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William And Catherine UNLEASH Game-Changing Move! Charles' Response Reveals EVERYTHING! — Transcript

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0:00So, the king is standing in front of his
0:02television at Birkhall, completely
0:04blindsided, watching Prince William and
0:06Catherine step out of the same car in
0:09Wales when he was told they were
0:10supposed to be in two different parts of
0:11the country. And the reaction that
0:13followed wasn't anger, it wasn't
0:15confusion,
0:16>> [music]
0:16>> it was him asking for a photograph.
0:19That's the story. That's the whole
0:21thing. And when you actually look at
0:22what was said versus what happened, the
0:25timeline doesn't add up in a way that's
0:26honestly kind of fascinating. Before we
0:29get into it, if you enjoy royal deep
0:31dives and behind-the-scenes breakdowns,
0:33hit that subscribe button on Crown
0:35Watch. We post regularly, and you don't
0:38want to miss what's coming. Okay, so
0:40let's rewind. It's the third week of
0:42September, early evening at Birkhall.
0:45The king is working through the last of
0:47his papers. Camilla is doing her
0:49crossword. The fire is lit. The news is
0:51on low in the corner. Normal evening.
0:53Then a dark car pulls up outside a low
0:56brick building in Newport, South Wales.
0:58Rear door opens. William gets out. Other
1:01rear door opens.
1:02>> [music]
1:02>> Catherine gets out of the same car. And
1:04the king puts down his pen before the
1:06pictures have even finished coming up.
1:08He asked for the volume to be turned up.
1:11He walks the length of the rug and stops
1:13in front of the screen with his hands
1:15clasped behind his back, which is
1:17apparently how he stands when he's
1:19inspecting something that matters. He
1:21watched the entire item, maybe 30
1:22seconds, and [music] didn't sit back
1:24down. So, here's the thing. The king
1:27knew about Newport. He'd been told.
1:29William was visiting a family hub as
1:31part of Homewards, his homelessness
1:33initiative. That wasn't the surprise.
1:35The surprise was that Catherine was
1:37there because the king had been assured
1:40she was on the South Coast that same day
1:42doing early years work. Two places, two
1:45diaries, twice the ground. He'd been
1:47told it was agreed. He had read the
1:49outline himself and called it sensible.
1:52So, why is he standing there like he's
1:53seeing something he didn't approve?
1:55That's where it gets weird. Because if
1:57he approved the plan and the plan was
2:00for them to be separate, then either the
2:01plan changed without him knowing or the
2:03plan was never what he thought it was.
2:05And the story that comes out of this is
2:08that neither of those is exactly true,
2:10but also both of them are let's go back
2:13about a fortnight, early September. The
2:16autumn diary is being planned. This is
2:18patient orderly work done in quiet
2:20rooms,
2:20>> [music]
2:20>> rarely raises its voice. The first
2:23outline of William and Catherine's
2:25Catherine's autumn program is brought to
2:26Forest Lodge,
2:28>> [music]
2:28>> their home in Windsor Great Park. Two
2:30people carry it in, William's private
2:32secretary and a senior diary planner
2:35who's worked across the royal households
2:36for years. They sit at the long table in
2:39William's study. The kids are at school,
2:42the house is quiet. The planner explains
2:44the thinking. He's calm, not rehearsed,
2:47speaks [music] like a man laying out a
2:49map. The view across the households, he
2:51says, is that the prince and princess
2:54should divide twice the ground. On the
2:56busiest days, instead of traveling
2:58together, they'd carry out separate
3:00engagements in different parts of the
3:01country, William in the north, Catherine
3:04in the south. Two regions reached
3:06instead of one, two communities visited,
3:09two [music] sets of pictures on the same
3:10evening. It's simply more efficient,
3:12sir. The country sees more of you both.
3:15William nods slowly because on its face
3:17that's hard to argue with. Then the
3:19planner reads out how the autumn would
3:21be organized. There would be the Prince
3:22of Wales' program and [music] beneath it
3:24the Princess of Wales' program. Two
3:27lists, two teams, two diaries that would
3:30touch only on the grandest occasions.
3:32Each part alone sounds like arithmetic.
3:34[music] And then the planner adds a line
3:37he clearly means as a compliment. The
3:39princess's early years work is strong
3:41enough now to stand on its own.
3:43Catherine hasn't said anything yet.
3:45She's been listening the way she listens
3:47on engagements,
3:48>> [music]
3:48>> completely still, eyes on the speaker.
3:51William asks the question he always asks
3:53first, "Whose idea is this?" Of you, of
3:56course, the household, sir. His Majesty
3:58has seen the outline. He thought it
4:00sensible. Hold on to that answer. The
4:02King had read this plan and thought it
4:04sensible. Yet, 2 weeks later, that same
4:06King is on his feet in front of a
4:07television watching two people get out
4:10of one car. So, what exactly had he been
4:12shown and what had he not? Then
4:14Catherine speaks. She asks only one
4:17question and she asks it gently. Days
4:20were divided. Which of us do people hear
4:22about first? The planner hesitates.
4:24Everyone at the table knows the honest
4:26answer. On any day when the heir and his
4:29wife are in two different places,
4:30[music]
4:31the heir's engagement leads. Hers
4:33follows. Her work becomes a second list.
4:36In the gentle language of the plan,
4:37[music] his diary is the future. Hers is
4:40a portfolio. The planner says it
4:42wouldn't be framed that way, ma'am.
4:43Catherine says, "It wouldn't [music]
4:45need to be." The meeting ends politely.
4:48Nothing refused, nothing agreed. The
4:50private secretary gathers his [music]
4:52papers with a smooth courtesy of a man
4:54who knows better than to read a room
4:56aloud. But as the planner's car pulls
4:58away, Catherine turns to William with an
5:00idea. She doesn't say it aloud yet and
5:03that idea a fortnight later would bring
5:05a king to [music] his feet in Scotland.
5:07William's first reaction is frustration
5:09and he struggles to say exactly why.
5:12Catherine has always had her own work.
5:14He's never wanted anything else. She
5:16spent years building her early years
5:18work into something serious.
5:20>> [music]
5:20>> With its own center inside their royal
5:22foundation and its own national
5:24campaign, Shaping Us, nobody needs to
5:27tell William it can stand on its own.
5:29He's watched it do so for years. That's
5:31what makes the plan so clever. It sounds
5:33like respect. Catherine puts it into
5:35words for him. "I've always stood on my
5:37own," she says. "That isn't what this
5:40is. Standing alone isn't the same as
5:42being placed somewhere else." She can
5:44see how how would work overseas.
5:46>> [music]
5:46>> Separate days, separate cars, separate
5:49pictures. The idea of two teams would
5:51settle in quietly one autumn at a time.
5:53Nobody would announce it because nobody
5:55would need to. It would simply become
5:57how things were done. The heir's diary
5:59here, the princess's diary there, and a
6:01gap between them that grew a little
6:04wider every year until nobody remembered
6:06choosing it. William is quiet for a
6:08moment. Outside the study window, the
6:10park is still and green, and neither of
6:13them looks at it. Then he says something
6:15that turns her [music] point from a
6:16feeling into a fact. "Where do you think
6:19the babies in temporary accommodation
6:21are?" Catherine looks at him.
6:24"In my work," she says,
6:26>> [music]
6:26>> "and in mine. That's true, and it always
6:29has been." Homewards is about families
6:32who have lost their homes or are close
6:34to losing them.
6:35>> [music]
6:35>> Catherine's work is about the first five
6:37years of a child's life. For years,
6:40they've been working on the same
6:41families from two different ends in the
6:43same towns, sometimes in the same
6:46streets. The plan on the table had
6:48divided two causes that on the ground
6:51were already one. Neither of them had
6:54put it that way before, and for a moment
6:56the study is very quiet. William reaches
6:59for his phone. He wants to call his
7:01father at Birkall. Catherine stops him.
7:04"If you ring him, it becomes an
7:06argument," she says. [music] "A son
7:07telephoning his father about a diary.
7:10Your father will be asked to choose
7:11between his planners and his son, and
7:14whatever he chooses, somebody loses."
7:16William looks at the phone in his hand
7:17and sets it down on the table, screen
7:19down, and leaves it there. The call
7:22would wait. "So, what do we [music] do?"
7:24Catherine draws the outline across the
7:26table and smooths it flat with the side
7:28of her hand. Then she turns to the first
7:30divided day. It falls in the third week
7:32of September.
7:33>> [music]
7:34>> William is down for a Homewards visit in
7:36Newport. Catherine is down for an Early
7:38Years engagement on the South Coast.
7:40>> [music]
7:40>> "If we argue about it, it becomes a
7:43disagreement," she says. "If we do it,
7:45it becomes a picture." She puts her
7:47finger on Newport that I'm going to
7:49Newport and the South Coast gets both of
7:51us later together. It sounds simple. It
7:54is not. Within 2 days, the idea meets
7:57its first real objection from someone
7:59doing his job properly, and it comes
8:02with an argument so good that it very
8:03nearly works. The diary planner comes
8:06back to Forest Lodge. He's not there to
8:09obstruct anything, [music] and he
8:10doesn't raise his voice once. He has
8:12three concerns, and he lays them out
8:14calmly, one at a time, like a man who
8:17has checked each of them twice on the
8:18way over.
8:19The first is the South Coast. [music]
8:21The hosts there have been told the
8:22princess is coming. People have been
8:25looking forward to it. "You would be
8:27disappointing a community," he says.
8:29>> [music]
8:29>> The second is reach. In an autumn when
8:32every engagement will be counted and
8:34compared, one joint visit instead of two
8:36separate ones will be noticed. And the
8:39third is the one that makes the room go
8:40quiet. If the princess's work is folded
8:43into the prince's visit, the planner
8:45says, "Won't it look as though her cause
8:47has become a supporting act for his?"
8:49That's the strongest argument anyone has
8:51made. It turns their own fear around.
8:54They'd been refusing to split because
8:56they didn't want Catherine made
8:57secondary. Now the planner is warning
8:59them that arriving together could do
9:01exactly that. William looks at
9:03Catherine. He doesn't reach for the
9:04answer himself. This is hers to give,
9:07and he knows it. "Then we don't make it
9:08his visit with me beside him," she says.
9:10>> [music]
9:11>> "We make it one visit, both causes the
9:13same weight. Nobody leads, and nobody
9:15follows." [music]
9:17She's already thought it through. They
9:18would both spend time with the families
9:20and the children. Then, halfway through,
9:23they would swap places. Nothing would be
9:25divided between them, not the rooms, not
9:28the conversations, not the pictures.
9:29[music] There would be no lead and no
9:32supporting act, only one visit with two
9:34causes in it carried at the same weight.
9:37William says nothing. He doesn't need
9:39to.
9:40>> [music]
9:40>> The planner looks at her for a moment,
9:41then writes something down, and the room
9:44eases. As for the South Coast, Catherine
9:46asks her office to arrange a call with
9:48the hosts that same afternoon.
9:50>> [music]
9:50>> The visit is not canceled, it's moved to
9:53later in the autumn, and it would now be
9:55a visit from both of them. By the end of
9:56the call, the hosts are more excited
9:58than they were before. Catherine makes
10:00that call herself. She could have left
10:02the hosts to hear it from an office, and
10:05she didn't. That left one question, the
10:07King.
10:08>> [music]
10:08>> He had read the outline and called it
10:10sensible. He was a long way north in a
10:13house beside a Scottish river, and he
10:15believed every word of what he had been
10:16told. At Birkhall, the King had been
10:18kept up to date in the ordinary way with
10:21a short run-through of the family's
10:23coming engagements. It was the sort of
10:25briefing that is read quickly with half
10:27a mind on the rest of the day. He had
10:29heard that the autumn was going ahead on
10:32the divided basis, and that it was
10:34agreed in principle. Newport was listed
10:37as the prince's visit. [music] As usual,
10:39the fine details of the day were being
10:41kept tight until the morning itself, as
10:44they always are for security. And on a
10:46busy week's list, nobody thought to
10:48underline two small [music] words, joint
10:50element. They were there in the small
10:52print for anyone who cared to look.
10:54Nobody looked. The page was turned. Back
10:57at Forest Lodge, William's private
10:59secretary raises it directly. "Should we
11:01let His Majesty's office know, sir?"
11:04William looks at Catherine. She shakes
11:06her head gently. "Let him see it first,"
11:08she says. "Then he can decide what he
11:10thinks." Not about the idea, about the
11:13day. It's not secrecy,
11:15>> [music]
11:15>> it's a wager. They're betting that a
11:17picture will say more to the King than
11:19any conversation could, and that a
11:21father shown the thing itself will see
11:24it more clearly than any summary could
11:26give it. It carries a real risk. The
11:28King cannot be phoned, warned, or
11:30reassured. He can only be shown. If the
11:32picture fails, there will be no argument
11:34to fall back on, only [music] a king who
11:36has learned about it from his
11:38television. On the morning of the visit,
11:40a single car leaves Forest Lodge. One
11:43car, two passengers, and nothing on the
11:45schedule to say why. The car goes west
11:47along the M4 and crosses the Severn into
11:50Wales over the Prince of Wales Bridge.
11:52On the east side of the city, not far
11:54from the River Usk, stands the family
11:57hub. It's an ordinary building, low and
12:00brick with a short flight of steps up to
12:02the front door.
12:04By the railings, a small crowd has
12:05gathered. Parents with pushchairs, a few
12:08grandmothers with their phones already
12:10held up, and a hand-painted banner made
12:12by the children with the letters
12:14slightly uneven, as though the last few
12:16were squeezed in when the paint began to
12:18run short. The car stops. For a moment,
12:21nothing moves and the crowd waits. Both
12:24rear doors open at the same moment.
12:25[music]
12:26William walks around the back of the
12:27car. Catherine comes around the front.
12:30They meet at the foot of the steps and
12:32then they walk up together, side by
12:34side, step for step. Neither is ahead,
12:36neither has to wait,
12:37>> [music]
12:38>> and the crowd sees it. At the top, the
12:40hub manager is waiting to greet them.
12:42She has done her homework and she is
12:44prepared for exactly the kind of visit
12:46the royal households usually arrange.
12:48>> [music]
12:49>> There are two rooms ready. One is for
12:51parents who have come through Homeward
12:53Support. [music]
12:54The other is for the toddlers' play
12:55session. "We've set up two rooms," she
12:57says, "so you can [music] each take
12:59one." William smiles, "We're doing this
13:01together." And they go into the first
13:03room side by side. It's the playroom.
13:06There are foam mats on the floor, low
13:08shelves, a basket of picture books, and
13:10a small table covered in crayons.
13:12[music] Catherine doesn't wait to be
13:14shown a chair. Within a minute, she's
13:16sitting cross-legged on the mat with a
13:18picture book open on her knees, and
13:20three toddlers are pressed around her.
13:22One of them decides halfway through the
13:24first page that her lap is the best seat
13:26in the room and climbs in.
13:28Catherine simply keeps reading, [music]
13:30turning each page slowly so the smallest
13:33ones can see the pictures. On the other
13:35side of the room, William sits on a
13:36small plastic chair that is far too low
13:39for him, his knees almost at his chin,
13:41[music]
13:42with a group of parents who have spent
13:43time in temporary accommodation. He
13:45doesn't give a speech. He asks
13:46questions, how far is the nearest
13:48launderette, which bus do they take to
13:50the school, where do the children nap
13:51when the whole family is living in one
13:53room? The parents answer him honestly
13:55and one by one their shoulders come down
13:57and William listens with his head
13:59slightly bowed, the way a man listens
14:01when he has stopped thinking about what
14:02to say next. Some of the answers are
14:05hard to hear. He doesn't hurry past
14:07them. There's no script here and no one
14:10to prompt him. A tall man on a very
14:12small chair is listening [music] to a
14:14room of people who have rarely been
14:16listened to and every so often he nods
14:18and asks the next thing. For the
14:20photographers at the back, the pictures
14:22are already remarkable. The princess on
14:24the floor with the youngest children,
14:26the prince on a tiny chair with their
14:28parents, two flagship causes in one room
14:31on one visit. But about halfway through,
14:33Catherine closes the book, stands up and
14:36brushes down her skirt. She looks across
14:39at her husband. "Your turn," she says.
14:41[music] The room laughs and that swap,
14:43which nobody had rehearsed, is about to
14:46produce the moment that matters most of
14:48all. William lowers himself onto the
14:50foam mat, his long legs folded awkwardly
14:52beneath him, but small boy walks
14:54straight up and hands him a picture
14:56book. It's upside down. William opens it
14:59upside down and begins to read it that
15:00way with great seriousness, as though a
15:03book held like that were the most
15:05natural thing in the world. The boy
15:07watches him, then he looks at the book,
15:09looks at William again and turns it the
15:11right way up with enormous patience. The
15:13mothers watching burst out laughing, so
15:15do the photographers. It's the loudest
15:18sound of the visit so far and William
15:20laughs with them, holding the book
15:22properly now, one finger under [music]
15:23the first line. On On the other side of
15:25the room, Catherine has taken the low
15:28plastic chair and sits down among the
15:30parents, her hands loosely folded in her
15:32lap. One young mother has been waiting
15:35to speak. She tells Catherine that for
15:37many months she and her little boy lived
15:40in a single room in temporary
15:42accommodation. There'd been no floor
15:44space for him to play. There had been
15:46nowhere for him to crawl. When they
15:47finally moved into a home of their own,
15:50she says she watched him spend a whole
15:52afternoon just going from one end of the
15:54living room to the other
15:55>> [music]
15:55>> because he could. Catherine listens
15:57without interrupting. She doesn't glance
15:59at the clock or at the door, and the
16:01noise of the play session seems to move
16:03away from that corner of the room. Then
16:05the mother says something that changes
16:07the whole day.
16:08"Everyone asks me about the housing,"
16:10she says, "or they ask me about him.
16:13You're the first people who've ever
16:14asked about both in the same room." For
16:16a moment, nobody in that corner speaks.
16:18Catherine turns and looks across the
16:20room at William sitting on the mat with
16:22a boy reading a book that is now the
16:24right way up. That's it. That's the
16:26whole argument in one sentence from
16:28someone who has lived it. The planners
16:30wanted two visits because they saw two
16:32causes. The mother in Newport saw one
16:35family.
16:35>> [music]
16:35>> "You should always come together," she
16:37says. "We're going to," Catherine tells
16:39her. When the visit ends, the prince and
16:42princess come out of the front door
16:43together and pause at the top of the
16:45steps. A small crowd by the railings
16:48calls out, somebody's grandmother
16:50shouts, "Come back soon." Catherine
16:52laughs and waves. William puts his hand
16:55lightly at her back the way a man does
16:56without thinking about it. Then they
16:58walk down the steps together side by
17:00side exactly as they had walked up.
17:03Behind the barrier, the photographers
17:04take the picture. Two people on a set of
17:07ordinary steps in Newport, neither of
17:09them half a pace ahead of the other. It
17:11would be the most important photograph
17:13of their autumn, though they didn't know
17:15it yet. Far to the north at Birkhall,
17:18the king has not seen any of it. As far
17:20as he knows, his son is in Newport alone
17:22and his daughter-in-law is on the south
17:24coast. He will go on believing that for
17:26a few more hours. It's just after 6:00
17:29when the Newport pictures run on the
17:30evening news. The king is already stood.
17:32He has walked to the screen. He has
17:34watched every second. What he says next
17:36is quieter. That isn't what I was told.
17:39[music] Camilla looks at him over the
17:41top of her glasses. She has set the
17:43crossword down in her lap. still in her
17:45hand. Is it worse? The king keeps
17:48looking at the screen where the item has
17:50already moved on to the weather. No, he
17:52says, it's better. Then he turns to his
17:55equerry and makes his request. Find me
17:57that picture, the two of them on the
17:59steps. Both of them, mind, not cropped.
18:02I'd like it in the morning. The equerry
18:04says the official photographs can be
18:06sent up overnight and makes a note
18:07[music] of it. Good, says the king.
18:10That's the whole request and nobody in
18:12the room questions it. One photograph
18:14asked for in a level voice
18:16>> [music]
18:16>> in a warm room with a fire going.
18:18Camilla understands before he explains.
18:21The king had approved the outline
18:22because reaching more of the country
18:24mattered to him. He had spent a lifetime
18:26traveling to places other people forgot
18:28to visit. Twice the ground had sounded
18:30like the right thing, but he had also
18:32spent many years learning something
18:34else.
18:34>> [music]
18:34>> The best days I've had in this job, he
18:36says half to himself, are the days I
18:39didn't arrive alone.
18:40>> [music]
18:40>> Camilla smiles and goes back to her
18:42crossword. She doesn't need to say
18:43anything. Later that evening, the
18:45telephone rings at Forest Lodge. William
18:49sees who it is and glances [music] at
18:51Catherine. He has half expected this
18:54call and he is prepared for a
18:56conversation about planners and
18:58precedent [music]
18:59and why nobody at Birkhall had been
19:01told. It is not that conversation. I saw
19:04the steps, the king says. William waits.
19:06He doesn't fill the silence. There's a
19:09pause on the line from Scotland. It goes
19:11on for a moment longer than either of
19:13them expects,
19:14>> [music]
19:14>> and Catherine, sitting close beside him,
19:17keeps perfectly still. When the king
19:19speaks again, his voice is warm. Whoever
19:21wanted to divide you two has never
19:23watched you walk up a set of steps.
19:25William doesn't answer straight away. He
19:27doesn't trust his voice. [music]
19:29Don't let anyone take that apart, the
19:30king says. Not for my diary, not for
19:33anyone's. We won't, William [music]
19:35says. Catherine is sitting close enough
19:37to hear every word. When William puts
19:40the phone down, neither of them says
19:42anything for a while. They had set out
19:44to show the king a picture instead of
19:46starting an argument. He had seen it,
19:49and he had answered in a single
19:50sentence. [music]
19:51But the king was not finished. What he
19:53did the next morning at Birkhall,
19:56William would not discover until he
19:58walked into his father's study himself.
20:01And when he did, he would stop in the
20:02doorway. The photograph arrives at
20:05Birkhall the next morning.
20:06>> [music]
20:06>> The king asks for a frame, and a plain
20:09silver one is found. He doesn't hand it
20:11to anyone to arrange. He does it himself
20:14without a word to anyone. Then he looks
20:15at his desk. For years, the center of
20:18that desk has been kept for one small
20:20photograph. William as a young boy in a
20:22kilt standing on the bank of a Scottish
20:24river squinting into the sun. The king
20:26picks it up and looks at it for a
20:28moment. The boy squinting into the
20:30light, the water behind him, a summer
20:32that must have felt endless. Then he
20:34moves it to one side, not away, just
20:37along to make room. In the center, where
20:39the boy had stood, he places the new
20:42frame. William and Catherine on a set of
20:44ordinary steps in Newport walking side
20:46by side.
20:47>> [music]
20:47>> The boy he had watched grow up now
20:50stands beside the man he has become.
20:52Over the days that follow, the divided
20:54plan for the autumn is quietly set
20:56aside. Nobody makes a fuss about it, and
20:59nobody asks for a reason. The rearranged
21:02South Coast visit goes back into the
21:04diary as a joint visit, just as
21:06Catherine had promised the hosts. The
21:09planners begin looking again at the rest
21:11of the season. The word efficiency is
21:13used a little less. There's no
21:15announcement and no statement [music]
21:17and nobody suggests there should be.
21:18There's only a diary with fewer lines
21:20running down it and more of them running
21:22together. Later still in September,
21:25William is at Birkhall. He walks into
21:27his father's study to say good morning.
21:30The King is at the desk reading with his
21:32glasses on the end of his nose. It's an
21:35ordinary morning in an ordinary room and
21:37from the doorway the desk looks as it
21:40always has, almost. Something in the
21:42center of it is different
21:43>> [music]
21:43>> and William sees it before he's taken a
21:45second step. He stops in the doorway. He
21:48has seen the photograph
21:50>> [music]
21:50>> in the papers and on the news. He has
21:53not expected to see it here in the
21:55center of his father's desk with his own
21:58boyhood picture moved aside to make room
22:00for it. William begins to speak. The
22:03King doesn't look up. "It stays there,"
22:05he says. William starts to say something
22:07else. "It stays there," the King repeats
22:10[music]
22:10and turns a page. That evening William
22:13rings Catherine at Forest Lodge. She
22:16asks [music] what his father said.
22:17"Slash three words," William tells her.
22:20"It stays there." Catherine laughs
22:22softly, then she is quiet for a moment
22:24and neither of them needs to add
22:26anything to it.
22:27>> [music]
22:27>> Think back over how it began. In early
22:29September, a plan had been drawn up to
22:32send them in two different directions on
22:34the same days. It had sounded sensible.
22:37It had been presented as a kindness. It
22:40would have given the country twice the
22:41ground and given the family two separate
22:44diaries.
22:45>> [music]
22:45>> Instead, one car had gone to Newport
22:47with two people in it and one quiet
22:50wager, two people had walked up a set of
22:52steps side by side and a mother who had
22:55lived in one room with her little boy
22:57had told them what the plan had missed
22:59and a King in Scotland had stood up in
23:01front of a television, asked for one
23:03photograph, and moved an old one aside
23:06to make room for it. The boy in the kilt
23:08is on one side, and in the center are
23:10the Prince and Princess of Wales walking
23:13up the steps in Newport together.
23:15>> [music]
23:15>> Neither of them half a pace ahead of the
23:17other. One plain silver frame, and a boy
23:20in a kilt slid gently aside. So, here's
23:22the thing that still doesn't sit right.
23:24Nobody in that room at Forest Lodge ever
23:27said whose view it was. A view across
23:30the households, the planner had told
23:32William,
23:32>> [music]
23:33>> and the conversation moved on. Whose
23:35view was it? Which households did it
23:37cross? [music] And how many of them had
23:39read the outline before the king called
23:41it sensible? Because when you line up
23:43what the king was told, what the planner
23:45presented, [music] and what actually
23:47happened, there's a gap in the middle of
23:49this story that nobody has filled in.
23:51The king thought he approved a divided
23:53autumn. The planner presented it as a
23:56settled view. And yet somehow, the only
23:58two people who actually live with the
24:00consequences were the last ones asked
24:02what they thought about it. That's not a
24:04miscommunication. That's a system
24:06working exactly the way it was designed
24:08to, and the only reason it didn't
24:10succeed is that two people got into one
24:12car, and bet everything on a single
24:14picture. And honestly, the fact that
24:17nobody will just answer whose idea it
24:19was in the first place is the weird
24:21part.

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