So Vicky, now adopting the name Cresta, opts to stay behind with Troilus.
With the Trojan handmaiden Katerina aboard the TARDIS, the Doctor is in need of help for Stephen, who is delirious from his battle wounds.
The TARDIS leaves the ravaged city of Troy en route for the jungle planet of Kemble.
Here, the Dalek's master plan is starting to unfold.
And the nightmare begins.
The Phrygian city of Troy, or Ilion as it was also known, was a city beset by many misfortunes.
Believed by many to have been situated in modern day Turkey, close to the village of Hisalik, and described by Homer in the Iliad as overlooking the Hellespont.
In 1870, Heinrich Schliemann set out to discover its ruins.
What he in fact discovered was a number of ruined cities lying on top of each other.
There were nine layers in total, and the seventh layer displayed signs of having been destroyed by fire at around 1184 BC, a likely contender for Priam's Troy.
However, what we may never know is how much of the story of the siege and sack of Troy is true, and how much is myth.
According to sources such as Homer's Iliad, and Apollodorus' Epitome, Greek and Troy were old rivals.
However, it was the interference of the gods that sparked the war between the two.
During the wedding reception of a king and a minor goddess, Hera, Athena and Aphrodite began to argue about which of them was the most beautiful.
Hermes referred the argument for arbitration to the Trojan prince Paris, thought to be the world's most handsome man.
He favoured Aphrodite, but only because she offered him the love of the world's most beautiful woman as a bribe.
Unfortunately, the world's most beautiful woman was Helen, wife of King Menelaus of Sparta, a city under Greek control.
Ignoring the warnings of Helenus and Cassandra, his brother and sister, who were seers, Paris sailed for Sparta.
There he received hospitality from Menelaus and Helen's brothers, hospitality he repaid by carrying off the willing Helen and a good deal of the palace treasury.
Menelaus, aided by his more powerful brother Agamemnon, raised a largely unwilling force from Helen's former suitors,
and once hopes of a peaceful settlement had been thwarted, the war began in earnest.
However, it soon became apparent that the Greeks could not hope to destroy the strong and wealthy walled city of Troy,
whilst it could count on supplies from nearby cities under its dominance.
Mainly commanded by Achilles, the Greeks set about conquering these vassals and allies, an operation that took nine long years.
However, Troy still remained a formidable force despite heavy casualties, and its walls remained impenetrable to the Greeks.
The cunning Odysseus finally broke this stalemate.
At his suggestion and with Athena's aid, the artisan Epeus constructed an enormous wooden image of a horse.
Under Odysseus's command, a number of the boldest Greeks hid inside whilst the fleet sailed away, leaving behind a spy named Sinon.
When the puzzled Trojans came out to view the abandoned Greek camp, they found the strange horse on the plain, and Sinon nearby with his arms bound.
Pretending to be enraged by his fellow Greeks, Sinon told the Trojans an elaborate tale that convinced them that the horse would bring luck to Troy.
Then, despite further warnings from Cassandra, who had been cursed by Apollo never to be believed, the Trojans dragged the horse inside the city.
That night, with the Trojans worn out from revelling, Sinon released the Greeks in the horse and showed a beacon on the hills.
The Greek navy quickly returned and the Greeks sacked the city in a terrible night-time battle.
Priam was slaughtered as he clung to the statue of Zeus. Cassandra was raped before the image of Athena.
Hector's son was flung from the city walls. Priam's daughter Polixena was sacrificed on Achilles' grave.
Of the Trojan men, only one escaped alive. Troy was utterly destroyed.
Despite her betrayal, Helen was reunited with Menelaus, who forgave her because of her beauty.
However, only a few of the Greek heroes would return safely to Greek soil.
Menelaus wandered the seas for seven years before arriving in Sparta.
Agamemnon was murdered by his wife, either in his bath or at dinner.
And Odysseus' voyage home took ten years and saw him encounter both men and monsters.
The sort of journey a wandering time lord might well enjoy.
Well, to start with, when I was very young, I wanted to be a ballet dancer.
And I had an interview for Sadler's Wells, but I had not got the right shape feet, and my spine wasn't strong enough.
So they said that I'd never make it.
So I decided that probably what I liked about ballet was telling the story and music.
Music I can listen to anyway, and acting was telling the story.
And I enjoyed doing it at school. I think I've just always wanted to do it, really.
And then as soon as I left school, I went to the Central School of Speech and Drama, where I was there for three years.
And left with a small clutch of awards, one of which was a contract at Dundee Rep.
And I'd also won an Associated Rediffusion Scholarship for my last year at drama school.
So when I got back, I went to see some producers, and I actually got given the part of a nurse in some Associated Rediffusion production.
But very soon after that, I was really terribly lucky, because very soon after that, I got sent for an interview.
I got an agent who had somebody on his books who this director wanted to see for a part in Margarita Lasky's Victorian Chez Long.
They were doing adaptations of novels on the BBC, and it was a really big part.
And she wasn't available for the dates, so my agent suggested that he might like to see me.
And I managed that night to get hold of a copy of Victorian Chez Long, and I read it.
And it's actually quite a complicated story, in which the same person is sent back to Victorian England, but her brain is still in 20th century England.
And there's a point in the book where the two characters, the two women who are in the same brain, as it were, have a conversation with each other.
And I read the book, and I thought, if I was the director doing this interview, I would get the actress to do that bit.
Which really, unless you've read the book, doesn't make any sense at all.
And that was actually what he asked me to do.
And so he took a huge risk, took a huge risk, because I was completely an unknown quantity in television, but it was a big success.
So, I mean, I immediately went on to play leads in television.
I started the way I meant to go on, except for the quick nurse, which gave me a good insight into how television worked, and working with cameras and stuff like that.
So that was my first big telly, which led to a lot of others.
And really, because of doing a lot of television, I got asked to do a couple of West End plays and a couple of films.
But, I mean, it all really started from Victoria and Shays Long.
My first film was The Pumpkin Eater, which was Jack Clayton.
Jack Clayton directed it.
And it was an amazing film to get to do, because it had the most fantastic cast.
Peter Finch played my dad.
Anne Bancroft played my mum.
And Maggie Smith was in it, and James Mason.
And it was just everybody in it is, you know, an amazing actor or actress.
It was fantastic.
And I got that because the casting director had seen me playing some—I was actually 25.
But the casting director had seen me in a television play, in which I was playing somebody quite a bit younger.
And so they said, scrub all your makeup off, come in the nearest that looks like a gym slip, and come to the auditions.
So I did.
And I went in and I read for Jack Clayton.
And the casting director said that afterwards, when I'd left the room, he'd said, thank goodness that's our diner.
And she said, oh, I have to tell you that she's actually 25.
So they actually had to then do screen tests and stuff.
So I put on some pigtails and did my screen test and got the job.
So, I mean, I was doing really high-quality stuff.
I was very lucky.
Well, then, oddly enough, the same director who directed the television that led to The Pumpkin Eater was June Housen.
And she was directing a series called Raging Car.
It was a Stan Basto novel.
And because I'd worked with her on this other production, she sent for me and said, would I do Raging Car?
So that was—yeah, that was good.
Because doing a Norman Wisdom film, you end up by doing some really weird things, like hanging from a chandelier with a bicycle and him,
and riding on the back of trains, on the bumpers at the back of a train.
I'm not really terribly into stunts.
I wasn't crazy about it.
But I did the Norman Wisdom film for the bank manager.
One of my other favorite televisions was I, Claudius.
And I was playing the character of Claudia, who was the nymphomaniac daughter of Augustus.
How did I get that?
Oh, yes, again, I'd worked for the—Habby Wise, the director, on something else.
And so he just rang me up one evening and said, I'm really casting against that type.
How do you fancy playing a nymphomaniac?
One of the most famous nymphomaniacs in history.
And you're going to have to get fat.
Playing that, I started off at—we all, because it went through such a long period of time,
what they mostly did was cast the cast at the age when they were most seen.
So you ended up by sort of playing somebody from 18 to, in my case, 18 to about 40.
But they didn't pick an 18-year-old, because there were quite a lot of bits that were sort of getting towards the 40.
So, yes, we had to all wear—I mean, I had to wear a body.
I had a false body, which sat in my dressing room and glowered at me.
And if Derek Jacobi, who was playing Claudius, and I were both wearing our bodies,
it was very difficult for us to get through a door at the same time as each other.
Yes, we had—I mean, nobody realized again that that was going to become a sort of cult thing.
In fact, it was—everyone was quite nervous about it.
It cost a lot of money.
And it was kind of, you know, for historical drama, for such a bloodthirsty historical drama,
it was really quite tongue-in-the-cheek a lot of the time, and nobody quite knew how it was going to go down.
Just a note.
Let me go, you fat, drunken cow!
Fat! Fat!
I'm fat! I'm fat! Where a woman should be fat, not skinny like a boy!
Go to bed, my dear, and I'll send you one up.
He's very pretty, I promise you. I've had him myself.
He reminds me of your ex-wife.
Not a hair on his body, and he's even skinnier behind!
Yes, I went from doing—not straight away, but almost straight away—from playing 18 to 40 in—like Claudius.
And then I played the Queen, Queen Charlotte in Prince Regent, and aged from about 40 to about 80.
And that was great fun, too.
I mean, the costumes were wonderful.
Peter Egan played my son, the Prince Regent.
And we got on very well together.
And it was great fun.
I like historical dramas.
I have, in my day, done the Odd Sail Popera.
I did Crossroads. I did two stints in Crossroads.
Mostly, again, for the bank manager, although I quite enjoyed them.
I mean, the big disadvantage, in many ways, to doing something like Crossroads is that you can't walk down a street
without people staring at you and falling off the pavement.
And particularly with Crossroads, people tended to get carried away with the storyline that was happening to the character you're playing.
So you would have people talking to you as if you were that character.
And I had a very badly behaved daughter in it.
And we very rarely dared to go out together, shopping or into Birmingham.
But we did once, and we were buying something in Smith's.
And she went through the till before I did.
And the woman in Smith's just had a go at her,
which was actually because she was treating me very badly at the time and behaving badly.
Nothing to do with her going through.
She said, well, say thank you, miss.
And the girl had said thank you.
I mean, it was just ridiculous.
But it was because she obviously felt that my character in Crossroads ought to be a bit firmer with this girl.
And she was really showing me how it was done, I think.
Very strange, because people did take the characters in something like Crossroads very seriously.
If you were ill, you could get sent flowers, you know, that sort of thing.
I'm sure it's going to be good news.
Don't build any hopes.
They said be prepared for a surprise.
I know, but don't build any hopes.
Don't build any hopes, yes, I know.
I've already said that about half a dozen times.
And then, darling, you begin to sound like a needle stuck in a groove.
Well, that doesn't outdate you.
But then I always do go for the elder woman.
Oh, I'm sure we're going to see a great change in Nicky.
Yes, I did.
Yes, I worked with another.
Yes, I did work with another doctor.
I worked with Peter Davison in Very Peculiar Practice.
That was a very funny series.
And, again, great fun to do.
I'm sorry, I can't.
But, I mean, it would be for his own good.
I'm sorry.
I know it must seem ridiculous and stupid to you, and it is.
I can guarantee it will be completely confidential.
If it's someone that you don't want to see again, then we can make the contact for you without involving you.
Anywhere in the country, if you could just perhaps give us a telephone number.
Believe me, I hate this part of it.
It's awful.
It makes you feel like Special Branch or something.
If I...
If I just wrote down a name...
That's all. You wouldn't hear any more about it.
Oh, what the hell. Give me a piece of paper.
Thank you very much, Mrs Hampton. You've been most helpful.
One of the other series I've done was May to December, which in the end we did seven sets of six or seven episodes and a Christmas special.
So it did go on for a long time, but nobody had any idea when it started that it was, again, that it was going to become such a runaway success.
It was a new writer.
Sidney Lotterby was producing it and directing it, and I'd never actually worked with Sidney Lotterby.
But he asked my agent if he could have my phone number and talk to me on the phone.
He rang me up and said, I'm doing this series, and I would really like you to play the sort of rather starchy secretary.
It's not a wonderful part, he said, and we're only planning to do one series, but I think it will just be quite fun to do, and I'd love to work with you.
Would you like to do it?
So I said, right, fine.
And we did series one.
And by the end of series one, it was decided that we were definitely going to do series two.
And the very small, I mean, he said there are two secretaries, and they're just wallpaper, really, because it's about a solicitor, and a solicitor would have a couple of secretaries.
So, you know, you're really just kind of like in the outer office.
But by the end of series one, they'd got so many letters about Miss Flood and Hillary that Miss Flood and Hillary's parts got developed rather starkly.
The author said to me somewhere around about series six, if anybody had ever told me I would devote a whole episode to Miss Flood getting married, he said I'd never have believed them.
And it just took off, and it took off for Rebecca Lacey and me, particularly more than it was intended to, if you see what I mean.
I'm amazed at how many letters I do get for Doctor Who still.
They make me feel as if I should be in a museum, I have to say.
But most of the letters that come now seem to come now, people are catching up on things that they've seen abroad, or perhaps on DVD.
And Magic Sand has just gone out on DVD, so there'll probably be a whole spate of letters.
When Mythmakers went on to a sound recording, I got a whole spate more letters.
And if there's a big Doctor Who conference, I tend to get letters and things like that.
Everyone's very disappointed because I have no photographs of myself as Cassandra.
Really no memorabilia about it at all.
Sir, dear Fleming, now it comes to it, I welcome Scotland.
I'm now getting older, of course, I'm 67 any minute.
So I haven't been playing the big lead that I used to play, but that's fine.
And I have discovered that I really rather enjoy and am starting to get work in voiceovers, which I hadn't really tackled before.
And I turn out to be quite good at them.
And I've done a few cartoons.
I'm Granny Pig's voice in Peppa Pig, and some disaster, the voices, translation voices of people who've been in disasters I've been doing recently.
I seem to have had a year when I've been doing the voice of disaster, including one of the voices on the recent BBC Hiroshima programme.
First I thought only the station area was affected.
Then I saw people walking towards me with injuries and skin hanging from them.
Everybody thought, perhaps if I go over there, I could be saved.
People to the west thought the east might be better.
People were going in every direction.
Total silence.
Not particularly recent.
I've always wanted to do and I never got even an interview for one.
I've always wanted to do a morse.
And that always quite like to have done Midsomer murders, mostly because they're actually shot round here.
And it'd be really easy to get to work.
And I think they're quite fun.
And I've never been even given an interview for that either.
I mean, I've been very lucky in my early career, really lucky.
And I don't go around thinking.
It would be quite it would be nice to sort of perhaps do another series like me, not not more made to December.
I mean that. But I mean, to go into my old age, kind of like doing something like that, which you can do one of a set of every year for a few years would be really nice.
I mean, to go into my old age, kind of like doing something like that, which you can do one of a set of every year for a few years would be really nice.
You're needed Claire, over there's patient.
I have quite a few to pick from things that I would like to be remembered for.
Things that I'm most proud of.
I'm proud of Julia in May to December.
I'm proud of Queen Charlotte.
Actually, it was never the huge success that I think it deserved to be actually.
I also did a.
We did a for Omnibus.
Jack Gold directed a series of three short stories of a cop arts and one of them was the story of Dusky Ruth.
And I played Dusky Ruth in that.
And I'm actually quite proud of that. And I'm I'm very fond of Miss Flood.
My career has always been a bit of an accident, actually, because.
When I had once I had my daughter and I left my husband, I then had to balance.
What I worked on with time at home.
What actually suited her, what suited looking after my daughter.
And.
So probably less theater.
I did less theater than I might have done because it's much harder.
You have to go away and do tours and things like that.
And also you could earn more money in a short space of time doing television.
So a lot of my career decisions have not been career decisions.
They've been domestic decisions forced onto a career.
If you suit, I mean.
So I've never really kind of thought too much about the progression of my career.
I should probably go on just bumbling along, accidentally falling into things or never working again.
Who knows?
I mean, depends what anybody asks me.