Sins of The Father tells two stories intermingled. In one, Chrístõ takes Julia to the Opera for her twelfth birthday and gives her a necklace that has been seen on several occasions in the various stories. It was first scene in the Unfinished Business story Parisian Interlude when The Doctor gave it to Rose. Then it appears in the Marion and Kristoph story, Marion’s Earth Wedding as a wedding gift. Doubtless it will be passed on again eventually. The silver necklace with the constellation of Kasterborus in diamonds is a much more expensive version of the TARDIS key necklace that costs £16.99 in Doctor Who memorabilia shops.

19th century Milan, though, proves a place where bad things go on. Chrístõ is hit on the head and Julia kidnapped by men recruiting for a brothel. Chrístõ naturally gives chase and rescues Julia and a group of other girls too young to be in such a place, but fails to stop the older women being exploited, despite giving them something to think about. I did emphasise here, quite strongly, the fact that his name is Italian for Christ.

The same theme is noted when his father looks at the portrait of Chrístõ as a child on his mother’s knee. Marion and Chrístõ – Madonna and Child. But he has a job to do that is far from holy. The Executioner must ride once more. Because he knows who sent the two men to Liverpool, and he knows what he must do. That the traitor who wants Chrístõ dead to prevent his destiny being manifest should turn out to be his stepmother’s own father, and Chancellor of the High Council is meant to be something of a shock. It is a shock to Valena, at least, when she reports that her father is dead. The exchange of words between the Ambassador and his wife are the oddest kind of reconciliation, perhaps, but it is a start.