Original subtitles

One of the reasons I want to talk now

Downloaded from YTS.MX

is because I think after 20 years,

somebody shifts from being

a contemporary person to one of history, actually.

Official YIFY movies site: YTS.MX

And Diana deserves a place in history.

And I think that It's important for people who are under 35,

who probably won't remember her at all...

[ Camera shutter clicks ]

...to remember that this was a special person...

[ Camera shutter clicks ]

...and not just a beautiful one.

[ Sia's "Bird Set Free" plays ]

PARRY: It's very difficult to explain

the global phenomena that was Diana, Princess of Wales.

Diana! Diana! Diana!

She was more than a celebrity.

She was a global presence.

[ People screaming happily ]

♪ Clipped wings, I was a broken thing ♪

♪ Had a voice, had a voice, but I could not sing ♪

FINCHER: With Diana,

when she walked into a room,

it just was like a magnet.

You couldn't stop looking at her.

[ Cheers and applause ]

CONNOLLY: She looked like she had stepped out of a storybook.

I think, as a girl, it was just my dream come true.

[ Laughter ] EMANUEL: She had so many gifts,

but I think it was relating to people on their level.

It brought her very close to all of us.

She shook our hands! Aah! It was great!

She had something that made people want to be her.

♪ I'm not gon' care if I sing off‐key ♪

♪ I find myself in my melodies ♪

MARKS: She was everywhere.

SLEEP: Throughout the world.

It was staggering.

It was Diana all the time.

♪ There's a scream inside that we all try to hide ♪

CAGLE: The media and Diana needed each other.

They fed off of each other.

WOMAN: Diana!

She invented a whole new form of celebrity.

LAMB: She was like pure heroin for the press.

♪ Yeah, yeah‐eah ♪

♪ I don't care if I sing off‐key ♪

♪ I find myself in the melodies ♪

♪ I sing for love ♪

CONNELLY: She put the beating heart inside the Royal family.

She's this beautiful rebel.

MAN: Diana!

CAGLE: This fairy tale turned to soap opera.

BASHIR: Do you think Mrs. Parker‐Bowles

was a factor in the breakdown of your marriage?

LAMB: She was a complex person.

♪ Oh, oh, oh, oh‐oh‐oh ♪

VARGAS: She was unlike any other woman

in that she had enormous power...

♪ Oh, oh, oh, oh‐oh‐oh ♪

...the power of the world's attention.

♪ Like a bird set free ♪

♪♪

SPENCER: "Of all the ironies about Diana,

perhaps the greatest was this ‐‐

a girl given the name of the ancient goddess of hunting

was, in the end, the most hunted person in the modern world."

[ Camera shutter clicking ]

[ Clicking continues ]

GREENSLADE: That is fairly disgusting stuff.

They weren't really paparazzi.

I called them, at the time, "stalker‐azzi."

MAN: The cops are working out how they can get her out

without us taking a picture.

CAGLE: You know, all the media that hounded Diana

was feeding an insatiable beast,

and that was the public.

SMITH: It's kind of amazing to look back

in the 80's and the 90's,

because now we're so accustomed to this 24‐hour news cycle.

The TMZ and the Instagrams and social medias

and the Kardashians and everybody's famous.

But back then, there was none of that.

[ Tires screech ]

It was all about Princess Diana.

[ Camera shutters clicking ]

♪♪

CAGLE: The public always feels

a real connection

with celebrities and public figures

who they watch grow and evolve.

♪♪

And we certainly watched Diana

from this very shy young woman

who was marrying the prince

to being this global powerhouse superstar.

♪♪

We watched an incredible evolution over those 17 years.

♪♪

SPENCER: It is, of course, truly tragic

that she's not here.

Well, I‐I do regret not ‐‐

I mean, I wish I could have done more to protect her.

♪♪

This is the person I grew up with.

[ Birds chirping ]

[ Sheep bleating ]

Well, we're pretty basic, really.

We're sheep farmers a long time ago who struck it lucky.

♪♪

FOREMAN: So the Spencers are not royalty.

They're an aristocratic family.

♪♪

Spencers had all these wonderful relations,

like George Washington.

WILLIAMS: Winston Churchill, the great prime minister ‐‐

he was a a Spencer.

They're a very, very important family.

♪♪

SPENCER: My family were quite outward‐thinking.

One of my ancestors was against slavery before his time.

Other members of my family were pro‐American independence

when that was thought to be treacherous.

♪♪

Ladies of the Spencer family

have been very charitable and glamorous.

And, in many ways, Diana is the sort of ‐‐

the coming together of so many strands

of this family.

LACEY: Spencers rubbed shoulders with the Royal family.

♪♪

Diana was not a commoner.

She was actually born on the Sandringham Estate,

where the Spencers rented a house from the Royal family.

[ Film projector clicking ]

♪♪

SPENCER: My earliest memories of her,

she always had a sort of natural star quality.

She could strike a pose

in clothes that she had borrowed from my eldest sister.

♪♪

WILLIAMS: When Diana's a little girl,

she starts to realize how people fall in love with her.

She was one of those children that goes into the room

and everyone is charmed by her.

♪♪

SPENCER: It would be wrong

to think of Diana as a saintly child.

I mean, she was quite naughty.

Never with malice, you know ‐‐

just sort of pushing the boundaries.

♪♪

Well, my mother and Diana are actually quite alike.

They were both glamorous,

very quick‐witted,

and great fun.

She inherited from my father this very great gift

for understanding people

and caring about things that mattered.

Every time I think of her,

I think of this little girl, you know, back then.

She always tried to do the right thing.

And I think after my mother left,

she used to help around the house,

and she'd check the curtains were closed at night

and she took on a sort of semi‐maternal role

around the household, I think.

♪♪

Divorce has been a part of the American culture

for a very long time.

The English had a way of just burying their head in the sand.

If a marriage didn't work, you just quietly got on with it.

[ Spectators cheering ]

At some social occasions,

such as horse racing at Royal Ascot,

where the queen was present,

if you were a divorcée,

you weren't allowed in the royal enclosure.

So an actual divorce was a very big deal,

and, of course, there was a scandal attached

because my mother had actually run off with someone else.

♪♪

PARRY: It was the subject of an extraordinary court case.

And people used to talk about her mother as a bolter

and be, you know, really disapproving of her.

[ Rain falling ]

♪♪

SPENCER: I remember being told she had gone away on holiday...

...so maybe there was an expectation she might come back.

♪♪

BEDELL SMITH: Nobody really told Diana why her mother had left.

She was 6 years old. What ‐‐ What could she ‐‐

What could she possibly have comprehended?

SPENCER: She used to sit on the doorstep

and wait for her to come back.

I think there was a period

where she felt very isolated.

And it was tough for her,

which is a terribly sad thought,

but she never healed.

♪♪

BEDELL SMITH: This is one of the saddest things about Diana,

because her two older sisters were away in boarding school,

and Diana's father sunk into a fairly deep depression.

She had a series of nannies,

but none of them gave her

what she really needed.

She lacked a consistent source of support and love.

It was really the two of us growing up together alone.

♪♪

SLEEP: Dancing was something she'd always adored.

She was a natural performer.

She took her exams at boarding school,

and there are pictures of her en pointe.

She got rather a long way with it.

SPENCER: She was sadly too tall

to be a conventional ballet dancer.

She then turned her talents to tap dancing.

[ Rhythmic tapping ]

The hall here with its black and white marble

was the perfect sound.

And I remember her,

just for hour after hour, doing her tap.

SLEEP: I think it was a release,

and it was doing something that was totally different.

It was an escape.

WILLIAMS: She loved all the trappings of ballet, as well ‐‐

the romance, the prince, the beauty of it.

She really loved the fairy tales.

BRADFORD: Diana did have a great sense of romance,

but, unfortunately, one of her favorite authors

was Barbara Cartland,

whose stories are not really anything to do with real life.

A woman should be elusive.

She should be a nymph flying away from the slaughter.

But at least you should make some pretense

of not being ready to fall into his arms like an overripe peach.

BEDELL SMITH: She had kind a fantasy view

of what it was like to be a princess,

shaped by her stepgrandmother, Barbara Cartland.

♪♪

BRADFORD: You know the virgin bride, handsome groom,

future king, future queen ‐‐

they might have given Diana the wrong idea about real life.

♪♪

COLTHURST: Diana had in mind all the time

that she was destined for big things...

♪♪

...almost like a fairy tale...

that she was going to nab a prince.

[ Cheers and applause ]

FOREMAN: On the screen, on the newspapers ‐‐

I don't think anyone can understand,

unless you were there,

what it was like to have this woman explode in our faces.

♪♪

NEWSCASTER: On an informal visit to India,

Charles was accompanied by his uncle,

Lord Louis Mountbatten of Burma.

As India's last viceroy,

Lord Louis had presided over the transfer of power.

Prince Charles could not have had a better guide.

♪♪

BEDELL SMITH: Lord Louis Mountbatten,

known to everybody as "Dickie,"

was a heroic figure for Charles.

He had been a decorated naval officer during World War II

and the head of defense.

BRADFORD: Prince Charles very much took to Mountbatten

as a sort of father figure who he could learn from.

♪♪

LACEY: Mountbatten says to me,

"You know, Prince Charles has

a perfectly normal sex life, you know,"

and I thought, "Where is this coming from?"

He said, "You see, I've been helping him."

BEDELL SMITH: The advice that Dickie Mountbatten gave him ‐‐

have as many affairs as possible,

he should sow his wild oats,

and then he should find a sweet, charactered girl

to put on a pedestal and marry her.

♪♪

I guess everybody knew that Prince Charles

was gonna take a spouse of some kind.

It was like a high‐end version of "The Bachelor."

He's seen here, he's seen there.

Who will it wind up being?

♪♪

[ Women screaming ]

MARKS: Girls would scream, and they'd go crazy.

He was regarded as so dashing, so handsome.

WARD: He was very much action man.

He loved to do masses of rather daring things.

Pushed himself to all the limits.

In my early days of photographing Prince Charles

at the polo grounds at Windsor,

it was an eligible young prince.

It was a succession of different girls arriving.

[ Camera shutter clicking ]

Oh, a lot of blondes on arm

and a lot of sailing the ocean way.

BEDELL SMITH: He was tan,

and he'd love to walk around with his shirt off.

♪♪

And he always had bevvies of ladies following him.

REPORTER: The papers unveiled a cavalcade of girlfriends.

Davina Sheffield, pursued across airport tarmacs,

had already discovered just how irksome it can be.

So had Lady Jane Wellesley.

Pretty intolerable, yeah.

It's not easy for a girl to take all of that on board.

They broke into my house.

They left notes,

followed me everywhere.

Definitely a deterrent.

I mean, what they wrote was brutal.

You're sort of fed to the lions.

♪♪

Camilla was, to him, just a safe haven,

someone he could talk to.

BEDELL SMITH: They met in the summer of 1972.

She loved the countryside,

hunting and shooting and riding ‐‐

all the things that he enjoyed.

Camilla knew exactly how to get to Charles' heart,

which was to flatter him,

to tell him how brilliant he was,

to stroke him.

And I think that's one of the reasons

why he found her so irresistible.

BEDELL SMITH: For an heir to the throne,

he was supposed to marry somebody

who at least appeared virginal.

LACEY: So, for Camilla, going to bed with Charles

and having, I think, a genuine strong love affair with him,

mentally, with the heart, as well as as physically,

she had ruled herself out.

You know, those who have been bedded cannot be wedded.

[ Cheers and applause ]

BEDELL SMITH: Most of the young women he knew

were not, in fact, virgins.

[ Cheers and applause continue ]

So, in effect, he had to rob the cradle.

He had to reach down to somebody

who was 19 years old.

♪♪

WILLIAMS: Charles and Diana had always been aware of each other

because the families were so intertwined.

But they met properly when he was dating her older sister.

BEDELL SMITH: He met Sarah Spencer in 1977.

In the course of their romance was the first time

that Diana actually met him.

She was a 16‐year‐old schoolgirl,

and, you know, she was kind of bedazzled by him

and even got a little competitive with her sister.

♪♪

WILLIAMS: When the relationship

with the older sister fizzled out,

Charles began to think more seriously about Diana.

She was beautiful, she was aristocratic,

she was charming, she was sweet, she was kind.

It was the ideal wife.

LACEY: This is exactly the sort of girl

that Uncle Dickey recommended.

Charles, right from the beginning,

was aware of the problems

of getting involved with a much younger woman

with different tastes.

BEDELL SMITH: He wanted to be married by 30,

and he passed that deadline.

Family putting pressure on him ‐‐

felt that he had no choice.

And he had in his head

that he was going to learn to love Diana.

[ Alarms ringing, [ Indistinct conversations ]

[ People shouting ]

[ Sex Pistols' "God Save The Queen" plays ]

FOREMAN: It's really hard to believe

the turmoil Britain was in

in the very early '80s.

People throwing cabbages at each other at bus stops.

"Anarchy in the U. K." "God Save the Queen."

♪ God save the queen ♪

♪ The fascist regime ♪

FOREMAN: Strikes were so bad.

Rubbish wasn't taken off of the streets.

There was electricity blackouts all the time.

Scab! Scab!

♪ God save the queen ♪

CONNOLLY: Look at the images of Queen Elizabeth,

with things over her mouth.

♪ And there's no future ♪

They were done.

♪ And England's dreamin' ♪

[ People shouting ]

♪ God save the queen ♪

CAGLE: There was a huge disdain for the Royal family,

a growing part of the population that felt,

"Why are we supporting these spoiled aristocrats

when we can't put food on our table?"

♪ No future ♪

CONNOLLY: "No future," the Sex Pistols would sing.

♪ No future for you ♪

And now, all of a sudden, here comes the future.

♪♪

PARRY: Diana was a disrupter.

She came at a time when the Royal family was seen

as being stuffy and old‐fashioned.

She was new.

No one knew anything about her before.

She was the right way to start a fairy tale.

♪♪

My job, given to me by the editor at the time,

was to find out who Prince Charles was going to marry.

My contact said, "He's with a girl called Lady Diana Spencer.

She worked at a nursery.

And I went 'round to about four or five different nurseries.

I said, "Does Lady Diana Spencer work here?"

They said, "Yes, she does."

I said, "Would she come out for a photograph?"

There's a famous picture of her standing in London square...

holding children at a nursery school...

♪♪

ETHERINGTON‐SMITH: ...with a rather transparent skirt on.

She posed up,

and halfway through...

taking the photographs,

the sun came out.

FOREMAN: You could see the outline of her legs

through the skirt.

Oh, gosh. She's got good legs.

This was page one picture then,

and the headline was "Charlie's Girl!"

She was horrified.

♪♪

CONNELLY: Beauty needs no résumé.

Diana was many, many other things aside from beautiful,

but she was beautiful.

And...that is the coin of the realm.

♪♪

SPENCER: Our tabloids in the U. K.

are considered among the worst in the world.

They suddenly had this new stock character.

GREENSLADE: Every time we put her on the front page ‐‐

negative story, positive story, picture ‐‐

Princess Diana would add sales.

FINCHER: There was so much demand for these stories

on a daily basis.

You could make hundreds of thousands of pounds

with one picture

because not only would you sell it here,

you could sell it around the world.

MAN: When I press this button, a new era in photography begins.

Polaroid introduces sonar automatic focusing.

FINCHER: When autofocus cameras came,

anybody ‐‐ you know, even a monkey ‐‐

could point a long lens at someone

and get a pretty reasonably good‐quality picture.

[ Camera shutter clicks ] Try it, John.

Me? Sure!

MAN: The 81 is so simple,

you can really concentrate on your subject.

FINCHER: A new breed of photographer came in

that didn't really have much respect for the profession

or, really, most of the time, for who they were photographing.

MAN: Lady Diana?

FINCHER: There'd be, you know, hundreds of photographers

all trying to get pictures of Diana outside her flat.

ETHERINGTON‐SMITH: You caught sight of her

scurrying with her head down towards a car,

pursued by a mob of paparazzi.

Although she didn't invent the paparazzi,

she gave them a shot in the arm.

She was like pure heroin for the press.

LAMB: She seemed to know instinctively

what the perfect shot was.

LACEY: Diana, while pretending

to ignore the media when she came out,

had obviously spent hours indoors beforehand,

getting ready so she looked her best.

[ Camera shutter clicking ]

FINCHER: She would flirt with the camera.

COLTHURST: Sometimes she'd chat with photographers,

like Arthur Edwards.

I remember once I was wearing this hat,

and she'd say to me,

"You're wearing that hat for a bet," you know?

COLTHURST: She needed to try and get a feel

for what might come next.

EDWARDS: You know, for all of us

that'd been covering the royal beat, it was ‐‐

obviously, this was the girl.

And then we went off to India with Prince Charles.

And I remember we said to him,

"You know, really like Lady Diana Spencer, you know?

She's lovely."

And then he said something quite profound.

He said, "You can live with a girl for two years

and then get married if you want."

But He said, "I can't do that," he said.

"I've got to get it right the first time,

or you'll be the first to criticize me."

And they were prophetic words.

♪♪

WILLIAMS: Diana and Charles' courtship was quite formal.

She still called him "sir."

BEDELL SMITH: They were only together a dozen times

before he proposed.

And very few of those were private moments.

♪♪

It was quite hard for Diana to properly get to know him

and, indeed, for them to properly get to know each other.

REPORTER: After spending most of the day at Buckingham Palace,

Lady Diana went tonight to Clarence House.

Prince Charles arrived soon after Lady Diana

after the briefest of drives around the mound.

Crowd: [ Chanting ] We want Di!

[ Cheers and applause ]

SPENCER: The day Diana got engaged, I hadn't told anyone

'cause I didn't think it was that interesting to anyone.

And I remember going into a lesson,

and the master got a message.

And he went, "Your sister's just got engaged to Prince Charles."

And I went, "Yes."

And he went, "Why haven't you shared it with us?"

It hadn't crossed my mind.

[ Theme music plays ]

He's 32. She's 19.

He's a Prince. She's not a princess yet.

He likes horses. She doesn't.

He's Prince Charles. She's Lady Diana Spencer.

They are engaged. They will be married.

REPORTER: You know the engagement

has just been announced. No, I didn't!

Prince Charles is engaged now to Lady Diana Spencer.

Oh, thank goodness! [ Chuckles ]

Oh, I think it's marvelous. Really do.

I've been waiting for it. [ Laughs ]

BRADFORD: Diana was certainly in love with Charles,

and I think that, at times,

he was in love with her...

or said he was.

♪♪

I‐I'm amazed that she's brave enough to take me on.

REPORTER: And, I suppose, in love?

DIANA: Of course.

Whatever "in love" means. [ Laughing ] Yes.

Such a range of interpretations.

Obviously, it means two very happy people.

That's not very encouraging, is it?

CAGLE: In Charles' world,

marriage was about a lot of things,

but it wasn't really about true love.

Within the Royal family,

marriages were pretty much arranged...

[ Camera shutter clicks ]

...and that's how he saw his bride.

[ Cheers and applause ]

PARRY: When the engagement was announced,

that was it.

The entire press pack of the world

descended on London.

REPORTER: Although it was the prince

who inspected the shore establishment,

it was once again Lady Diana

who was the center of public attention.

WILLIAMS: Diana was now public property.

♪♪

This girl who'd just been a nursery‐school teacher,

that lived this very easy, innocent life,

was suddenly swept up into this massive media frenzy.

Diana's engagement ring sold out.

Diana's suit sold out.

REPORTER: We learned just how popular

Lady Diana's hairstyle really is

and just how easy it is today

for every woman to look like a princess.

SPENCER: When I was at boarding school, she came to take me out,

and it was rather bizarre

because she appeared in her Mini Metro

being pursued by the press.

[ People shouting, camera shutters clicking ]

There were about a dozen cars and motorbikes, et cetera.

[ Shouting and clicking continue ]

I just thought,

"This is really odd and really unpleasant, actually."

[ Camera shutters clicking ]

Come on. Come on, lads.

Come on. Come on.

HOST: Robert Lacey, do you think that Lady Diana

yet fully realizes how tough life will be

in the full public gaze?

Well, I'm sure she does.

I mean, we've just seen it, haven't we?

I don't think there could have been a future consort

who's been through anything like it.

[ Camera shutters clicking ]

PRINCE CHARLES: It's not much fun watching polo

when you're being surrounded by people with very long lenses.

And I think all this adds up

to a certain amount of strain each time.

She's been through, in a way, the worst that can be thrown at her?

You think it'll be easier from now on? Oh, I think it's gonna be much easier.

Obviously, living in Clarence House with bodyguards

will make life much easier,

and I think, too, we're gonna see a change

in the attitude of the press.

All this telephoto‐lens business will stop.

[ Fanfare playing ]

CONNELLY: It was the fairy‐tale wedding of the age.

[ Fanfare continues ]

No one knew what was about to happen.

[ Birds chirping ]

RADIO BROADCASTER: It's 7:00 on Tuesday, the 28th of July.

Along the wedding‐procession route

from Buckingham Palace to St. Paul's,

the sightseers who've been camping out all night

are waking up to a bright summer morning.

Such a unique occasion, and it'll never happen again.

There's only one monarchy,

and you got to look at the next king and queen, haven't you?

REPORTER: There are about 30 campers here

outside Buckingham Palace

waiting for Lady Diana to come out

in that most secret wedding dress tomorrow.

PERRY: Diana's wedding dress

was one of the most speculated things in the media at the time.

EMANUEL: The first meeting, it was brilliant, actually.

She was unexpected

because when she phoned up to make an appointment,

I got her name wrong.

REPORTER: David and Elizabeth Emanuel

never made a royal wedding dress before.

How did they feel when they first heard?

Over the moon. Very thrilled.

EMANUEL: We'd only been out of college for one year.

She could have gone to far more experienced designers.

But we did have a vision.

♪♪

We wanted it to be dramatic, something people would remember.

We wanted people weeping [Chuckles] you know,

crying how beautiful this is.

The is the ultimate fairy‐tale, princess wedding dress.

♪♪

Only when she came into our studio,

we realized quite how young she was.

She was 19.

She still had a bit of puppy fat.

[ Indistinct conversations ]

There was already lots of not just press

but people just waiting.

They would just wait there for hours, days,

to see if she would come in for a fitting.

[ People cheering ]

[ Camera shutters clicking ]

We had to hide things from the press,

leave false trails,

because they would go through our bins every night,

put blinds up on all our windows.

Even when we ordered the fabric, we ordered ivory and white

so they could never be completely sure

of what color the dress was going to be.

♪♪

Most brides do lose weight.

BEDELL SMITH: She lost a lot of weight.

Her dressmakers kept having to take it in and in and in.

EMANUEL: She went from 26‐, 27‐inch

to a 23‐inch waist.

♪♪

Her face had slimmed down.

She looked like a model.

She just walked more confidently.

She just was suddenly growing up...

♪♪

...turning into a woman.

[ Camera shutters clicking ]

REPORTER: The wedding will have an audience

of more than 500 million people.

That's 1/6 of the world population.

The three American networks devoting more time to it

than anything else in living memory.

The ABC network has brought in hundreds of extra staff,

dozens of extra cameras,

and a whole new control room.

Quite simply, it's going to be the biggest television event

ever.

This is the time to say, "This is what Britain is.

Were coming together. It's unity.

This is our Royal family."

[ Bells ringing, people cheering ]

REPORTER: What an extraordinary moment!

[ Tears for Fears' "Everybody Wants To Rule The World" plays ]

What you will see now

is the story of two very real young people,

beginning their life together

in front of the eyes and ears of the world.

SMITH: They're the world's monarchy.

[ Man shouts command ]

I can walk down the street,

and no one's gonna know who's the King of Spain

or who's the King of Denmark.

Everyone knows the Queen of England.

[ Jet engines scream ]

♪ Welcome to your life ♪

CAGLE: There is something about the Royals

that touches Americans

in an incredibly visceral way.

It touches Americans

just like it touches people all over the world.

♪ ...best behavior ♪

♪ Turn your back on Mother Nature ♪

♪ Everybody wants to rule the world ♪

♪ There's a room where the light... ♪

MARKS: It was one of those scenes

you remember for the rest of your life.

[ People cheering ]

I got up in the middle of the night with my brother,

and we watched it from beginning to end.

[ Cheering continues ]

You were glued to the television.

REPORTER: And this is a wonderful moment as we wait,

and we'll see that wedding dress,

which has been kept such a wonderful secret.

♪ Everybody wants to rule the world ♪

There we are!

[ Cheering continues ]

[ Camera shutter clicks ]

WALTERS: Lady Diana has broken with several traditions today.

In the ceremony, she will not say that she promises to obey.

She will love and will cherish.

In the last royal wedding, the wedding of Princess Anne,

she did promise to obey, and so did Queen Elizabeth,

but these are different times.

JENNINGS: You can tell that she has arrived.

[ Cheering intensifies ]

SPENCER: I went to see Diana the day of her wedding,

and she was looking incredibly beautiful

in this dress which, of course, I had never seen before.

I was so proud of her the whole day.

I was really proud of the whole way it went

and the fact that she had been so dignified throughout it.

JENNINGS: Two of her bridesmaids

waiting on the steps of St. Paul's.

And here, our first glorious view

of the bride.

[ Cheering intensifies ]

FOREMAN: Out stepped this vision

in the dress that was just like a fairy tale.

JENNINGS: This is magnificent.

I have never seen a train like this.

ETHERINGTON‐SMITH: All those yards of taffeta ‐‐

yards and yards and yards.

I thought it was never going to end

when she got out of the carriage.

♪♪

EMANUEL: Taffeta does crumple. It's the nature of the fabric.

We noticed that the dress had gotten very creased,

more than we anticipated.

♪♪

I started doing the bottom of the dress

and the hem.

It was quite a hairy moment.

Creases or not, I think that's my favorite bit

of the entire wedding,

because, for me, it's always been about a butterfly

emerging from a chrysalis,

and that is her story.

[ Fanfare playing, people cheering ]

She was emerging into a new world,

a new life's adventure...

turning into a beautiful princess.

[ Fanfare continues ]

I think the thing I remember

was enormity of St. Paul's Cathedral

and that huge aisle stretching before her.

HICKS: That was a 3 1/2‐minute walk down that aisle,

and inside the cathedral,

there were 3,000 guests who had been invited.

The concern was one she'd expressed to me before,

which was how was her father gonna cope

walking up the aisle, 'cause he wasn't well?

SPENCER: He had had a very bad stroke

a few years before,

and the Royal family had sent a message

that I would have to lead her up the aisle

because he wouldn't be able to do it.

But he was very stubborn

and courageous,

and he managed to do his task,

and he was very proud of that.

[ Cymbals crash, drumroll ]

[ Clarke's "Trumpet Voluntary" plays ]

CONNELLY: People bought in.

People bought in 100%.

[ Music continues ]

It was the fairy‐tale wedding of the age.

No one knew what was about to happen.

[ Music continues ]

[ Clarke's "Trumpet Voluntary" plays ]

PERRY: Diana, Charles, Camilla ‐‐

the fates of those three people would be intertwined.

But on that day,

the world was watching Diana say her vows to her prince.

MOST REVEREND ROBERT RUNCIE: I pronounce that they be

man and wife together

in the name of the Father and of the Son

and of the Holy Ghost. Amen.

[ Bells ringing, people cheering ]

REPORTER: London now sees for the first time

their Royal Highnesses, the Prince and Princess of Wales.

[ Cheers and applause ]

CAGLE: 750 million people

watched this wedding take place

around the world.

It looked as though they were really in love,

and that's what we wanted to see.

♪♪

[ Cheers and applause continue ]

VARGAS: That is your classic, quintessential

Cinderella moment.

And just thinking how much

her life has been transformed, how much it would change.

[ Cheers and applause continue ]

CONNELLY: Like, we know how to run a sports event in America.

They knew how to do a royal wedding.

And you could see it in the crowds,

you could see it in the pageantry.

It was just a joyous moment.

[ Cheers and applause continue ]

REPORTER: The windows open on this famous royal balcony,

and out come the bride and groom.

What an extraordinary moment

for the new Princess of Wales to look out

on this sea of human beings.

Ahh! That's what everybody's been waiting for.

[ Cheers and applause continue ]

JENNINGS: The honeymoon couple on their way out into the mall.

WALTERS: The Princess of Wales ‐‐

her life now changes totally.

[ Cheers and applause ]

CAGLE: I think really anyone

with a sense of human nature

who cared to think about it

could have seen

many, many issues going on that day.

WALTERS: She does look fresh and lovely and young.

REPORTER: The escort, under the command

of Lt. Colonel Andrew Parker Bowles,

who Charles and Lady Diana stayed

with him and his wife, Camilla, in Wiltshire

on two occasions at the end of the year.

WARD: I watched it on the television,

and I just remember looking across

and everyone sitting there, and I just said,

"Sadly, I just don't think this will survive.

I think she's just too young to take it all."

[ Cheers and applause continue ]

CAGLE: She was a very young woman.

She was not prepared for what lay ahead.

REPORTER: Into the gates of Broadlands.

And as the gates close upon them,

may they carry the memories of this remarkable day with them

for the rest of their lives

to cheer them into the unknown.

FINCHER: The particular moment I remember

when they looked very, very romantic,

he was sort of completely smitten by her...

...was when they were walking in the heather by the river...

♪♪

[ Camera shutter clicks ]

...the photo call at Balmoral

on the honeymoon.

♪♪

[ Camera shutters clicking ]

And it was ‐‐ They just looked so sort of in love.

And he was gazing at her,

and he kept picking up her hand and kissing it.

just like a sort of Prince Charming would.

And she kept putting her head on his shoulder,

and it was all very romantic.

♪♪

FEMALE PHOTOGRAPHER: Madame, how are you enjoying married life?

Highly recommend it.

How do you like Balmoral as a place?

Lovely. It's a beautiful place.

MALE PHOTOGRAPHER: Have you cooked a breakfast yet?

I don't eat breakfast.

[ Laughter ]

BEDELL SMITH: She seemed to be having a great time,

but, in fact, she couldn't stand being at Balmoral.

She felt oppressed and hemmed in.

She began to obsess about Camilla.

♪♪

BRADFORD: On the honeymoon yacht,

Charles was wearing cufflinks Camilla gave him.

Diana knew perfectly well they came from Camilla.

It's a strange thing to do on your honeymoon,

to wear your ex‐girlfriend's gifts.

I think a bit of fisticuffs might have come in there

if I'd have done it. [ Chuckles ]

BEDELL SMITH: She said she saw a picture of Camilla

slip out of his diary,

and all she did was worry about her

and whether Charles was really telling her the truth.

♪♪

LACEY: Camilla is the wicked stepmother

in the Diana story right from the beginning.

And I actually feel quite sorry for Camilla,

because just as Diana was caught

by antiquated values,

so Camilla was also trapped.

Charles meets Diana,

but right from the beginning,

there's the shadow of Camilla there all the time.

[ Camera shutter clicks ]

There's a very sad photograph

of Camilla and Diana,

side by side,

at Ludlow Race Course.

They were there because of Prince Charles in some way.

And you look at that picture,

and you think, "What is going through the minds

of those two women?"

Camilla, already Charles' mistress,

and the girl beside her, who's going to discover.

When you see that,

I certainly feel pity for Diana

because she was getting involved in a big game

that she didn't know half the details of at that stage.

[ Camera shutters clicking ]

Diana had no idea what she was stepping into.

Part of the Royal duty was traveling the world.

Diana was new to this and nervous.

FINCHER: The first Wales trip, of course,

was very soon after they came back from their honeymoon.

It was the first time she was on a trip

out with the public.

[ Cheers and applause ]

Crowd: [ Chanting ] We want Di! We want Di!

We want Di! We want Di!

FINCHER: Well, we'd had royal walkabouts before.

The Queen was pretty good at doing them.

REPORTER: In New Zealand, she mingled with her subjects,

enjoying times like this

probably more than the great occasions of state.

FINCHER: When she does a walkabout,

it's sort of staying back from the crowd,

so she'll walk over to the crowd, but she'll ‐‐

there'll be a gap.

She won't go right up to the barrier and reach in.

She'll stand back and she'll extend her arm out

and take some flowers,

but you won't see her

putting her arm in and touching people

or giving a child a hug.

It would be very "I'm here, and you're there."

[ David Bowie's "Rebel Rebel" plays ]

With Diana, it was completely different.

If there was a small child with some flowers,

Diana would go down low to the child's level.

You wouldn't see that with other members of the Royal family.

♪ Rebel, rebel, you tore your dress ♪

It hadn't happened like this before.

She was so tactile with them.

She would go to a hospice, and she'd sit on the edge of the bed

and she'd talk to the lady or the man in the bed

as though she'd known them all her life.

Well, no one ever did that.

They would all stand there, look their way,

nod and smile, and then walk out the room,

but not Diana.

She would get involved. She would take part in it.

WOMAN: Diana!

[ Camera shutters clicking, indistinct conversations ]

TEBBUTT: The tour of Wales...

[ Clicking continues ]

...the amount of people that were there,

just taking photographs...

[ Clicking continues ]

...it was enormous.

I've never seen anything like it.

[ Clicking continues, people shouting ]

I used to say, "Behave!

You can take your photographs, but behave!"

[ Clicking continues ]

A British newspaper, The Observer,

says the next royal heir will be a boy.

Princess Diana has learned through routine medical scans.

The child could be second in line of succession

to the throne.

Everyone's writing sort of all these quite personal details.

"Is she gonna have a natural birth?

Is she gonna do this? Is she gonna do that?"

Can you imagine having your pregnancy scrutinized?

It must have been quite embarrassing and uncomfortable

to have all that played out in the media and so publicly.

EDWARDS: The competition's fierce.

We went for it. We wanted to get exclusives.

It just was how you worked.

GREENSLADE: They had unlimited expenses,

they would travel anywhere,

and they were encouraged

to be intrusive.

They followed Princess Diana, when she was pregnant,

to an island in the Caribbean.

LACEY: Those journalists ‐‐ they get up.

These portly, middle‐aged men

crawl through the undergrowth for hours

with the sweat and the mosquitoes and everything,

as if they were on some sort of military exercise,

which, in a way, they were,

with their long lenses and everything,

and there they catch pictures of Diana pregnant.

[ Camera shutter clicks ]

EDWARDS: Got the pictures.

There was a massive row about it.

[ Camera shutter clicks ]

FOLKENFLIK: "Bahama Mama." Shocking.

Taking sneak pictures of a woman who's pregnant

is a nasty thing to do.

REPORTER: A photograph of the future Queen of England,

pregnant, in a bikini, taken from hiding

by photographer Arthur Edwards of The Sun.

They were sensational pictures,

but they were paparazzi pictures,

not good, lovely pictures.

REPORTER: Are you ashamed of taking the pictures?

No, no, no. I don't feel ashamed at all.

It was an assignment, I was sent there to do it, and I did it.

[ Camera shutter clicking ]

They know that if we aren't there,

someone else will have to do the job.

EDWARDS: I remember landing at Heathrow

and turned on the radio

and there was members of Parliament

asking questions in the House of Commons here

about intrusion.

There was the press secretary to the Queen

being very condemnatory on the radio.

And I was pretty low about it.

And I got to the office,

and the office driver I met spat on the floor

and made me feel terrible.

But the editor was delighted.

The editor was Kelvin MacKenzie.

GREENSLADE: He actually welcomed Arthur,

putting his arms around him,

and he was determined

that it would go on the front page.

FOLKENFLIK: He publishes the first picture of "Bahama Mama"

and gets some pushback

from Buckingham Palace,

and then there's essentially a "[bleep] you" the next day,

where he says, "No, we're gonna do it again."

CAGLE: The photographers had never covered

the Royal family like this before.

All of the old rules had gone out the window,

and there was a new game.

♪♪

CONNELLY: Those two coming together on that floor

in that building ‐‐

wow, right?

Wow!

[ Bells ringing ]

REPORTER: In England, it's a boy ‐‐

7 pounds, 1 ounce, no name yet,

but that country is jumping.

[ People singing indistinctly ]

[ Cheers and applause ]

WOMAN: May we see your son, Your Royal Highness?!

WILLIAMS: Previously, the Royals, the monarch,

had their baby in the palace.

Diana's decision to have her baby in a hospital ‐‐

that's completely new.

The relationship between the Royals and the public

is refigured with that picture of William and Diana

on the steps of the hospital.

PARRY: In the past,

royal children were confined to nurseries,

looked after by nannies.

Diana didn't want that for her children.

♪♪

[ Gulls crying ]

♪♪

EDWARDS: Taking William on tour ‐‐

no child had ever been taken on a royal tour before.

Diana sort of insisted on that.

I remember going to Australia.

The whole of the business‐class section was sold out

with journalists and photographers and TV crews

going out to cover it.

[ Cheers and applause ]

BEDELL SMITH: Charles would write letters to his friends

saying how much fun they were having with William.

[ Laughter ]

Those were tender moments of togetherness.

Everybody was saying, "Good luck,"

"I hope everything goes well,"

and "how lucky you are to be engaged to such a lovely lady,"

and, my goodness, I was lucky enough to marry her.

And we had many, many messages ‐‐

[ Laughter ]

It's amazing what ladies do when your back's turned.

[ Laughter ]

On their Australia tour, the Prince and Princess of Wales

have been swamped by exuberant crowds

as spectators surged across security barriers to see them.

♪♪

REPORTER: The Princess of Wales

was again the center of attention,

as she has been throughout the tour so far.

EDWARDS: I remember once in Sydney,

we were walking, doing a walkabout.

He'd be on one side of the road,

she'd be the other side of the road,

and there'd be 20 photographers doing Diana

and there'd be no one doing Charles,

and the press officer screaming at us,

"Would someone please cover the Prince?!"

SMITH: Can you imagine they're screaming

for your husband to get out of the way

so they can photograph you?

Your husband, the future King of England?

I haven't yet worked out a method

for splitting my wife in half

so she can do both sides.

EDWARDS: This little boy come up to the Prince of Wales,

and he said, "Oy, Charlie, where's Diana?"

And he turned 'round, and he said,

"She's not coming today, son.

You better ask for your money back."

♪♪

PARRY: People who met Diana

fell in love with Diana.

[ Delibes' "Flower Duet" plays ]

SLEEP: First of all, she was stunning.

But she was demure.

She had a style of her own

that I'd never seen on anybody else,

and, you know, she would, like, glint,

you know, sort of mischievously.

But if you said something outright,

she'd blush like anything.

She'd go, "Oh!"

And this blush would come in, which was so endearing.

[ Music continues ]

SMITH: She was like a silent‐film star.

Everything was expressed

through those huge, blue eyes.

She cut this perfect image

that everyone could project some part of themselves onto.

FINCHER: With Diana,

when she walked into a room, it was like a magnet.

You couldn't stop looking at her.

And she just was on the next level from celebrity

when you saw her.

There was just such a presence of her.

Crowd: [ Chanting ] Diana! Diana!

CAINE: Diana ‐‐

to use a word from my business, she is a star.

Think of your own reaction

when you watch the screen or the television.

Your eyes go to her.

SPENCER: You can't fake star quality,

and people realized she had that.

♪ 'Cause you're a sky ♪

♪ 'Cause you're a sky full of stars ♪

For us, Diana was the megastar.

She was the one that everybody wanted to see.

When she smiled at your camera,

an electric shock went through you.

You knew you had a great picture.

♪ 'Cause you're a sky ♪

♪ 'Cause you're a sky full of stars ♪

FOREMAN: On the screen, on the newspapers ‐‐

I don't think anyone can really understand,

unless you were there,

what it was like to have this woman explode in our faces.

It was like having a supernova.

[ Screams ]

FEMALE REPORTER: A new word began to appear

in the media's vocabulary ‐‐ "Di‐Mania!"

MALE REPORTER: Diana fever has infected Britain

and most everywhere else.

So, tell us, what is she really like? [ Laughs ]

CARSON: The major topic in the papers is Princess Diana.

Ohh!

She's beautiful!

She really does look like a star.

She is so beautiful.

SMITH: She was a supermodel,

political figure,

movie star.

CAGLE: She was a fashion icon.

Diana became

the most fascinating woman in the world

at the time 24‐hour news was becoming part of our lives.

The princess is spending the day in Florence.

‐Rome today. ‐The United States.

SMITH: She was everything.

What made her special was the global nature of it.

REPORTER: Japanese hairstylists suddenly turning out Diana cuts.

CARSON: Have you ever seen our country go so stark‐raving nuts about royalty?

REPORTER: Washington socialites have been in a tizzy for weeks.

Do you remember her dancing with John Travolta?

CARSON: I'm delighted you came to see our show

rather than the show that is taping right down the hall ‐‐

Princess Diana and John Travolta competing in "Dance Fever."

[ Laughter ]

CONNELLY: Those two coming together on that floor

in that building ‐‐

that's the 80's.

The idea that a future Queen of England

could be exciting and dazzling

and take the dance floor

with the guy who had been in "Saturday Night Fever" ‐‐

wow, right?

Wow!

REPORTER: In 3, 2, 1.

Do you know how we all fantasize we're gonna grow up

and marry a rich man and be a princess?

Is this like seeing the woman who got it all?

I don't think anybody has it all.

I think to a certain extent, she's a bird in a gilded cage.

♪♪

BURNETT: As a penalty of the job,

did you find it difficult to adapt?

[ Camera shutters clicking, people shouting ]

HICKS: The press ‐‐

it grew into this monster.

[ Clicking and shouting continue ]

People were wanting to see every intimate, private moment.

It's an endless life

of having to be on best behavior,

watching what you say,

being politically correct.

MAN: Diana! Diana!

On top of that, trying to have a marriage,

trying to raise children ‐‐

I mean, the pressures must be huge,

painful every day

to think that every move you make

is being watched and commented

and criticized by the world.

My God. Who would choose that?

[ Bell ringing ]

TOWN CRIER: The world press have waited

to congratulate the Princess Diana,

who has issued forth with a second child.

It is a boy.

REPORTER: It's a boy.

The royal birth was a national cause for celebration.

[ Cheering ]

♪♪

LACEY: When Harry was born,

everybody in polo circles was talking about the way

in which Prince Charles

had rather casually gone to the hospital to see the baby.

REPORTER: At the entrance to Kensington Palace,

the Prince and Princess and their baby

arrive from hospital at speed.

Less than an hour later,

Prince Charles left to play polo,

something most new fathers would hardly dare to suggest.

♪♪

LACEY: The story that was told

was that he came out furious and early,

complaining that the baby had ginger hair.

Charles said, "He looks like a Spencer."

And, of course, in a way, Harry does look like a Spencer.

How do you think he feels about his wife today?

He certainly loves her.

I don't think he's in love with her.

I don't think it's the great love match.

To begin with, it was a marriage of convenience.

They're much, much happier now

because she's come to grips with the job.

I still don't think he's in love with her,

but he respects her,

and she is the only woman in his life.

BRADFORD: Well, I don't think it was a tremendous lot of fun

for Diana, actually.

I don't think she saw very much of Prince Charles ‐‐

you know, wasn't there for her.

The fairy tale was a bit wobbly.

FINCHER: There was a lot of separation.

She'd be in London.

Often he was down at Highgrove.

BEDELL SMITH: It's hard for people to imagine,

who know her public persona of confidence,

all those things that people saw in public,

to realize that when she was in private,

she was often in pieces.

CAGLE: She also imagined that every time he was gone,

he was with Camilla.

Sometimes that was maybe true, and sometimes not,

but she believed that her husband

was always off with another woman.

And it was devastating to her.

BEDELL SMITH: There was a lot of turmoil.

Sunday nights when Charles and Diana would have a big fight,

she would bolt the house,

tears streaming down her face,

and she would be taking William and Harry

back into London with her.

♪♪

DEMPSTER: Prince Charles doesn't like the fact

that she's a superstar and he isn't.

What has happened is there's been a transformation.

She's become the person that everyone wants to know,

everyone wants to meet.

He has taken a back seat, and it's not enjoyable for him.

♪♪

CONNELLY: Part of the story of Diana

is a real person

with real emotions and feelings

and those emotions and feelings often being inconvenient

or challenging,

which is kind of what happens in a couple, but...

you have a man, Prince Charles,

who is not used to the inconvenient emotion.

He is used to concealing his emotions.

Emotions just get him into trouble.

She wasn't stiff‐upper‐lippy at all,

and that was the royal way.

That wasn't Diana.

FOREMAN: She was adored by the public

and incredibly famous,

and yet, at home, incredibly lonely

and felt unloved by her husband.

♪♪

The way she expressed that loneliness

was through bingeing and deprivation.

♪♪

BEDELL SMITH: She spoke about about...

not being comfortable in her own shell,

about doubting who she was.

♪♪

She would go into the kitchen and eat pints of ice cream,

and then she would...be sick.

♪♪

SLEEP: I knew about that syndrome because of being

in the Royal Ballet and amongst dancers.

And that syndrome, a lot of the time, would come in

because they didn't feel they were going to live up

to their parents' expectations of being a great dancer

or they didn't fit

and they weren't going to get into a company,

so then they would persecute themselves.

With Diana, I think it was a cry for help.

♪♪

PARRY: I remember Diana at a fashion show.

She looked painfully thin.

You could feel the disintegration.

You could feel the unhappiness.

COLTHURST: I saw the bulimia as a manifestation of unhappiness,

not as an illness, per se.

So, if the unhappiness or the cause could get solved,

then maybe it would back off.

She wouldn't need it anymore.

And I think as she gathered steam in her own right

and suddenly started to see what she could achieve

and the role became more defined,

her life became more defined.

♪♪

FINCHER: The stories were abound

that Charles and Camilla were back together.

Diana decided that she was going to confront Camilla.

And she did.

In history, royal people went around

planting commemorative trees

or launching ships or things like that.

But the Princess has taken up

the cause of the deaf,

of handicapped children,

and that, perhaps, is something new to many people

that royal people should concern themselves in this way.

[ Camera shutter clicking ]

PARRY: Diana did become very gripped very quickly by causes.

She always said to me

that she thought of herself as an outsider,

that these people were also outsiders.

And she had a bond with them.

The idea that Diana was an outsider

is, for me, quite hard to reconcile

because she was everything that is the establishment,

in some ways,

but, emotionally, she felt that she was an outsider,

and that's what attracted her to a range of organizations

where people were on the wrong side, as it were.

WHITE: She resonated with suffering.

She herself had scar tissue and traumas growing up.

She was introverted and lonely, had insecurities.

So, the accumulation of this,

even after marrying the Prince and becoming Princess Diana,

all of that was combining to something quite powerful,

which was this very raw, high emotional intelligence,

social intelligence.

I would call it "trauma intelligence."

PRINCESS DIANA: I'm learning how they cope

and how they deal with the outside world

who don't always want to know about them, perhaps.

As Diana grew into her role,

she became patron of more and more charities ‐‐

things like addiction,

homelessness,

HIV, of course.

We are going to go on now with AIDS,

because, apparently, a lot of health professionals

are now worried about their own chance of getting AIDS.

One in four would refuse to treat AIDS patients

if given a choice.

We forget, because HIV is now a treatable disease,

that in those days, it was a death sentence.

I have lost a dozen friends already

in the last year and a half, two years.

I think in terms of the gay community,

anybody who's got any brains is nervous and scared.

SPENCER: She had friends who were gay

who had either been infected by the virus

or who somebody special to them had been,

and this opened her eyes to the reality of it all.

I think she just decided

that she was gonna do her bit for this.

♪♪

REPORTER: A visit to the Middlesex Hospital

and its AIDS ward ‐‐

all the speculation that centered

on whether she would wear gloves

when shaking hands with the staff and patients.

♪♪

PRINCESS DIANA: HIV does not make people dangerous to know,

so you can shake their hands and give them a hug.

Heaven knows they need it.

REPORTER: She shook hands with the all the nurses, doctors,

and all 10 patients on the ward.

She clearly wasn't wearing gloves.

CONNELLY: It got on the front page

of every newspaper in England.

It got in the glossy section of every magazine in Europe.

It changed the conversation.

It did move the needle,

because she was leveraging her celebrity

on behalf of something that she cared about.

VARGAS: It sent an enormous message.

They see that image of the most famous woman in the world

[Gasps] doing that.

It was extraordinary.

And I think she knew exactly what she was doing.

SPENCER: It was an incredibly powerful act.

She was not really a gloves person.

She was very about human contact and what really mattered.

And what really mattered that day

was to get across a very clear message

that, you know, "I'm gonna touch this gentleman,

and you can all exist in a community

with people who are suffering and we must help them.

[ Babbles ]

PHOTOGRAPHER: One more picture.

One more picture, please.

[ Laughter ]

♪♪

SPENCER: Nothing in her life came close

to the love for her children.

Diana always wanted to have a family.

That was always her thing.

She was the best mother ever.

Her really, really important time

and the time she enjoyed most in her life

was with William and Harry.

She was so incredibly happy when she was with her boys.

PARRY: You must remember that hanging over Diana always

was her own upbringing.

She wanted ‐‐ as many children do

who have difficult family backgrounds,

she wanted her children's experience to be different.

♪♪

[ Film projector clicking ]

I think she thought that Charles had had

rather a lonely upbringing.

He'd been away to boarding school.

It hadn't been a happy experience for him.

He'd had a rather distant relationship with his father,

and Diana didn't want that for her children.

EDWARDS: Prince Charles ‐‐ very traditional.

And he probably introduced his sons to the opera

and to fine paintings and great music.

But Diana introduced them to McDonalds,

going to the cinema,

going to the funfair,

going to Disney World.

♪♪

Aaaaaaaah! Aaaaaaaah!

Aah! Aah!

[ Laughs ]

VARGAS: Diana was a different kind of mother

than we've seen ever in the Royal family ‐‐

hands on,

joyful,

playful,

and it's not so stuffy and hemmed in.

PARRY: Diana insisted that they do things ‐‐

for instance, visit the homeless,

that would prepare them for their role ahead.

COLTHURST: She felt it was very important

that if this was the country

that they were gonna take over,

that they should see the reality of the extremes.

And living in a palace ‐‐ it was just one end.

SPENCER: Diana wanted to give her children love.

People go on and on about, oh,

how she wanted to give them a normal life.

Well, that was a sort of by‐product of love.

She was keen to give them

an inborn happiness

and strength moving forward.

[ Camera shutters clicking ]

REPORTER: For the young Prince William,

it was an early introduction to a life in the spotlight.

[ Clicking continues ]

That. That.

That.

[ Clicking continues ]

♪♪

[ Camera shutters clicking rapidly ]

MAN: There they are!

Diana! Diana!

[ Clicking continues ]

♪♪

VARGAS: Finding that line...

...between incredible fame

and keeping your own privacy ‐‐

that's a very, very difficult thing,

especially when it comes to children.

[ Photographers shouting indistinctly ]

CONNELLY: The boys were going to become

a focal point of the media

because the eldest boy

was gonna become the freakin' King of England.

[ Clicking continues ]

♪♪

CAGLE: When William and Harry were little,

the British press just hounded them mercilessly.

And there was no respect or appreciation

for the fact that these were little children.

They didn't ask for this.

[ Clicking continues ]

There was just no way for her to control it

once it started.

She certainly hated

that the media caused her children distress...

MAN: Diana! Diana!

CAGLE: ...or in any way got in the way of her mothering.

[ Clicking continues ]

SPENCER: I remember she was furious

when she'd just taken Harry to school.

He was very small ‐‐ 4 or 5.

REPORTER: Here he is arriving at a school nativity play.

Smile for the cameras, Harry.

[ Camera shutters clicking ]

Lovely!

♪♪

SPENCER: The English papers

had taken pictures of him sticking his tongue out

and said what a cheeky boy he was.

But the photographers had been sticking their tongues out

at Harry.

And what 4‐ or 5‐year‐old boy

doesn't stick his tongue out back

if an adult's doing that to them?

And it was the sheer dishonesty of it

that they were trying to say

he was this impossibly rude little kid,

whereas they'd actually provoked him on purpose.

Diana felt furious about that.

SMITH: For the children, it was really horrible.

That's probably where it was the most heartbreaking for her.

VARGAS: I think you did always see

Diana very carefully try and guard

against the prying eyes of any kind of press

when it came to her children.

♪♪

[ Camera shutters clicking ]

I'll never forget her on a ski slope with her kids.

[ Clicking continues ]

FINCHER: Well, the photographers

that were trying to get those offbeat pictures

would go to great lengths,

because you don't care about her emotions, do you?

You don't care.

All you care about is the picture you're taking.

You're not thinking about, "Is this making her upset?

Is this upsetting the children?"

You're just taking the pictures

because you want to get good pictures

because you want to sell it for a lot of money.

FINCHER: She would say to me

the photographers had been chasing them,

and that really upset her.

She'd had enough of the invasion with the children.

♪♪

♪♪

CONNELLY: If one of those guys gets a picture

that somebody else doesn't get, $500,000.

You don't need to be, like, from a magazine.

You don't need to be on assignment.

you don't need to have the best camera.

You are a millionaire.

And so they're all out there.

"We'll just never stop looking,

we'll never stop taking pictures, and we'll get it."

Excuse me.

PERRY: She'd been putting up with scrutiny

for a long period now.

Diana was older and wiser,

and she'd got more confident.

That took some guts.

SPENCER: Diana was always incredibly brave.

When we stayed up with my mother in Scotland,

we used to go out lobster potting ‐‐

you know, put lobster pots down and try and catch lobsters.

I remember once we pulled one up,

and there was a massive eel in it ‐‐

I mean, a really massive conger eel.

And it had teeth ‐‐ very, very long ‐‐

and it was flapping around the boat.

Horrible. You know, this thing thrashing around

was really a creature from the deep.

And Diana just got a penknife out

and just dealt with it.

You know, it was hand to hand, and she just got stuck in.

That was a strong girl who was brave.

She was not a‐a pushover ‐‐

never ever.

Goodness. That's a ridiculous concept.

LUNDEN: What about this relationship with Charles?

I mean, are they okay again?

DEMPSTER: There's a married lady

whose husband is a brigadier

called Camilla Parker Bowles

who's been friendly with Charles for 20 years.

He spends a lot of time with her.

But I'm sure it's all a matter of the meeting of minds

rather than bodies.

FINCHER: The stories were abound

that Charles and Camilla were back together,

and I was asked to go and do a private party, photographs,

and was told that there'd be some special guests there.

And the special guests were Charles and Camilla.

♪♪

This is the biggest story,

and I'm taking pictures of them dancing,

and I can't tell anyone and I can't issue them.

It was like being given

the biggest box of chocolates in the world

and you can't have one.

♪♪

I think he married a girl

who he thought would be very compliant,

very easy to control.

♪♪

[ Hinges creaking ]

FOREMAN: Until Princess Diana came along,

for the past century and a half,

when royal couples were unhappy with each other,

they just stuck it out.

♪♪

That was the way it was.

You led separate lives,

you saw each other on public occasions,

and that was it.

Princess Diana, amazingly, decided

that that wasn't it for her,

that she simply couldn't live a lie.

BEDELL SMITH: Camilla and her sister, Annabel,

were having a big party.

[ Glasses clinking ]

Diana and Charles were invited.

And on that evening,

Diana decided that she was going to confront Camilla.

And she did.

♪♪

FOREMAN: I don't think you can measure

what a seismic shift that was

in the nature of the monarchy.

♪♪

[ Speaks indistinctly ]

She knew the world

was about to fall in on her head.

It rocked the Royal family.

[ Camera shutter clicking ]

Bring me the head of Princess Diana.

Good evening. I'm Kevin Newman.

There has been a terrible accident

involving Diana, The Princess of Wales.

I'm gonna burst into tears.

CLOONEY: Princess Di is dead,

and who should we see about that?

SPENCER: This is how it ends ‐‐ absolute endless hunger

for more of a pound of flesh from Diana.

♪♪

MacKENZIE: Let me just carry on.

Let me carry on for a second. Let me carry on.

You asked the question.

You asked the question. I'll give the answer.

No, no. You've got to let me finish.

You gonna let me finish or what?

You referred to your paper as the paper which campaigns

for your right to know, the reader's right to know.

Right to know what?

Is there some line to be drawn.

Is there some domain of privacy

into which even The Sun and its readers

should not intrude?

Is there a‐a complementary right

on the part of the ordinary citizen

complementary to his right to know,

his right to be let alone?

I think that's an interesting question.

I think the ‐‐ it's not an easy answer.

♪♪

PRINCESS DIANA: When I started my public life,

I understood the media

might be interested

in what I did.

♪ Every breath you take ♪

♪ And every move you make ♪

But I was not aware

of how overwhelming

that attention would become.

CAGLE: The media and Diana needed each other.

They fed off of each other.

She was very good at dealing with it,

at times, manipulating it.

CHRISTINA LAMB: But you can't use that

and it not come back to haunt you.

CONNELLY: This was like a dam on a river.

SMITH: It was suddenly cracking.

CONNELLY: Something that controlled a huge amount of power.

SMITH: It just...blew open.

[ Camera shutters clicking ]

♪♪

Britain had lost its collective sanity.

FOLKENFLIK: She was figuring out celebrity on the job.

She tried to make something of it.

She tried to do something valuable.

CONNELLY: In the ashes of her marriage,

she succeed in creating herself as a brand ‐‐

the people's princess.

COLTHURST: It's possible to put up

with a very difficult situation

and create a pretty lively life.

FINCHER: When the announcement came,

I was in disbelief. I couldn't take it in.

REPORTER: Diana, Princess of Wales, has been seriously injured.

Every proprietor and editor...

♪♪

...has blood on his hands today.

Princess Di is dead.

And who should we see about that?

WHITE: How can this happen?

We're in the middle of the story.

♪♪

ETHERINGTON‐SMITH: A lot of us had known already

that Prince Charles was in love with somebody else

and had been sort of almost all his life.

BRADFORD: They were certainly deeply fond of each other,

Charles and Camilla.

And they thought, "As long as we keep our heads down a bit,

we can occasionally go on holiday together."

♪♪

HICKS: He really found a soulmate.

They share a lot more in common.

Their passions are more similar and aligned.

Camilla is happy to be more private

and doesn't need to be a star on a stage.

♪♪

BRADFORD: By 1986, Diana knew very well

what was going on.

CONNELLY: You could see it in the images.

That was the other thing that was so transfixing about her.

You could tell in the pictures how they were getting along.

SLEEP: When she realized it was serious,

it must've been quite a jolt ‐‐

you know, probably very upsetting.

COLTHURST: But the public view was

here was a happy lady having a great time

and really enjoying her life,

and there was a big vacuum around her life.

She was very unhappy.

♪♪

FOREMAN: Throughout history, it would come as no surprise

that men have often felt

that they were entitled to have a mistress on the side.

But it wasn't just the men.

It was generally accepted among the wives

that they had to produce an heir and a spare,

and then they could take a lover themselves.

That's the way it goes.

♪♪

CAGLE: Once Diana decided to seek love

outside the marriage,

it is completely unsurprising

that one of the first men was Barry Mannakee,

who was her bodyguard ‐‐

someone whose literal job it was to protect her.

She felt very safe with him.

♪♪

♪♪

BEDELL SMITH: Charles and Diana were on a private plane

to the Cannes Film Festival

in 1987.

Before they got on board, Charles got word

that Barry Mannakee had been killed in a motorcycle accident,

and he had to break the news to her.

She was in floods of tears,

and her lady‐in‐waiting was trying to console her,

but nothing seemed to work.

♪♪

PARRY: She wanted somebody to just love her.

She sought to be loved unconditionally.

♪♪

CAGLE: James Hewitt

was a very significant relationship for her.

If she had not married Prince Charles,

James Hewitt might have been the guy that she married.

♪♪

She and Charles were apart so often

that James Hewitt was there with her boys,

and her boys grew to like him a lot.

He got transferred to Germany,

and then that was the end of that.

♪♪

LACEY: The patent of Diana's later years

with really quite multiple male partners

is an argument for those who would say

that it wasn't necessarily Charles' fault.

I'm not suggesting she was promiscuous ‐‐

in fact, on the contrary.

I don't think she was looking for sex with these men.

She was looking for love.

MARKS: She spent time with people,

but they weren't people

that she wanted to spend the rest of her life with.

Really, deep down in her heart,

it was Charles.

♪♪

PERRY: Diana was at the 40th birthday party

of Camilla's sister.

♪♪

Diana uses that occasion

to confront Camilla

face to face

about what's been going on

and said, in a nutshell,

"Don't make an idiot of me."

FOREMAN: She simply couldn't live a lie.

I don't think you can quantify

what a seismic shift that was

in the nature of the monarchy.

♪♪

BEDELL SMITH: It was a scene

in their inner circle.

It exposed that Camilla and Charles

were having an affair.

Even some of the editors and the press were aware of it.

GREENSLADE: Our feature writer, Judy Wade ‐‐

she was the first to really spot

that this relationship was in a bad way.

She said, "No, I saw the hands part.

I saw her look.

I think there's something wrong."

♪♪

With all these competing newspapers,

there's always been intense competition.

And they had to obviously get contacts within the palace.

They had to have sources.

And untold amounts of money would exchange hands.

♪♪

They're paying butlers. They're paying flatmates.

They're paying delivery guys.

They're posing as some of these people.

SLEEP: I think you would get a bit paranoid.

"Who's going to deceive me next?"

You know, there'd been deceit all around.

Could you trust anybody?

She was pried upon,

and she needed some privacy,

and she didn't get a lot of privacy.

COLTHURST: That's a pretty vulnerable place to be.

It's like discovering, you know, your room's been tapped.

She was concerned that somebody was listening

within Kensington Palace switchboard,

so that was her worry.

And we started using scramblers.

You switched it on, and it would garble the message.

We would often get a minute of chat on the scramblers,

which the opposition would hear as "Mrr‐mrr‐mrr."

It was garbled speech.

And then the line would be cut.

That was pretty sobering.

She was just getting slightly paranoid

about the whole thing ‐‐

quite rightly so when you've got so much going on around you.

COLTHURST: She knew there was gonna be an explosion.

It was becoming inevitable

that something was gonna come out

of the whole marriage being a disaster and so on.

Something was going to happen.

And her huge concern was her two boys.

♪♪

As the boys were the heirs to the institution,

the institution might step in and say,

"We'll take on from here."

[ Camera shutter clicking ]

They were not just her sons.

They were heirs and spares to the throne.

COLTHURST: And she could've been sidelined,

and I think that would've been a disaster.

So, what she needed was first paint on the canvas.

She needed to have her case heard.

She wanted to tell the world.

♪♪

SLEEP: There was a kind of fear in her,

and the fear turned into rebellion and strength

by letting the world know what was going on

from her point of view.

BEDELL SMITH: And she spotted Andrew Morton.

He was easy to spot.

He was tall and handsome.

CAGLE: Andrew Morton ‐‐

you know, he had covered her before,

and he had covered her in a kind and compassionate way,

and she appreciated that,

and so she gravitated toward him.

COLTHURST: He was already doing a biog on her.

Diana said maybe she should help with Morton and the book.

She wasn't prepared to rely on people like me

to tell her story,

or her friends or tabloid reporters.

She wanted to speak to the nation herself.

COLTHURST: I said, "Well, you can't be interviewed by him,

or you'll be in a vulnerable position.

Think very long and hard

about what you really want to do

and make sure that you don't do any damage

to the organization

that your boys will end up as part of.

It was a top‐secret project of Diana's.

Charles had no clue about this ‐‐ none.

It was a very deliberate procedure.

Morton would figure out what he wanted.

He would write the questions.

He would give them to James Colthurst.

I would receive the questions.

I turned up, and she grabbed all the questions out of my hand

and just said, "It's just quicker if I read them

and answer them there and then."

And she opened up.

And I'd go back, and then I'd hand over the tape.

I think she was just relieved

that she was gonna be heard for the first time

and perhaps understood.

FOREMAN: When Princess Diana married Prince Charles,

she was expected to be involved,

but she wasn't expected to be independent,

and that is the key difference.

Just before the Andrew Morton book was coming out,

she started to be quite edgy and distressed.

She knew the world was about to fall in on her head.

GREENSLADE: She was eager to take part

in trying to control her own narrative,

and it blew up in her face.

♪♪

BEDELL SMITH: The first excerpt of the book

occurred in June of 1992.

Charles and Diana were at Highgrove for the weekend,

and they were entertaining Charles' interior designer,

Robert Kahn,

who was sitting at the breakfast table,

and somebody delivered a fax

which had the first installment of this book

and gave it to Charles.

And Robert Kahn watched him reading this

and saw this look of alarm on Charles' face

that this was going to be in the Sunday Times that day.

And it rocked the Royal family.

BRADFORD: It absolutely was unprecedented.

It was just not done.

[ Camera shutters clicking ]

[ Photographers shouting ]

REPORTER: The papers this morning

are headlining the gossip

that Princess Diana has attempted suicide five times.

The book paints a depressing picture

of a couple at war with one another.

The Princess is said to have given tacit cooperation

and personal photographs.

Buckingham Palace denies she cooperated with the author

in any way.

[ Camera shutters clicking ]

FOREMAN: The revelations were shocking ‐‐

the bulimia and the affairs.

PARRY: On the other hand,

you had a lot of people being very sympathetic

because it made her real.

♪♪

She's brought something out into the open

that hasn't been talked about before.

She took the stigma away

from people dealing with eating disorders,

which was an incredibly powerful message.

It made us realize

that she had the same problems that everyone else does.

♪♪

FINCHER: The public were very sympathetic to her,

particularly females.

♪♪

SPENCER: Diana had a huge impact

on people who went through

all sorts of battles emotionally.

They really connected with her and all she went through.

♪♪

Finally, she was on a path that was self‐directed,

and that's really what feminism is all about,

is finding one's inner path and then acting on it.

COLTHURST: Once the letters started piling in,

suddenly she realized that she'd touched a lot of people.

[ Laughs ]

Good to see you.

The letters meant a great deal to her.

The theme was gratitude.

Well, I've always liked Diana very much ‐‐

you know, her honesty

and all the things she had to go through.

I think Diana should be queen.

She's very much ‐‐ very much a contemporary woman

and I think we all admire her.

GREENSLADE: She was eager to take part

in trying to control her own narrative,

and she saw the Morton book as a way of doing just that,

and it blew up in her face.

CAGLE: She was very good, at times,

dealing with the media,

sometimes manipulating the media,

but once you've made your life a commodity,

you really don't have any control over it.

CONNELLY: All of a sudden,

two surreptitiously recorded phone conversations

come to light.

BEDELL SMITH: It was New Year's Eve,

and Diana and her then lover, James Gilbey,

were having a phone conversation.

I don't sense that it was a terribly serious relationship,

but the tenor of the conversation

was one that transmitted intimacy ‐‐

the use of nicknames like "Squidgy."

Unbeknownst to James Gilbey and Diana,

that telephone call had been tapped.

And somebody had a recording of it

that made its way

into the offices of a tabloid newspaper.

♪♪

It's two people talking about, you know, being in love.

One of them happens to be the Princess of Wales.

One of them is not Prince Charles.

So, that's bad.

But it's gonna get worse.

♪♪

BEDELL SMITH: Meanwhile, a conversation

between Charles and Camilla on the telephone

was illegally tapped.

CONNELLY: Prince Charles was gonna become

the king of England.

That is the King of England we're talking about.

BEDELL SMITH: Bits and pieces began to appear

in Australian media.

SMITH: Who leaked those tapes?

♪♪

What was the need for the public to know,

which is what public interest, in my view, means?

What you're trying to do

is to explain what you think is news.

Yes, you are.

To every single person ‐‐ Well, hold on. Hold on.

Let me respond to him. You've had your go.

FOLKENFLIK: Kelvin MacKenzie was editor of The Sun,

and, in some ways, he was the prefect embodiment

of what a tabloid editor should be.

He was tough He was over the top.

The fact that it may involve people's lives being upended ‐‐

not his problem.

The single word that would describe him

would be "iconoclast."

There have been various other epithets ever since.

I frankly believe you're hostile to the press

and you're hostile to ordinary people

knowing the truth

about what goes on in public life.

Well, I have to say that your somewhat offensive

and aggressive manner does not help us

in coming down on your side.

Apart from MP's, I don't know anybody

who's ever worried about the press.

What they do worry about

is what's going on in high places,

and they want papers like The Sun to expose them.

Both sets of tapes were horribly uncomfortable, really.

LACEY: The release of those tapes was...

the most dreadful breach of press protocol

and basic morality and decency.

GREENSLADE: This was to transform

how everyone would be treated ‐‐

all celebrities.

The level of intrusion was crafted during the Diana years.

CONNELLY: This was like a dam on a river.

You know, this was something

that controlled a huge amount of power.

Bits and pieces began to appear

in Australian media.

REPORTER: An Australian magazine has published

what it alleges is an explicit telephone call

between Prince Charles...

An Australian magazine tonight

published what it claims is the uncensored transcript...

There were always these questions

of how it emerged there.

Who leaked those tapes?

REPORTER: The Australian magazine New Idea

won't say how it got the tape

but believes it is authentic.

The magazine is owned by Rupert Murdoch,

whose British newspapers include The Times and The Sun.

The Sun published a fresh scandal,

this time involving Diana.

Mr. Murdoch today denied he'd known

of the decision to publish.

The paper then invited the whole country

to listen in any telephone.

MAN: Listen to the conversation

and judge for yourself.

What did your proprietor, or whoever engaged you ‐‐

Yes. Mr. Murdoch hired me, yes.

Rupert Murdoch plays a tremendous amount of interest

in what happens in this country.

Has Mr. Murdoch ever discussed with you

the paper's policy towards the monarchy and Royal family?

Diana was a pawn in a larger chess game.

It was Murdoch and The Sun versus the Royal family.

FOLKENFLIK: You can't tell the story

of the evolution of the media and journalism

in the English‐speaking world

without focusing on Rupert Murdoch.

GREENSLADE: Rupert Murdoch buying

the News of the World in '68

and then The Sun in 1969

was a major turning point

in the history of British newspapers.

MAN: One more link in the vast chain

of a rapidly expanding empire.

GREENSLADE: As an Australian,

he had less of an affection for the Royal family ‐‐

didn't see the point of them.

MURDOCH: You would never really open up to society

until you tackle this class system,

and it was very hard to see how you would tackle it

with the Royal family there.

He saw them as fodder.

I mean, they provided an unbelievable amount of grist

for his publication.

GREENSLADE: Previously, editors had decided

what should go into their newspapers

by asserting their own values,

their own ethics, their own standards.

Murdoch came along and said, "I'm not interested in that.

What I want is simply to give the people what they want.

How will I find that out?

1970 ‐‐ let's put a naked girl into the newspaper.

Is that popular? Yes, it is. Right.

That was the foundation, the birth,

of what became known as the Page 3 girl.

The Page 3 girls of The Sun was a perfect example

of a newspaper that demanded to be,

in some ways, taken seriously,

nonetheless reducing women to body parts.

Diana was equally reduced

to her looks, to her figure.

Rupert Murdoch decided,

"This is one of the great narratives we're gonna ride,

and we're gonna ride this for years."

Could they find a way to get her in a bathing suit?

If they saw the royal bum, would that go on the pages?

♪♪

Princess Diana was like fresh meat.

GREENSLADE: "Give the people what they want."

It was as simple as that.

FOREMAN: The more beautiful she became,

the more people really liked

to try to humiliate her.

The British public was certainly getting very disturbed

by what Diana was being put through,

but they still bought the magazines.

They still bought the newspapers.

After a while, they forgot that this was a real person,

and they just saw her as a commodity.

The revolution begins here ‐‐

MSNBC.

FOLKENFLIK: There was this explosion

of cable channels.

She was like a catalyst for that industry.

The Princess has blabbed to the tabs.

CAGLE: Diana became the most fascinating woman in the world

at the same time that 24‐hour news

was becoming part of our lives.

♪♪

FOLKENFLIK: So, what are you going to do to fill it?

All the tabloids go crazy.

ANNOUNCER: Plus, we'll reveal her words about JFK Jr.

And it's being called "news"...

The institution itself may be doomed.

FOLKENFLIK: ...not because there's something

inherently newsworthy in what's going on.

It's because the public wants to read about it.

Suddenly, newspapers have real competition on a daily basis.

That makes them more desperate.

[ Camera shutters clicking ]

[ Laughs ]

TV was now a real threat to their existence.

[ Camera shutters clicking ]

MAN: Realize she's on holiday?

Been chasing her around and getting pictures.

Well, it has its compensations.

Is there anything you wouldn't do to get a photograph?

Not ‐‐ Not really. I don't think there is anything.

I don't think there should be anything

to stop you getting pictures.

So, the best thing is to go through with it brazenly,

and then at least you've upset them

for something at the end of it.

CAGLE: The global appetite

for paparazzi photos

made everybody a paparazzo.

It became clear to people in Diana's gym,

"Oh, here she is working out.

I'm gonna try to get a photo and sell it."

WOMAN: They were allegedly taken without her knowledge.

FINCHER: Newspapers were saying, "Well, it's not us,"

but, actually, British newspapers

were probably worse than the foreign paparazzi.

They were paying these paparazzi vast amounts of money.

PERRY: She must have felt so violated.

It was coming at her from all angles.

CAGLE: One of the great betrayals

was when James Hewitt ultimately sold his story.

REPORTER: "Princess in Love,"

written with the cooperation of Major Hewitt,

hit the shelves.

She was crushed.

♪♪

She was feeling under siege.

PHOTOGRAPHER: Just give me one picture

and I'll go, all right? DIANA: No! No!

They'd be screaming, "Diana, look here!" and so on.

But they would say worse things than that

to provoke some kind of reaction

which would make a worthwhile picture.

"Diana, aren't you ashamed of yourself?"

"Diana, what do you think of Camilla now?"

"What do you think he does in bed with her

that he didn't do for you?"

All sorts of stuff.

"Who are you [ bleeping ] now?"

I don't think that Rupert Murdoch

would've been certainly knowledgeable

about all the illicit activity that went on,

but he created the culture

in which what we did to Diana could occur.

Come upstairs, Diana.

PHOTOGRAPHER: Diana!

[ Camera shutters clicking ]

No.

Leave her alone. Hey.

It's well intended. [ Laughs ]

Get a hole in one with this, though.

[ Laughs ]

Stop it.

Leave me alone.

MacKENZIE: I've been the editor of The Sun for 12 years.

Right now the press

is at its best‐behaved.

I would say it's better behaved now

than at any time that I can remember.

Just give me one picture and I'll go, all right?

No! No!

Dear God.

People like what we do.

They don't look upon it in the way you look upon it.

The way our readers look upon it, it's incredible.

It's fantastic.

Out! Out! Out. Out. Out.

Out. Out.

O‐U‐T ‐‐ Out.

Have a nice trip, ma'am.

♪♪

In some ways, Diana serves as a rebuke

to the idea

that journalists are going to adhere

to a higher principle.

Diana wasn't a thing. She was a person.

And they treated her as an object.

♪♪

GREENSLADE: There can't be any doubt

that we overstepped the mark.

♪♪

We lost any sense of ethics here.

We thought here was somebody who had privilege

and really sacrificed her rights to privacy

by simply having the privilege that she did.

REPORTER: Kensington Palace ‐‐

the Prince and Princess of Wales slept there overnight,

but it's believed in separate suites at either end.

The Prince and Princess of Wales

have begun a 4‐day tour of South Korea.

The visit is seen as an important step

in promoting trade with Britain.

But they were unable to avoid continuing speculation

about the state of their marriage.

REPORTER: The reports heard include speculation

that the Queen has forced her to go with the Prince of Wales

to South Korea

in an effort to save their marriage.

♪♪

FINCHER: It was clear

that they'd hardly spoken to each other.

[ Camera shutters clicking ]

♪♪

EDWARDS: They couldn't even look at each other.

That's how bad it was.

[ Camera shutters clicking ]

FINCHER: The whole thing was a very icy, icy trip...

[ Clicking continues ]

...and that was the last trip they did together.

♪♪

[ Camera shutter clicks ]

LACEY: When it was clear things were going wrong,

the Queen and Prince Philip actually convened

a sort of family‐counseling session

in which they sat down

with Diana and Charles and said,

"Come on," you know? "Let's talk about this.

Can we help you in some way?"

And Charles said, "What?!

You want me to talk about what I'm really feeling

so I'll see it tomorrow morning

on the front page of the papers?"

and looked at Diana.

Diana broke down in tears,

and that was that.

♪♪

[ Indistinct conversations ]

JOHN MAJOR: It is announced from Buckingham Palace

that, with regret,

the Prince and Princess of Wales have decided to separate.

Both the Prince and Princess have made it clear

they have no plans to divorce.

WILLIAMS: The separation was a surprise

and a shock for the British people.

It was announced by John Major in Parliament,

and that shows how important the royal marriage was.

It was a major moment in British history.

JOHN MAJOR: Her Majesty and His Royal Highness

particularly hope

that the intrusions into the privacy

of the Prince and Princess may now cease.

Hear, hear! Hear, hear! Hear, hear!

SPENCER: The reality of separation ‐‐

it was very tough.

She was really miserable.

♪♪

PERRY: And that led to her

deciding to withdraw completely from public life.

[ Indistinct conversations ]

ANNOUNCER: Ladies and Gentlemen, Her Royal Highness,

Princess of Wales.

[ Applause ]

PRINCESS DIANA: Over the next few months,

I will be seeking a more suitable way

of combining a meaningful public role

with, hopefully, a more private life.

REPORTER: In what was an emotional address,

the Princess had effectively bowed out

of most of her public work for the foreseeable future.

COLTHURST: She became increasingly fed up with it.

She just felt they'd had their pound of flesh.

PARRY: Of course, then we had the event

that, in my eyes,

was the start of the detonation of the Diana bomb.

And that was the documentary

that was made by Jonathan Dimbleby

about the Prince of Wales.

BEDELL SMITH: The whole idea of it

was to show him in a better light.

But it had quite the opposite effect.

JONATHAN DIMBLEBY: Did you try to be faithful

and honorable to your wife

when you took on the vow of marriage?

Yes. Absolutely.

And you were?

Yes.

Until it became irretrievably broken down.

♪♪

PERRY: This makes Princess Diana think,

"I need to have a voice again."

VARGAS: I think if she wanted to even some scores,

she was savvy enough

to know how to use the media to do that, too.

♪♪

EDWARDS: She was due to attend an art gallery.

They actually stopped the car about 100 meters away...

[ Camera shutters clicking ]

...and strolled straight towards the cameras

looking like a million dollars.

ETHERINGTON‐SMITH: Princess Di used fashion

as an extremely efficient weapon.

People were falling over themselves to take pictures.

EDWARDS: You knew the next day

the story was gonna be about Charles and the adultery,

but the picture on page one was gonna be Diana.

And it was.

♪♪

She saw it as kind of a war for public acceptance.

♪♪

VARGAS: People could not get enough

of Princess Diana.

She knew it, and she knew how to use that.

[ Amy Winehouse's "Back to Black" plays ]

TEBBUTT: Princess would come out and say,

"I think today is a sail day, Colin."

We would just drive down to the front, turn right,

and it didn't matter who saw us,

yet the photographs would be taken.

FOREMAN: There are some women

who genuinely don't want to be in public.

But Princess Diana was no Greta Garbo.

[ Camera shutters clicking ]

She said to me, "Always give them something" ‐‐

the press.

LACEY: I may once have talked about the press

as being, you know, demons persecuting Diana,

um...but that was only, of course, part of the picture.

Both sides were complicit in this.

You could call Princess Diana a victim,

but she isn't only a victim.

♪ ...to what you knew ♪

As much as she felt hounded by the press,

she also felt emotionally fed

and sustained by the press.

♪ ...been through ♪

Diana would look at the newspapers every morning

to see if she'd got on the front page.

She used journalists.

She had journalists that she knew

that if she told certain things,

that they would then appear in newspapers.

EDWARDS: She always expected us to be there.

I think it was part of her plan.

♪♪

[ Camera shutters clicking ]

♪ Black ♪

LACEY: Just as she didn't exist for us

without being in the newspapers,

she didn't exist for herself

unless she could see her latest image

reflected on the printed page.

REPORTER: So, who will you have to photograph now?

Uh, well, I think we still might be doing Diana

for a little while longer.

♪ We only said goodbye with words ♪

♪ I died a hundred times ♪

♪ You go back to her ♪

♪ And I go... ♪

The media is a wild beast.

♪ We only said goodbye with words ♪

♪ I died... ♪

You can't use that and it not come back to haunt you.

♪ You go back to her ♪

I'm afraid that was the beginning of a period

which would culminate in her death.

CONNELLY: When her marriage began to fall apart,

she did an expert job

in terms of using the media

to her advantage,

playing the system, you know,

because she was nimble and she was young,

and she was often two steps ahead of the palace.

And this was ‐‐

This was her secret weapon.

This was the biggest weapon she ever used.

♪♪

PERRY: She had to go through a lot of subterfuge

to make the show.

Cameras were sneaked into the palace.

She didn't tell any members of her staff

until almost the eve of the broadcast.

I think it's indicative of how she felt ‐‐

again, that she couldn't trust many people.

BRADFORD: Martin Bashir really got Diana's confidence,

and so she wanted to put her side across,

which she did big‐time.

[ Laughs ]

EDWARDS: Well, that was the most brilliant interview,

the most riveting television

I'll ever watch in my whole life.

It was treacherous, I thought.

I don't think many people would want me to be queen.

Actually, when I say, "Many people,"

I mean the establishment that I am married into,

because they have decided

that I'm a non‐starter.

♪♪

SPENCER: You know, when you look at why did she do these things,

you have to see the circumstances.

Whether she was right or wrong in these decisions,

you know, she felt really in a tight spot.

Well, there were three of us

in this marriage,

so it was a bit crowded.

[ Chuckles softly ]

SLEEP: You didn't have to see "Panorama"

to know what was said

because it was in every national newspaper

all around the world.

And so I couldn't avoid it.

I just couldn't believe it.

♪♪

BASHIR: Did your relationship go beyond a close friendship?

Yes, it did. Yes.

Were you unfaithful?

Yes, I adored him. Yes, I was in love with him.

But I was very let down.

♪♪

She's talking about eating disorders

and postpartum depression

and feeling isolated and alone.

Like, people didn't talk about that stuff in 1995.

We barely talk about it now.

LACEY: The "Panorama" interview

was finally one step too far

for the Queen.

Obviously, the Queen was angry,

and, obviously, she felt it personally.

I mean, looking back on it,

what everybody was trying to do

was clearly delusional.

And, in that sense, the "Panorama" broadcast

brought the delusion to an end.

That was the moment when Diana

had to properly start to be de‐royaled.

♪♪

JENNINGS: In Britain today,

the Queen has sent a letter to her son Prince Charles

and his estranged wife, Diana, the Princess of Wales,

asking them to get a divorce ‐‐ and soon.

♪ Slip inside the eye of your mind ♪

♪ Don't you know you might find ♪

♪ A better place to play? ♪

JENNINGS: She will reportedly receive $26 million dollars,

keep her apartments in Kensington Palace,

and continue to be known as "Diana, Princess of Wales."

♪ But all the things that you've seen ♪

♪ Slowly fade away ♪

CONNELLY: They kick you out

like they're gonna need a deep‐sea diver to find you.

♪ So I'll start a revolution from my bed ♪

But nobody was gonna play Diana like that.

♪ Stand up beside the fireplace ♪

♪ Take that look from off your face ♪

♪ You ain't ever gonna burn my heart out ♪

CONNELLY: Diana used her allure

and her understanding of the power of the image

and, yes, this huge system

to her advantage

to re‐create herself out of the ashes of her marriage

into the people's princess.

I want to welcome our guest of honor, Diana, Princess of Wales.

♪ But don't look back in anger ♪

♪ I heard you say ♪

CAGLE: Diana knew that getting out there

would enhance her public image,

would make her even more popular than she was.

PHOTOGRAPHER: Yeah, we're turning down Gloucester Road.

Di and the kids.

I think it looks like the Harbour Club.

All right, you. Get over on the grass there.

Can you get over there? Give them some space.

Traditionally, if you're not royal blood,

you know, you're not protected

once you leave the womb, so to speak.

And I just thought, "Well, how is she going to survive?"

TEBBUTT: She is now an ex‐member of the Royal family,

and police decided that she didn't need cover.

It became guerrilla. It was almost like warfare.

[ People clamoring ]

GREENSLADE: I remember she was pictured going to ‐‐

I think it was a bookshop.

She'd managed to cast off everyone,

but one photographer had spotted her.

This photographer literally stood there ‐‐

clack, clack, clack, clack, clack, clack, clack, clack.

And you think to yourself,

"You know, he must realize

that that's an awful thing to do.

Right in her face, right up close.

CONNELLY: That was what people wanted.

They were tired of the fake, all‐glossied‐up beautiful shot.

They wanted to see reality.

They wanted to see their day‐to‐day activity.

That was going to be the way

that we were gonna see celebrities in the future.

I feel like we're all complicit in some way,

because, you know, if no one bought those magazines

or no one clicked on those pictures,

they wouldn't sell, but we do.

We all do.

[ Camera shutters clicking ]

[ Photographers clamoring ]

I'd had enough of it,

and, you know, I could see how she'd had enough of it.

I'd actually had enough of it, and I thought, "You know what?

I don't want to do this job anymore.

It's not ‐‐ It's not nice. It's not pleasant.

One of my colleagues

that I traveled with all the time ‐‐

she kept saying, "I can't ‐‐

What is wrong with you? Why won't you come?

You're gonna miss some of the landmines.

You're gonna miss ‐‐ She's gonna go to Angola."

And I was like, "I'm not coming. I don't want to come."

I just ‐‐ at that point,

I felt huge relief walking away from it.

So, if I felt like that, how do you think she felt?

CHRISTINA LAMB: I'd have hated to be in her position.

Every single thing that she did

was, you know, followed and documented.

And, you know, she was never kind of out of the spotlight.

But I also saw the way that she used it.

[ Horn honks ]

Thing is, François, I have all this media interest.

Yeah. So let's take it somewhere

where they can be positive

and raise a situation which is distressing like this,

you know?

♪♪

LAMB: I went there thinking,

"It's not gonna be a serious trip.

And, actually, the trip turned out

to be really quite different.

Because of what I do,

I was kind of used to seeing things like that,

but, even so, it was shocking.

PRINCESS DIANA: So, she lost ‐‐ Did she ‐‐ She lost the child?

WHITE: She could smell in a room

and feel who was suffering most,

who was most depressed or suicidal,

who was most injured,

and she attracted like a magnet those people to her.

Don't her friends help her?

[ Speaking native language ]

I understand they don't help.

WHITE: Those of us who worked with the princess in 1997

had the privilege of seeing her at her best.

This is her calling the shots

and coming into her power

and exercising it.

She did this famous walk through the minefield,

which, you know, we were all kind of,

"Was she really going to do it?"

And she was walking through along this path,

but there were mines either side.

And, at the end of it,

some of the journalists, jokingly, I think,

were saying to her, "We didn't get good pictures.

Do it again."

And she did.

I thought, you know,

it's nerve‐wracking to walk through a minefield,

so to do it for a second time...

[ Camera shutters clicking ]

but she knew what those pictures would mean.

♪♪

Some people didn't like it.

I mean, there was criticism of her

by some government ministers.

REPORTER: Ma'am, a government minister at home

has said you're a loose cannon by supporting this campaign.

Do you have any reaction to that?

I'm really trying to highlight a problem

that's going on all around the world.

That's all.

[ Speaking indistinctly ]

I'm really about to burst into tears right now.

Don't think about it.

Who ‐‐ Am I ‐‐ Who said I'm a loose canon?

She wanted to bring attention, and, you know,

there's not much the government could do about it.

She commanded way more attention

than any government minister in Britain.

I had the privilege of working with leaders all around the world.

I've never experienced this charismatic light

energetically coming off of someone

and actually changing things.

♪♪

When we moved to negotiate the Landmine Ban Treaty,

the media was on the issue,

and it helped us make sure that the treaty included

provisions for the victims.

It was the first arms‐control treaty

to have humanitarian provisions.

That's because of the Princess of Wales.

CONNELLY: And, in that way, she did presage, to some degree,

people like George Clooney, Angelina Jolie,

maybe even Bono,

showing you how you can take that celebrity

and, so as long as you knew where the cameras were

and knew how to focus attention

and knew what you were talking about,

you could do good.

HICKS: I think like everybody

who lives through

a moment of horror

or great tragedy...

you remember exactly where you were and what you were doing.

CONNELLY: She didn't become famous

because there was nothing else to talk about.

She continued to become famous because she was freakin' Diana.

Now she was free.

Now, who's next?

And that is a great storyline.

"Who will be with Diana?"

just like it used to be, "Who will be with Charles?"

It was very, very difficult for Diana to date,

and she once said to me,

"Lana, who who on Earth would take me on?"

Everywhere she went, they were following her,

whatever she did.

It was just so, so hard for her.

BEDELL SMITH: Diana became besotted

with a Pakistani heart surgeon named Hasnat Khan.

And they had a romance that was very much behind the scenes.

And she felt that he understood her.

She admired his humanitarian work.

She wished she could be somebody like Hasnat Khan,

who would save lives.

CAGLE: Finding a partner in life

who could deal with Diana

and everything that went with it

was an incredibly complicated endeavor,

and she was in love with Dr. Khan.

He did not like the spotlight at all.

That was not appealing to him,

and so, of course, the relationship didn't work out.

It was devastating to her.

♪♪

When Dodi Fayed entered her life,

she found someone who did like the spotlight,

who didn't mind dealing with that.

She also found someone

who had the financial means to take care of her

and get her on the private jets

and hire the security that was necessary

and to buy her some privacy.

In a lot of ways, she probably saw him

as, you know, her Aristotle Onassis.

TEBBUTT: I found, especially in the last year,

she was a very exciting woman ‐‐

more relaxed and more...

without the the cloth over her.

She was happy to get on with her life.

COLTHURST: I think she just grew into herself.

I thought it was great, actually watching someone blossom.

SLEEP: She made a plan

of what the future was going to be for her in life.

I don't think she was serious about Dodi.

I think she was having a good laugh, as well, with him.

But she needed the protection.

PERRY: The Fayeds ‐‐

they were able to take things forward

and look after her themselves with their own security.

But I'm sure that they could not have been prepared

for the enormity of the interest

on Princess Diana and their son.

What struck me about Dodi and Diana

was they had this 6‐week relationship, really,

that began in the middle of July of 1997.

And it really wasn't until early August

that the press caught on to the fact

that Dodi and Diana were having a romance.

And then they really went to town.

I mean, they covered them relentlessly.

They took all sorts of pictures

of them lounging about together on various Fayed yachts.

They were in hot pursuit kind of 24/7

because it was an exotic relationship.

COLTHURST: The hunters were coming from overseas, too,

so it really became a frenzy,

and that was a sadness.

But then there were times, as people said,

on the yacht, she seemed to be taunting them, almost.

BEDELL SMITH: They were in the South of France

in the last week of August.

On a whim, they decided they would instead go to Paris

and spend the night.

Diana's children, William and Harry,

were still up at Balmoral,

so she would be going back to an empty house,

so why not?

TEBBUTT: She rang the office

and spoke to me and said,

"It's a waste of time, me coming back."

And I said, "No, that's not a problem, ma'am.

I'll be standing by from now until whenever."

Late that night of August 30th,

that Dodi came up with a plan to evade the paparazzi.

The paparazzi

were a little bit smarter than Dodi,

and they were lying in wait behind the Ritz.

ETHERINGTON‐SMITH: You can't protect someone

all the time, you know?

I mean, you just can't.

You never know when they're going to pop up.

Close‐protection officers are one thing,

but paparazzi on, you know, really fast motorbikes

are something else.

♪♪

[ Siren wailing ]

♪♪

[ Siren wailing ]

EDWARDS: It was about 12:30 at night,

and I get a call from the office

saying Diana had a car crash in Paris.

Could I catch the first flight in the morning?

TEBBUTT: The phone went,

and my wife answered the phone.

This is 1:00 in the morning, you know.

And this is one of the policemen in Balmoral ringing me.

He said, "Well, ask Colin to get up,

sit on the end of the bed, and listen to me."

He said, "Colin, your boss is injured.

She's had a road accident."

And I said, "Thank you very much.

Can you tell me the injuries?"

And he said, "No. I think an arm, leg,

and a few other cuts and bruises."

That's ‐‐ If you read the case, that's what happened.

They thought she was injured.

[ Theme music plays ]

ANNOUNCER: This is a special report from ABC News.

Good evening. I'm Kevin Newman.

There has been a terrible accident

involving Diana, the Princess of Wales, in Paris.

The next phone call

was from the private secretary ‐‐ "Get down here."

NEWMAN: She is now said to be in intensive care...

EDWARDS: These garbled reports were coming through.

Dodi was badly injured.

Diana was on a life‐support machine or something.

NEWMAN: We don't know precisely her condition at this hour.

We have had reports that she has a concussion, at least.

BRAZIER: Sometime after midnight, local time,

they were involved in some kind of collision.

We don't know with what or...

but we do know what the consequence was,

and that was that the car rolled over, ended up on its roof.

Speculation is growing

that [Clears throat] it will be grim news.

And then about an hour after that, the office rang and said,

"Look, we've chartered a plane out of Heathrow.

Go straight to Heathrow now."

And I literally dropped my wife at home, grabbed my cameras.

♪♪

TEBBUTT: I think it was something like 3:00, 3:00.

Michael Gibbons stood in front of us

and said...

"She's dead."

Just like that ‐‐ "She's dead."

You know, there was ‐‐ "What do you mean, dead?"

Talking about this guy on the television behind you ‐‐

"He's telling us that she's injured.

Diana, Princess of Wales, has been seriously injured

in a car accident in Paris.

JESSEL: Well, I'm...

I'm worried, um, by the lack of ‐‐

by the lack of any news or the lack of any statement.

One wonders if one is being told the whole truth at the moment.

GOWING: Stephen, I have to interrupt there,

because within the last few moments,

the Press Association in Britain,

citing unnamed British sources,

has reported that Diana, Princess of Wales, has died.

This is not yet confirmed by any official source.

TEBBUTT: And the first thing he said ‐‐

"Right, Colin, would you go to Paris and act for me?"

And my wife very kindly managed to get us on the ‐‐

two seats on the first plane out,

which was full of press ‐‐ totally full.

The Prince of Wales' police officer,

who was traveling to Paris,

had to sit in the jump seat in the front.

You know, it was packed solid.

[ Camera shutter clicks ]

EDWARDS: As I landed in Paris,

the office rang and said that she's dead.

4:30, I remember landing at Le Bourget Airport.

Phone rang, and there was a few other members of press

on the plane.

I said, "Diana's dead."

[ Camera shutter clicks ]

♪♪

TEBBUTT: I went into the hospital, and it was...

chaotic, really.

There was a lot of people around.

I walked down the corridor to where the room where...

the Princess was.

She was in a bed,

ordinary bedding,

covered up to here.

Massive great window to the left.

And I could see very quickly

that people were on the roof,

quite a distance away,

and may not have yet pinpointed the room that we were in.

Meanwhile, I was discussing

to get some blankets to put up to the windows,

which we did,

so the press couldn't see in.

SPENCER: I was living in South Africa at the time,

and my four kids lived with me.

They were very young.

I said to the kids, "I'm afraid Aunt Diana's died."

Eliza ‐‐

I remember her looking at me with her little smile,

and she went, "But not in real life, Daddy."

♪♪

She thought it was such a terrible story

that it must be a fairy tale or something.

♪♪

And that was...very sad, yeah.

♪♪

[ Camera shutters clicking ]

♪♪

TEBBUTT: The Prince came up to me

and said, "Colin, thank you very much for coming

and what you've done.

"You will be coming back on the plane."

I'll always remember...

Lady Sarah McCorquodale saying,

"I think we'll have a very quiet, private funeral, Colin."

I don't know whether you've ever come into a street

where you can't move with people.

But as we came out of the airport and turned left,

which is the A40 into London,

no cars, people‐‐

people upon people upon people all the way in.

Must've been probably 4 or 5 miles.

[ Indistinct conversations ]

I was so in shock that I just went back to bed

and just sort of became comatose again.

I couldn't deal with it.

I just went back to bed, numb.

I was six months pregnant with my daughter.

It felt like my heart had been ripped out.

Disbelief that anything so awful could happen to her.

It was ‐‐ You know, it was shock.

I mean, literally, it was shock.

♪♪

It's a sad, sad loss. It's just a tragedy.

We'll miss her a lot.

Didn't even realize it until it really happened.

♪♪

How can this happen?

Like, we're in the middle of the story.

PARRY: It was someone that had been cut down

in the prime of her life when we thought that, actually,

she was coming to a happier place.

She was the most famous woman in the world,

and she was killed at 36 in a car crash

being chased by a horde of paparazzi

in a tunnel with a drunk driver at the wheel

and her seat belt not on.

♪♪

SPENCER: What could I have done? But you always think,

"God, I wish I could've protected her" or whatever.

But, uh...

you know, it was just ‐‐

it was devastating.

She was only granted half a life.

♪♪

SMITH: I think we were all mourning together...

like, the tragic nature

of that fairy tale just imploding.

[ Sobbing ]

♪♪

The Russian president, Boris Yeltsin, said,

"Princess Diana was well‐known and loved by the Russians."

I was tremendously impressed by her.

Let me say again

how very sad Hillary and I are

about the terrible accident

that has taken the life of Princess Diana.

♪♪

[ Indistinct conversations ]

♪♪

SPENCER: This is not a time for recriminations but for sadness.

However, I would say that I always believed

the press would kill her in the end.

But not even I could imagine

that they would take such a direct hand in her death

as seems to be the case.

I was furious. I wasn't just angry.

♪♪

EDWARDS: I photographed the coffin leaving

and then get a cab to get back to the hotel

to process the film, and the cab wouldn't take me.

He said, "No, you're an assassin."

By this time, it had come out

that paparazzi were chasing the the car,

and everybody then thought that was the reason she died.

SPENCER: I just thought ‐‐

I said, "This is how it ends," you know?

This terrible story of manipulation

and gross unkindness.

It sort of made terrible sense to me

that this is always how it was going to be ‐‐

something terrible would happen

because of this absolute endless hunger

for more of a pound of flesh from Diana.

♪♪

MAN: It's you that killed her.

It's you, the press, that killed her.

You're the scum!

Yes!

Now she is dead by you photographers!

Horrible!

Horrible.

♪♪

Why were the paparazzi after them?

If there was no money in the photographs,

they wouldn't have been after her in the tunnel.

What happened in France was unforgivable

and horrendously sad.

They've taken her life.

They've taken her life. I'm sorry.

I blame The Sun newspaper and their ilk.

They killed Diana.

Because she was chased in that tunnel

by photographers that we in the media ‐‐

there was absolutely

a sense of responsibility for her death.

It was a moment of soul‐searching, no doubt.

It still is.

♪♪

WOMAN: I'm standing in Hyde Park now with millions of people.

Yes, we are slightly to blame

because we buy the papers that you print, so...

But it's tragedy, really.

Hi. Thanks for coming out.

Princess Di is dead.

And who should we see about that ‐‐

the driver of the car, the paparazzi,

or the magazines and papers who purchase these pictures

and make bounty hunters out of photographers?

♪♪

FOREMAN: When you have a shock, you want somebody to blame.

And the newspapers were terrified,

and so I believe there was a calculated push

by the tabloid newspapers

to re‐direct public anger

away from them and towards the monarchy.

GREENSLADE: The main attitude was,

"It wasn't us. It wasn't our fault.

The driver was drunk, and it's all down to him."

They quickly realized attack is always better than defense

in terms of how newspapers organize themselves,

so they were the first to highlight

that the Queen had been slow to react

in a way that they thought was appropriate.

LACEY: I think there was an element

of the press

deliberately diverting attention away from themselves,

but the behavior of the Royal family didn't help.

♪♪

I think our Queen should be here in London with her people.

This is her nation, and they should know

how all her people feel about Diana.

And one day, two days, three days ‐‐

days go by,

and there isn't a word from the Royal family.

It was astonishing.

I think they treated her terrible.

Absolutely shocking.

I don't think ‐‐ I don't think ‐‐

They're the most cold people on this Earth.

What the world wanted

was for the Queen and the Royal family

to come rushing down to London.

There was this strange feeling

that the Queen could act as some sort of balm,

the consoling mother,

that if she were in London,

everybody would feel better.

JENNINGS: A great many people have waited this week

with enormous anticipation for the Royal family

to become engaged.

And the Queen came back yesterday.

This family that was grieving and that was in shock itself

was forced to perform in public

in order to save itself.

This week at Balmoral,

we have all been trying to help William and Harry

come to terms with a devastating loss

that they and the rest of us have suffered.

When you listen to it, you suddenly realize,

"Yes, this woman is not just a queen.

She's the grandmother of those boys.

♪♪

They were worried about people shouting, people jeering,

and, in fact, quite the opposite proved to be the case.

A child held out flowers.

You know, that's one of those minutes

when humanity comes true,

because it was unrehearsed,

and she genuinely thought ‐‐

[ Voice breaking ] Um, sorry.

I'm getting moved about this.

But the flowers were being given to her

to lay ‐‐ you know, to lay down for Diana.

She said, "So, shall I...

You want me to lay the flowers for Diana?"

And the little girl said, "No, they're for you."

And, uh [Crying] you know, I think ‐‐

I think that's the moment,

as you can see from ‐‐ from my reaction...

...that was the moment when it turned.

[ Bell tolls ]

♪♪

WALTERS: Being here in front of Westminster Abbey

is an extraordinary experience.

Behind me are thousands of people.

They began to line up yesterday and even some the day before.

[ Bell tolling ]

I think, as a family, we wanted to reclaim her

and give her peace.

And so we were hoping for a small funeral

here to start with.

But then it became clear

that that was actually not appropriate

because, you know, the people had a right to say goodbye.

♪♪

VARGAS: I remember people setting their alarm clocks

to get up to watch her get married.

Her death was, you know,

not just a huge event, as the marriage was.

It was such tragedy.

People were grabbing at me and clinging to me,

going, "Ohh, ohh,"

because I knew her and I touched her in person.

They thought they would get a bit of her by touching me.

That's how powerful it all was.

♪♪

ETHERINGTON‐SMITH: The middle of London was like a graveyard.

There was no traffic, nothing,

except the people going to the funeral.

There was nothing.

It was like a nuclear explosion had gone off,

which it had, in a way.

♪♪

JENNINGS: Right in front of Buckingham Palace,

the Queen bows her head.

♪♪

[ Camera shutter clicks ]

[ Bell tolling ]

♪♪

SPENCER: I felt at the time of her funeral

that I had the absolute duty

to just remind people

that she'd had to put up with a lot of rubbish

from the newspapers over here.

And, um, they didn't like hearing it,

but you know what? They had to hear it.

I don't think she ever understood

why her genuinely good intentions

were sneered at by the media,

why there appeared to be a permanent quest on their behalf

to bring her down.

It is baffling.

It is a point to remember

that of all the ironies about Diana,

perhaps the greatest was this ‐‐

a girl given the name of the ancient goddess of hunting

was, in the end, the most hunted person of the modern age.

♪♪

SLEEP: The thing that I was impressed most by

and I'll never forget

was when Spencer gave his speech about Diana,

which was so incredibly to the point

without overdoing it or overemphasizing it ‐‐

just factual.

And suddenly ‐‐

I'm gonna burst into tears.

Above all, we give thanks for the life of a woman

I'm so proud to be able to call my sister ‐‐

the unique, the complex,

the extraordinary and irreplaceable Diana,

whose beauty, both internal and external,

will never be extinguished from our minds.

PERRY: You could've heard a pin drop as he spoke.

Then what I heard was...

rain or autumn ‐‐ autumn leaves rustling around.

[ Applause ]

As we now know,

it was clapping,

starting in the parks and on the streets.

And though that clapping came closer and closer,

and it literally started at the top end of the abbey

and rippled down through the congregation.

99% of the people there, including her sons, joined in.

And it was the most amazing moment, really.

because...

that sound is something that I'll never forget.

♪♪

SPENCER: By far, the hardest part of that day

was not delivering my speech,

but it was walking behind my sister's coffin

with her sons.

Particularly in those days,

Harry was this tiny little thing,

and I was just so worried, you know?

What a trauma for a little chap to walk behind his mum's body.

It's just awful.

♪♪

And I just thought, "Goodness,

I hope they can get through this," you know?

And I was amazed they did so well ‐‐

I mean, really incredible.

♪♪

♪♪

I love seeing the sort of uncomplicated way

in which they deal with people and put them at their ease.

It's so easy to connect the dots between them and their mother.

♪♪

FOREMAN: She was a victim of circumstance.

But the Diana story isn't about victimhood.

It's really about redemption.

[ Camera shutters clicking ]

WILLIAMS: Diana was a pioneer

in terms of how she thought she could use her profile

to make the world a better place.

And, therefore, I hope you'll understand

why I wanted to play my part

in working towards a worldwide ban

on these weapons.

OJO: At the Diana Award,

we refer to her as a positive disrupter.

She positively disrupted systems.

Hello.

She made you think outside of the box.

FOREMAN: When Princess Diana died,

we lost much more than a fashion icon.

We lost a tireless campaigner

for the underprivileged,

for the weak,

for people who didn't have a voice themselves.

And her death left a great hole in society.

♪♪

I think of the parents who, this very night,

are standing around a hospital bed.

The two princes are far better equipped

as a result of what she was

and, really, how she was

than they would have been if they'd had a mouse as a mum.

PRINCE WILLIAM: This summer marks 20 years

since our mother died.

From helping to shatter the stigma around AIDS

to fighting to ban landmines

and supporting the homeless,

she touched the lives of millions.

we can never know what our mother would have gone on to do,

but, in one sense,

Harry and I feel that our mother lives on

in the countless acts of compassion and bravery

that she inspires in others.

♪♪

PARRY: I think Diana was aware ‐‐

in fact, very aware ‐‐

that she was raising a future king.

But I think what she wanted to do

was to have, before a king,

a person that was grounded

in both love, affection,

and the real world.

And that is her principal legacy for Britain.

What we lost by Princess Diana's death

was a beautiful woman and a beautiful princess

who was a wonderful mother.

Who's to know what her life would have led to?

But she left two extraordinary kids

and an incredible legacy

which will live on forever.

[ Indistinct conversation ]

And I love seeing the sort of uncomplicated way

in which they deal with people and put them at their ease.

It's so easy to connect the dots between them and their mother.

PRINCE HARRY: Somewhere in the world right now,

a parent is making the grimmest of choices ‐‐

to risk cultivating mine‐contaminated land

or to let their families starve.

That is no choice at all.

She was the biggest star, and then that star went out.

And so now when we look at William and Harry,

you know, we look at them with a new feeling.

Now they weren't just the Royal family.

They were boys who had lost their mom.

And I don't think that's ever changed.

[ Cheers and applause ]

SPENCER: Well, what's amazing to me

is that the passing of time, that now, you know,

William and Catherine are sort of nearly the same age

as Diana when she died.

One of the great tragedies, of course,

is that Diana would've been the best grandmother ever.

[ Camera shutter clicking ]

Oh‐ho. How's that?

I love the fact

that there's still such veneration

inside her immediate family

for what she was

and what she meant, and I think that's fantastic.

CAGLE: That luster

that Princess Diana brought to the monarchy

is still there even today.

[ Film projector clicking ]

♪♪

FOREMAN: As a feminist,

I believe that Diana's legacy to women

and to the world in general

is that she ultimately became

the writer of her own story,

that she began as just a leaf in the wind

with no real direction,

doing what was expected of her,

and then simply being a reactor ‐‐

reacting to things

with no clear vision of who she was,

what she wanted to do, or what she wanted to be.

And through a long and painful personal journey

that took her to some very dark places,

she ultimately came out the other side

and became a confident, directed,

controlled woman

who had agency, autonomy, and authority ‐‐

those three things that every modern woman needs

and that she finally won.

♪ It's easy in the day ♪

♪ But harder in the night ♪

EMANUEL: There can never be another Diana.

She represented one moment in time

when the world changed, really.

She was a new brand of royal.

If we all play our part

in making our children feel valued,

the result will be tremendous.

To go out and do all those things against the odds

made her a powerhouse that will never be forgotten.

How much do you sell them for?

£3,10, that one's going for.

Is that all?

We'll have princesses. We'll have celebrities.

We'll have royals.

But there will never be someone like her.

♪ Now I can only see you in my rear view ♪

♪ So where did you go? ♪

♪ Where did you go? ♪

♪ I ruined our sweet tune ♪

♪ But how could I know? ♪

♪ How could I know? ♪

♪ Once we were two dancing souls ♪

♪ Now all that's left is skull and bones ♪

♪ I can only see my future ♪

♪ In my rear view ♪

Do you have an object you scan that will see the tumor?

♪ Oh, oh ♪

Ohhh!

KATE WILLIAMS: She is a one and only.

She is one of the most important women of the 20th century.

♪ And I can only see you in my rear view ♪

♪ So where did you go? ♪

You know, one of the reasons I want to talk now

is because I think after 20 years,

somebody shifts from being a contemporary person

to one of history, actually.

And Diana deserves a place in history.

It's important for people who are under 35

who probably won't remember her at all

to know this was a special person

and not just a beautiful one.

♪ I can still see my future ♪

♪ In my rear view ♪

♪♪