WEBVTT

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So Vicky, now adopting the name Cresta, opts to stay behind with Troilus.

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With the Trojan handmaiden Katerina aboard the TARDIS, the Doctor is in need of help for Stephen, who is delirious from his battle wounds.

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The TARDIS leaves the ravaged city of Troy en route for the jungle planet of Kemble.

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Here, the Dalek's master plan is starting to unfold.

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And the nightmare begins.

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The Phrygian city of Troy, or Ilion as it was also known, was a city beset by many misfortunes.

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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.

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In 1870, Heinrich Schliemann set out to discover its ruins.

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What he in fact discovered was a number of ruined cities lying on top of each other.

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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.

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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.

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According to sources such as Homer's Iliad, and Apollodorus' Epitome, Greek and Troy were old rivals.

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However, it was the interference of the gods that sparked the war between the two.

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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.

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Hermes referred the argument for arbitration to the Trojan prince Paris, thought to be the world's most handsome man.

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He favoured Aphrodite, but only because she offered him the love of the world's most beautiful woman as a bribe.

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Unfortunately, the world's most beautiful woman was Helen, wife of King Menelaus of Sparta, a city under Greek control.

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Ignoring the warnings of Helenus and Cassandra, his brother and sister, who were seers, Paris sailed for Sparta.

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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.

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Menelaus, aided by his more powerful brother Agamemnon, raised a largely unwilling force from Helen's former suitors,

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and once hopes of a peaceful settlement had been thwarted, the war began in earnest.

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However, it soon became apparent that the Greeks could not hope to destroy the strong and wealthy walled city of Troy,

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whilst it could count on supplies from nearby cities under its dominance.

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Mainly commanded by Achilles, the Greeks set about conquering these vassals and allies, an operation that took nine long years.

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However, Troy still remained a formidable force despite heavy casualties, and its walls remained impenetrable to the Greeks.

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The cunning Odysseus finally broke this stalemate.

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At his suggestion and with Athena's aid, the artisan Epeus constructed an enormous wooden image of a horse.

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Under Odysseus's command, a number of the boldest Greeks hid inside whilst the fleet sailed away, leaving behind a spy named Sinon.

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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.

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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.

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Then, despite further warnings from Cassandra, who had been cursed by Apollo never to be believed, the Trojans dragged the horse inside the city.

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That night, with the Trojans worn out from revelling, Sinon released the Greeks in the horse and showed a beacon on the hills.

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The Greek navy quickly returned and the Greeks sacked the city in a terrible night-time battle.

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Priam was slaughtered as he clung to the statue of Zeus. Cassandra was raped before the image of Athena.

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Hector's son was flung from the city walls. Priam's daughter Polixena was sacrificed on Achilles' grave.

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Of the Trojan men, only one escaped alive. Troy was utterly destroyed.

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Despite her betrayal, Helen was reunited with Menelaus, who forgave her because of her beauty.

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However, only a few of the Greek heroes would return safely to Greek soil.

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Menelaus wandered the seas for seven years before arriving in Sparta.

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Agamemnon was murdered by his wife, either in his bath or at dinner.

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And Odysseus' voyage home took ten years and saw him encounter both men and monsters.

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The sort of journey a wandering time lord might well enjoy.

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Well, to start with, when I was very young, I wanted to be a ballet dancer.

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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.

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So they said that I'd never make it.

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So I decided that probably what I liked about ballet was telling the story and music.

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Music I can listen to anyway, and acting was telling the story.

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And I enjoyed doing it at school. I think I've just always wanted to do it, really.

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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.

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And left with a small clutch of awards, one of which was a contract at Dundee Rep.

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And I'd also won an Associated Rediffusion Scholarship for my last year at drama school.

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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.

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But very soon after that, I was really terribly lucky, because very soon after that, I got sent for an interview.

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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.

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They were doing adaptations of novels on the BBC, and it was a really big part.

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And she wasn't available for the dates, so my agent suggested that he might like to see me.

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And I managed that night to get hold of a copy of Victorian Chez Long, and I read it.

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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.

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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.

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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.

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Which really, unless you've read the book, doesn't make any sense at all.

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And that was actually what he asked me to do.

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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.

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So, I mean, I immediately went on to play leads in television.

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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.

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So that was my first big telly, which led to a lot of others.

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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.

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But, I mean, it all really started from Victoria and Shays Long.

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My first film was The Pumpkin Eater, which was Jack Clayton.

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Jack Clayton directed it.

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And it was an amazing film to get to do, because it had the most fantastic cast.

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Peter Finch played my dad.

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Anne Bancroft played my mum.

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And Maggie Smith was in it, and James Mason.

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And it was just everybody in it is, you know, an amazing actor or actress.

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It was fantastic.

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And I got that because the casting director had seen me playing some—I was actually 25.

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But the casting director had seen me in a television play, in which I was playing somebody quite a bit younger.

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And so they said, scrub all your makeup off, come in the nearest that looks like a gym slip, and come to the auditions.

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So I did.

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And I went in and I read for Jack Clayton.

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And the casting director said that afterwards, when I'd left the room, he'd said, thank goodness that's our diner.

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And she said, oh, I have to tell you that she's actually 25.

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So they actually had to then do screen tests and stuff.

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So I put on some pigtails and did my screen test and got the job.

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So, I mean, I was doing really high-quality stuff.

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I was very lucky.

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Well, then, oddly enough, the same director who directed the television that led to The Pumpkin Eater was June Housen.

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And she was directing a series called Raging Car.

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It was a Stan Basto novel.

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And because I'd worked with her on this other production, she sent for me and said, would I do Raging Car?

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So that was—yeah, that was good.

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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,

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and riding on the back of trains, on the bumpers at the back of a train.

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I'm not really terribly into stunts.

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I wasn't crazy about it.

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But I did the Norman Wisdom film for the bank manager.

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One of my other favorite televisions was I, Claudius.

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And I was playing the character of Claudia, who was the nymphomaniac daughter of Augustus.

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How did I get that?

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Oh, yes, again, I'd worked for the—Habby Wise, the director, on something else.

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And so he just rang me up one evening and said, I'm really casting against that type.

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How do you fancy playing a nymphomaniac?

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One of the most famous nymphomaniacs in history.

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And you're going to have to get fat.

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Playing that, I started off at—we all, because it went through such a long period of time,

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what they mostly did was cast the cast at the age when they were most seen.

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So you ended up by sort of playing somebody from 18 to, in my case, 18 to about 40.

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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.

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So, yes, we had to all wear—I mean, I had to wear a body.

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I had a false body, which sat in my dressing room and glowered at me.

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And if Derek Jacobi, who was playing Claudius, and I were both wearing our bodies,

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it was very difficult for us to get through a door at the same time as each other.

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Yes, we had—I mean, nobody realized again that that was going to become a sort of cult thing.

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In fact, it was—everyone was quite nervous about it.

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It cost a lot of money.

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And it was kind of, you know, for historical drama, for such a bloodthirsty historical drama,

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it was really quite tongue-in-the-cheek a lot of the time, and nobody quite knew how it was going to go down.

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Just a note.

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Let me go, you fat, drunken cow!

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Fat! Fat!

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I'm fat! I'm fat! Where a woman should be fat, not skinny like a boy!

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Go to bed, my dear, and I'll send you one up.

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He's very pretty, I promise you. I've had him myself.

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He reminds me of your ex-wife.

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Not a hair on his body, and he's even skinnier behind!

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Yes, I went from doing—not straight away, but almost straight away—from playing 18 to 40 in—like Claudius.

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And then I played the Queen, Queen Charlotte in Prince Regent, and aged from about 40 to about 80.

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And that was great fun, too.

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I mean, the costumes were wonderful.

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Peter Egan played my son, the Prince Regent.

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And we got on very well together.

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And it was great fun.

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I like historical dramas.

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I have, in my day, done the Odd Sail Popera.

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I did Crossroads. I did two stints in Crossroads.

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Mostly, again, for the bank manager, although I quite enjoyed them.

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I mean, the big disadvantage, in many ways, to doing something like Crossroads is that you can't walk down a street

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without people staring at you and falling off the pavement.

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And particularly with Crossroads, people tended to get carried away with the storyline that was happening to the character you're playing.

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So you would have people talking to you as if you were that character.

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And I had a very badly behaved daughter in it.

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And we very rarely dared to go out together, shopping or into Birmingham.

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But we did once, and we were buying something in Smith's.

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And she went through the till before I did.

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And the woman in Smith's just had a go at her,

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which was actually because she was treating me very badly at the time and behaving badly.

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Nothing to do with her going through.

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She said, well, say thank you, miss.

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And the girl had said thank you.

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I mean, it was just ridiculous.

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But it was because she obviously felt that my character in Crossroads ought to be a bit firmer with this girl.

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And she was really showing me how it was done, I think.

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Very strange, because people did take the characters in something like Crossroads very seriously.

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If you were ill, you could get sent flowers, you know, that sort of thing.

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I'm sure it's going to be good news.

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Don't build any hopes.

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They said be prepared for a surprise.

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I know, but don't build any hopes.

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Don't build any hopes, yes, I know.

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I've already said that about half a dozen times.

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And then, darling, you begin to sound like a needle stuck in a groove.

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Well, that doesn't outdate you.

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But then I always do go for the elder woman.

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Oh, I'm sure we're going to see a great change in Nicky.

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Yes, I did.

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Yes, I worked with another.

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Yes, I did work with another doctor.

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I worked with Peter Davison in Very Peculiar Practice.

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That was a very funny series.

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And, again, great fun to do.

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I'm sorry, I can't.

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But, I mean, it would be for his own good.

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I'm sorry.

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I know it must seem ridiculous and stupid to you, and it is.

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I can guarantee it will be completely confidential.

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If it's someone that you don't want to see again, then we can make the contact for you without involving you.

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Anywhere in the country, if you could just perhaps give us a telephone number.

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Believe me, I hate this part of it.

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It's awful.

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It makes you feel like Special Branch or something.

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If I...

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If I just wrote down a name...

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That's all. You wouldn't hear any more about it.

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Oh, what the hell. Give me a piece of paper.

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Thank you very much, Mrs Hampton. You've been most helpful.

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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.

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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.

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It was a new writer.

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Sidney Lotterby was producing it and directing it, and I'd never actually worked with Sidney Lotterby.

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But he asked my agent if he could have my phone number and talk to me on the phone.

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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.

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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.

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Would you like to do it?

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So I said, right, fine.

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And we did series one.

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And by the end of series one, it was decided that we were definitely going to do series two.

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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.

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So, you know, you're really just kind of like in the outer office.

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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.

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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.

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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.

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I'm amazed at how many letters I do get for Doctor Who still.

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They make me feel as if I should be in a museum, I have to say.

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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.

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And Magic Sand has just gone out on DVD, so there'll probably be a whole spate of letters.

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When Mythmakers went on to a sound recording, I got a whole spate more letters.

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And if there's a big Doctor Who conference, I tend to get letters and things like that.

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Everyone's very disappointed because I have no photographs of myself as Cassandra.

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Really no memorabilia about it at all.

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Sir, dear Fleming, now it comes to it, I welcome Scotland.

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I'm now getting older, of course, I'm 67 any minute.

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So I haven't been playing the big lead that I used to play, but that's fine.

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And I have discovered that I really rather enjoy and am starting to get work in voiceovers, which I hadn't really tackled before.

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And I turn out to be quite good at them.

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And I've done a few cartoons.

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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.

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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.

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First I thought only the station area was affected.

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Then I saw people walking towards me with injuries and skin hanging from them.

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Everybody thought, perhaps if I go over there, I could be saved.

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People to the west thought the east might be better.

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People were going in every direction.

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Total silence.

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Not particularly recent.

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I've always wanted to do and I never got even an interview for one.

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I've always wanted to do a morse.

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And that always quite like to have done Midsomer murders, mostly because they're actually shot round here.

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And it'd be really easy to get to work.

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And I think they're quite fun.

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And I've never been even given an interview for that either.

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I mean, I've been very lucky in my early career, really lucky.

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And I don't go around thinking.

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It would be quite it would be nice to sort of perhaps do another series like me, not not more made to December.

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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.

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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.

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You're needed Claire, over there's patient.

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I have quite a few to pick from things that I would like to be remembered for.

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Things that I'm most proud of.

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I'm proud of Julia in May to December.

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I'm proud of Queen Charlotte.

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Actually, it was never the huge success that I think it deserved to be actually.

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I also did a.

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We did a for Omnibus.

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Jack Gold directed a series of three short stories of a cop arts and one of them was the story of Dusky Ruth.

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And I played Dusky Ruth in that.

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And I'm actually quite proud of that. And I'm I'm very fond of Miss Flood.

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My career has always been a bit of an accident, actually, because.

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When I had once I had my daughter and I left my husband, I then had to balance.

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What I worked on with time at home.

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What actually suited her, what suited looking after my daughter.

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And.

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So probably less theater.

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I did less theater than I might have done because it's much harder.

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You have to go away and do tours and things like that.

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And also you could earn more money in a short space of time doing television.

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So a lot of my career decisions have not been career decisions.

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They've been domestic decisions forced onto a career.

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If you suit, I mean.

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So I've never really kind of thought too much about the progression of my career.

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I should probably go on just bumbling along, accidentally falling into things or never working again.

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Who knows?

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I mean, depends what anybody asks me.