since evolved from its savage past and lives a peaceful, pastoral existence. The Baroques are aware of Time Lords and TARDISes, although the Doctor seems unschooled, spending some time during this tory reading up on them in the TARDIS library.
A small device in Mother Baroque's frontal lobe filters out anything she doesn't wish to hear.
Along with 'The Executioner's Son' Max Paul's other plays include 'Testing, Testing' and 'Last Post'
The TARDIS' gyroscopic controls have become "rusty". Due to interference from the Baroques' quantic beam its chameleon circuit turns its external appearance into a fairground carousel (the dematerialisation sound is heard when its appearance changes.) At the beginning of this story the Doctor intended to arrive in Paris in 1899.
The Doctor sees himself as having once been a 'scapegoat' to his own people, "driven out into the desert of time and space", and has moved on in life accordingly. He claims that if his head was removed from his body he would die utterly and not regenerate.his sonic screwdriver acts as an effective weapon when triggered in close proximity to the Major's head. He has a ten franc note in his pocket
Links: The Doctor refers to his time on Orbis (Orbis)
Untelevised Adventures: The Doctor claims to have visited the Baroque home world en route to rescuing Lucie from the Theatre.
Location: Nazi Occupied Paris (Montmartre and the Pigalle areas), August.
The Bottom Line: "People of Paris, I am here to tell you a tale of blood and horror and pointless death."
Bizarre and lurid, but not without a wicked sense of humour. Pat Mills' barmy fantasy tech is well-suited in this story. Like Mill's previous 'Dead London (and its neighbours in this season) there's the sense that this one-off, no historical events at stake angle reduces the impact of the story, as though it's keen not to make too much of an impression; and with Scapegoat simply paying lip service to Orbis, the consequences of the Doctor's earlier estrangement have been quite diluted indeed. On its own merits, however, this is an entertaining enough script, and certainly colourful with it.