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This programme contains strong language | 0:00:02 | 0:00:10 | |
If you were to go back in time | 0:00:17 | 0:00:19 | |
and someone was to say to me three years ago, | 0:00:19 | 0:00:22 | |
"OK, Mazher Mahmood is going to be facing | 0:00:22 | 0:00:25 | |
"the same amount of time in jail that you were..." | 0:00:25 | 0:00:28 | |
You're guilty of lying to secure a scoop, what do you say to that? | 0:00:28 | 0:00:32 | |
"He's going to be the one on the firing line | 0:00:33 | 0:00:36 | |
"and the press are going to put him on front pages | 0:00:36 | 0:00:40 | |
"and destroy his reputation as they did to you..." | 0:00:40 | 0:00:43 | |
Did you lie to get a front-page headline? What do you say to that, Mr Mahmood? What's your reaction? | 0:00:43 | 0:00:48 | |
It's bizarre. It really is. | 0:00:48 | 0:00:50 | |
If the trial had gone ahead | 0:00:50 | 0:00:52 | |
and Mazher Mahmood's deceit and lying about what had | 0:00:52 | 0:00:56 | |
happened hadn't transpired, the jury | 0:00:56 | 0:00:59 | |
would have been presented with an account which implicated Tulisa | 0:00:59 | 0:01:03 | |
and which may well have resulted in her being convicted and sent to prison for a number of years, | 0:01:03 | 0:01:07 | |
and it's that reason why Perverting the Course of Justice | 0:01:07 | 0:01:09 | |
is such an important and serious offence. | 0:01:09 | 0:01:11 | |
He doesn't see any wrong in what he's doing. | 0:01:13 | 0:01:16 | |
Do you ever feel...a little bit uncomfortable in your own skin, | 0:01:16 | 0:01:20 | |
that this is the way you operate? | 0:01:20 | 0:01:21 | |
Not at all, I'm proud of what I do. I wouldn't do it otherwise. | 0:01:21 | 0:01:24 | |
I don't think without these serious consequences | 0:01:24 | 0:01:28 | |
that he is now on the receiving end of, | 0:01:28 | 0:01:32 | |
he would have ever stopped. | 0:01:32 | 0:01:34 | |
They're killing me. | 0:01:44 | 0:01:46 | |
They're killing me, like... | 0:01:46 | 0:01:48 | |
They're killing me. | 0:01:49 | 0:01:50 | |
I just want my life back. | 0:01:59 | 0:02:01 | |
He ruined me. | 0:02:04 | 0:02:06 | |
As soon as the story broke in June 2013, | 0:02:06 | 0:02:10 | |
Tulisa decided she wanted to record what was happening to her | 0:02:10 | 0:02:13 | |
and how it really feels to go through the ordeal of | 0:02:13 | 0:02:16 | |
an undercover tabloid sting. | 0:02:16 | 0:02:19 | |
To be arrested, charged and go through a court case. | 0:02:19 | 0:02:22 | |
They're crawling into my garden and filming me half-naked... | 0:02:23 | 0:02:26 | |
Tulisa filmed the press storm surrounding her from the moment | 0:02:26 | 0:02:30 | |
she found out she'd been entrapped by a tabloid newspaper... | 0:02:30 | 0:02:33 | |
At no point, at any time | 0:02:33 | 0:02:36 | |
when I got into this industry did I think some of this | 0:02:36 | 0:02:38 | |
shit would be happening. | 0:02:38 | 0:02:40 | |
That is not in the contract. | 0:02:40 | 0:02:42 | |
I'm not a drug dealer, I've never been a drug dealer, | 0:02:42 | 0:02:45 | |
I've never even taken cocaine. | 0:02:45 | 0:02:46 | |
..and allowed our cameras to follow her through the whole process | 0:02:48 | 0:02:51 | |
from start to finish. | 0:02:51 | 0:02:52 | |
I'm just a nervous wreck. | 0:02:52 | 0:02:54 | |
He circled the house, he went round the back | 0:02:54 | 0:02:56 | |
and he was watching me through my windows. | 0:02:56 | 0:02:58 | |
You can see I'm under 24-hour surveillance. | 0:02:58 | 0:03:00 | |
This would never have happened unless they made it happen. | 0:03:00 | 0:03:04 | |
They...made it...happen. | 0:03:04 | 0:03:06 | |
The thing that I'm most scared of is losing my money. | 0:03:08 | 0:03:11 | |
Then losing my security, then my mental stability. | 0:03:11 | 0:03:15 | |
That's the path that I see it. | 0:03:15 | 0:03:17 | |
That would be the downward spiral. | 0:03:18 | 0:03:20 | |
This is a really amazing house. | 0:03:35 | 0:03:37 | |
What do you think you'd have thought as a teenager | 0:03:37 | 0:03:39 | |
-if you'd come round here? -I'd have been like, | 0:03:39 | 0:03:42 | |
"Wow! This is amazing. I'd love to live here one day." | 0:03:42 | 0:03:46 | |
And now that I live in it, | 0:03:48 | 0:03:51 | |
I spend most of my time not really | 0:03:51 | 0:03:54 | |
being able to enjoy it because I'm always thinking, | 0:03:54 | 0:03:57 | |
"Well, what if I lose everything? | 0:03:57 | 0:03:59 | |
"I'm not going to be able to live in a house like this, anyway." | 0:03:59 | 0:04:02 | |
So...it's like I'm living the life, and I don't enjoy it. | 0:04:03 | 0:04:07 | |
I'm guilty of that sometimes. I tell myself off for it, | 0:04:07 | 0:04:09 | |
and everyone else does, as well. They're like, "Just enjoy it!" | 0:04:09 | 0:04:12 | |
But what if it's all gone tomorrow? | 0:04:12 | 0:04:14 | |
The perks of fame turned into a nightmare | 0:04:16 | 0:04:19 | |
for the former X Factor judge. | 0:04:19 | 0:04:21 | |
I was approached by these two "film producers" | 0:04:21 | 0:04:28 | |
and their PA. | 0:04:28 | 0:04:30 | |
They wanted me for this massively lead role | 0:04:30 | 0:04:34 | |
in a Bollywood/Hollywood production. | 0:04:34 | 0:04:38 | |
There were first-class flights to Vegas, two hotel suites. | 0:04:38 | 0:04:42 | |
All in all, in the end, I was offered anything between | 0:04:42 | 0:04:47 | |
3 to 3.5 mil for this movie role. | 0:04:47 | 0:04:51 | |
I'm thinking, "Wow, this is a dream come true." | 0:04:51 | 0:04:53 | |
The man at the centre of the sting was | 0:04:55 | 0:04:57 | |
the infamous "Fake Sheikh" Mazher Mahmood, | 0:04:57 | 0:05:00 | |
who posed as Bollywood film producer Samir Khan to entrap Tulisa. | 0:05:00 | 0:05:05 | |
He's only ever done one television interview, | 0:05:05 | 0:05:08 | |
here with the BBC journalist Emily Maitlis, | 0:05:08 | 0:05:10 | |
where he justifies his infamous techniques. | 0:05:10 | 0:05:14 | |
The point of entrapment comes up time and time again, | 0:05:14 | 0:05:16 | |
and nothing annoys me more than that. | 0:05:16 | 0:05:19 | |
I mean, you're a top TV presenter, | 0:05:19 | 0:05:21 | |
is there any way I could persuade you to supply me with cocaine? | 0:05:21 | 0:05:24 | |
Is there any way at all, Emily? We only expose people | 0:05:24 | 0:05:26 | |
who are involved in criminal wrongdoing and moral wrongdoing. | 0:05:26 | 0:05:29 | |
Do you ever feel a little bit uncomfortable in your own skin | 0:05:29 | 0:05:32 | |
that this is the way you operate? | 0:05:32 | 0:05:34 | |
Not at all. I'm proud of what I do. I wouldn't do it otherwise. | 0:05:34 | 0:05:38 | |
Mazher Mahmood set his sights on Tulisa as his next | 0:05:40 | 0:05:42 | |
high-profile target. | 0:05:42 | 0:05:44 | |
He approached her and told her he could make her | 0:05:44 | 0:05:47 | |
a movie star, that she could work with Leonardo DiCaprio, | 0:05:47 | 0:05:51 | |
that he would make her rich and that she would win awards. | 0:05:51 | 0:05:55 | |
No expense was spared, and as the weeks passed, and as she was flown | 0:05:55 | 0:05:59 | |
first class to a meeting in Las Vegas, Tulisa became more and more | 0:05:59 | 0:06:03 | |
convinced that she was being offered something genuine and extraordinary. | 0:06:03 | 0:06:07 | |
I was enraged at myself for being that stupid. | 0:06:11 | 0:06:14 | |
But to be fair, | 0:06:14 | 0:06:16 | |
I wasn't too enraged, and the reason why was | 0:06:16 | 0:06:20 | |
because the lengths that they went to were so extreme, | 0:06:20 | 0:06:24 | |
I don't think there's many people that wouldn't have believed it. | 0:06:24 | 0:06:28 | |
The meetings continued back in London. | 0:06:33 | 0:06:36 | |
Scripts were alluded to and contracts | 0:06:36 | 0:06:38 | |
were to be drawn up for this life-changing movie role. | 0:06:38 | 0:06:42 | |
Tulisa and her PA Gareth were treated like VIPs. | 0:06:42 | 0:06:46 | |
The Sun on Sunday went to great lengths to convince them | 0:06:46 | 0:06:49 | |
that the offer that was being made was genuine, | 0:06:49 | 0:06:52 | |
and Tulisa thought that she would soon be | 0:06:52 | 0:06:54 | |
a multi-million-pound movie star. | 0:06:54 | 0:06:56 | |
Tulisa was taken in by Mr Mahmood | 0:06:56 | 0:06:59 | |
and she believed that her chances of getting the part | 0:06:59 | 0:07:01 | |
in the movie would be boosted if she made herself out to be a | 0:07:01 | 0:07:04 | |
streetwise woman, familiar with and to some extent involved in drugs. | 0:07:04 | 0:07:09 | |
OK, the story outline, very briefly, | 0:07:10 | 0:07:12 | |
is we've got an English girl... | 0:07:12 | 0:07:15 | |
-Mm-hmm. -Kind of...from... | 0:07:15 | 0:07:17 | |
-Are we talking posh, posh British? -No. | 0:07:17 | 0:07:19 | |
Normal accent? Oh, great. | 0:07:19 | 0:07:22 | |
We want somebody from kind of, er...almost your accent. | 0:07:22 | 0:07:26 | |
-We want a kind of a...somebody from.... -Oh, I can do Cockney. | 0:07:26 | 0:07:29 | |
-..kind of very low background. -Perfect! | 0:07:30 | 0:07:34 | |
-LAUGHTER -Ta-da! | 0:07:34 | 0:07:36 | |
We want almost a bad girl. | 0:07:36 | 0:07:39 | |
A bit ghetto, a bit ghetto. | 0:07:39 | 0:07:42 | |
Yeah. That kind of... | 0:07:42 | 0:07:44 | |
-That kind of... -Now I get it! | 0:07:44 | 0:07:47 | |
Now it makes complete sense! | 0:07:47 | 0:07:49 | |
Don't be fooled by the pretty dress. | 0:07:52 | 0:07:54 | |
Now I completely get it. | 0:07:56 | 0:07:57 | |
We met them in Vegas, LA, | 0:07:59 | 0:08:02 | |
in London... | 0:08:02 | 0:08:04 | |
so people might think, "Oh, she's being naive, | 0:08:04 | 0:08:07 | |
"she's being stupid", yeah, but there's | 0:08:07 | 0:08:09 | |
phone calls in Vegas, | 0:08:09 | 0:08:12 | |
Australia, St Tropez, | 0:08:12 | 0:08:14 | |
um, London, Scotland, Boston. | 0:08:14 | 0:08:17 | |
There was phone calls made - | 0:08:17 | 0:08:19 | |
that I made - to hotel rooms around the world to speak to these guys. | 0:08:19 | 0:08:22 | |
On the 23rd of May, 2013, | 0:08:24 | 0:08:26 | |
the undercover journalist at the centre of the sting - | 0:08:26 | 0:08:29 | |
who Tulisa still believed to be top Bollywood film producer Samir Khan | 0:08:29 | 0:08:33 | |
and who, she believed, was about to change her life - asked Tulisa | 0:08:33 | 0:08:36 | |
if she had the number of someone that could supply him with cocaine. | 0:08:36 | 0:08:41 | |
According to the Sun's version of events, Mazher Mahmood | 0:08:42 | 0:08:45 | |
met Tulisa's contact at The Dorchester hotel on Park Lane | 0:08:45 | 0:08:49 | |
and purchased £820 worth of cocaine - | 0:08:49 | 0:08:51 | |
and secretly filmed the whole encounter. | 0:08:51 | 0:08:54 | |
Within days, Tulisa was on the front page of every tabloid newspaper | 0:08:55 | 0:08:59 | |
and was headline news. | 0:08:59 | 0:09:01 | |
Her world fell apart in an instant. | 0:09:01 | 0:09:04 | |
There was no film. | 0:09:04 | 0:09:06 | |
No movie role. | 0:09:06 | 0:09:07 | |
No £3.5 million contract. | 0:09:07 | 0:09:10 | |
And the Bollywood super-producer Samir Khan was in fact | 0:09:10 | 0:09:13 | |
Mazher Mahmood, an undercover journalist. | 0:09:13 | 0:09:16 | |
It had all been a con, | 0:09:16 | 0:09:18 | |
an elaborate sting. | 0:09:18 | 0:09:20 | |
A sting that Tulisa fell for | 0:09:20 | 0:09:22 | |
hook, line and sinker. | 0:09:22 | 0:09:24 | |
Tell me what Tulisa was like when she found out what had happened. | 0:09:24 | 0:09:28 | |
Erm... | 0:09:28 | 0:09:29 | |
When I first... I didn't know how to tell her at first. | 0:09:31 | 0:09:34 | |
But when I finally did... | 0:09:35 | 0:09:37 | |
I don't know, it was a weird reaction, wasn't it? | 0:09:37 | 0:09:40 | |
-I just went, "I'm -BLEEP" | 0:09:40 | 0:09:41 | |
She just... | 0:09:41 | 0:09:43 | |
I don't think it hit her, but at the same time I think it did. | 0:09:43 | 0:09:46 | |
It was just weird. The whole thing was a blur. | 0:09:47 | 0:09:49 | |
I remember how I felt and thinking, | 0:09:49 | 0:09:52 | |
"God knows how SHE must feel." | 0:09:52 | 0:09:53 | |
But she was quite strong initially | 0:09:53 | 0:09:55 | |
and then, the more it started to unravel, | 0:09:55 | 0:09:58 | |
the more it felt that everything was just... | 0:09:58 | 0:10:00 | |
..going to get really big, | 0:10:01 | 0:10:03 | |
and that's when you broke down, didn't you? | 0:10:03 | 0:10:05 | |
DOOR SLAMS > | 0:10:05 | 0:10:06 | |
SHE SNIFFS | 0:10:08 | 0:10:09 | |
So... | 0:10:09 | 0:10:11 | |
..here I am again. | 0:10:15 | 0:10:16 | |
I actually don't even know what to say any more. | 0:10:21 | 0:10:23 | |
And I'm filming this because... | 0:10:26 | 0:10:28 | |
..I'm so sick of people not knowing what is really going on. | 0:10:30 | 0:10:35 | |
You know, I act like I'm strong, but I'm really not in the slightest. | 0:10:40 | 0:10:44 | |
Part of me's strong. | 0:10:47 | 0:10:48 | |
I can put up with things, and I can pick myself up, | 0:10:48 | 0:10:50 | |
and I can move on, but inside, I am one of the most vulnerable... | 0:10:50 | 0:10:54 | |
people you'll ever meet. | 0:10:54 | 0:10:56 | |
And I genuinely suffer from a LOT of depression. | 0:10:57 | 0:11:00 | |
And it's moments like this that send me under. | 0:11:00 | 0:11:03 | |
I really just want it all to end. | 0:11:04 | 0:11:06 | |
I don't want to be this person any more. | 0:11:08 | 0:11:09 | |
I don't want to be famous any more. | 0:11:09 | 0:11:12 | |
-Oh... -How can someone hate someone so young?! | 0:11:18 | 0:11:22 | |
Oh, fucking hell! | 0:11:25 | 0:11:27 | |
It's not nice. | 0:11:29 | 0:11:30 | |
As the story broke, Tulisa locked herself in her house with her mates. | 0:11:32 | 0:11:36 | |
The house was surrounded by paparazzi and television news crews. | 0:11:36 | 0:11:40 | |
'Even if any criminal proceedings don't come to anything, | 0:11:41 | 0:11:44 | |
'or whatever happens with criminal proceedings, | 0:11:44 | 0:11:47 | |
'it seems already that these allegations | 0:11:47 | 0:11:49 | |
'could end up costing the singer quite a bit of money.' | 0:11:49 | 0:11:52 | |
Overnight...the whole thing. | 0:11:53 | 0:11:55 | |
They can fucking have it back | 0:11:55 | 0:11:57 | |
and shove it up their arse-crack as far as I'm concerned. | 0:11:57 | 0:12:00 | |
At no point, at any time when I got into the industry, | 0:12:00 | 0:12:04 | |
did I think some of this shit would be happening, | 0:12:04 | 0:12:06 | |
THAT is NOT in the contract. | 0:12:06 | 0:12:09 | |
No. | 0:12:09 | 0:12:10 | |
It's not fucking on. | 0:12:12 | 0:12:14 | |
They want me to have a breakdown. | 0:12:15 | 0:12:17 | |
They want me to shave my hair off, they want me to, um... | 0:12:17 | 0:12:20 | |
..maybe top myself. | 0:12:23 | 0:12:24 | |
-Oh, fuck that! -They would be happy. They would be buzzing. | 0:12:24 | 0:12:27 | |
The Sun run with this today. | 0:12:28 | 0:12:31 | |
"'We will arrest Tulisa,' say cops. | 0:12:31 | 0:12:33 | |
"Star to be quizzed over cocaine deal." | 0:12:33 | 0:12:35 | |
Quite aggressive, yeah? Big deal. | 0:12:35 | 0:12:38 | |
If Tulisa is charged and found guilty by a jury | 0:12:40 | 0:12:42 | |
for being concerned with the supply of a class-A drug, | 0:12:42 | 0:12:46 | |
it would certainly carry a custodial sentence. | 0:12:46 | 0:12:49 | |
-IN GEORDIE ACCENT: -Day two in the big media destruction house. | 0:12:52 | 0:12:58 | |
Tulisa is still dealing with the recent news | 0:12:58 | 0:13:03 | |
that she is front page of The Sun after deep, intense entrapment. | 0:13:03 | 0:13:09 | |
BIRDSONG | 0:13:10 | 0:13:12 | |
Pretty much, you know... | 0:13:16 | 0:13:20 | |
every...person... | 0:13:20 | 0:13:23 | |
most people... Most people that I've got close to in my life | 0:13:23 | 0:13:27 | |
have f'd me over. | 0:13:27 | 0:13:28 | |
When the tape came out, I just felt like I'd lost control again. | 0:13:30 | 0:13:34 | |
I was like, "No, this isn't what I want to be portrayed as. | 0:13:34 | 0:13:37 | |
"This isn't what I'm about." | 0:13:37 | 0:13:39 | |
And just afterwards, trying to go back out there. | 0:13:39 | 0:13:44 | |
I remember it was the thought of facing an audience, | 0:13:44 | 0:13:47 | |
a crowd, | 0:13:47 | 0:13:49 | |
and to sit there, and even though I'm a judge, | 0:13:49 | 0:13:52 | |
I'm being judged more than the contestants. | 0:13:52 | 0:13:56 | |
The judges get judged the most. | 0:13:56 | 0:13:58 | |
So... | 0:13:58 | 0:14:00 | |
I just found it so hard to face people again. | 0:14:00 | 0:14:04 | |
Some people might not think that it's necessarily such a bad thing. | 0:14:04 | 0:14:08 | |
Mm, well, I think it's an absolute violation of... | 0:14:08 | 0:14:14 | |
..of my human rights. | 0:14:16 | 0:14:18 | |
Of me as a person. I think it's absolutely disgusting. | 0:14:18 | 0:14:22 | |
And he knew it, as well. | 0:14:22 | 0:14:24 | |
Do you think the person responsible for it | 0:14:24 | 0:14:26 | |
knew how much it would upset you? | 0:14:26 | 0:14:28 | |
Yeah. He knew. He wanted... He wanted to cause that damage. | 0:14:28 | 0:14:32 | |
He didn't like me very much. | 0:14:34 | 0:14:37 | |
DOG BARKS IN BACKGROUND | 0:14:37 | 0:14:40 | |
Have you thought about the fact that they might send you to prison? | 0:14:40 | 0:14:43 | |
I've thought about it as much as I think I need to. | 0:14:43 | 0:14:45 | |
But... | 0:14:48 | 0:14:49 | |
that's like a worst-case scenario. But... | 0:14:49 | 0:14:53 | |
..I just have to, like, get on with it. | 0:14:54 | 0:14:56 | |
Three days after the story broke, | 0:15:00 | 0:15:02 | |
Tulisa was driven to the police station, | 0:15:02 | 0:15:04 | |
where she was arrested, interviewed and released on bail. | 0:15:04 | 0:15:07 | |
That night, Tulisa was finding it hard to cope. | 0:15:14 | 0:15:17 | |
She didn't know how far this was going to go. | 0:15:17 | 0:15:20 | |
Would charges even be pressed? | 0:15:20 | 0:15:22 | |
And if so, when would she find out? | 0:15:22 | 0:15:24 | |
On top of which, she was trying to cope with | 0:15:24 | 0:15:26 | |
being at the centre of a media firestorm. | 0:15:26 | 0:15:28 | |
Andrew, yeah. | 0:15:28 | 0:15:30 | |
What's he saying? | 0:15:31 | 0:15:33 | |
The paps are running round the back of my house into the bushes | 0:15:33 | 0:15:36 | |
and they're filming me walking around my bedroom. | 0:15:36 | 0:15:40 | |
It's not even legal. | 0:15:40 | 0:15:41 | |
She decided to leave and go up to Manchester. | 0:15:43 | 0:15:46 | |
Once I'm in Manchester, no-one's finding me. No-one. | 0:15:46 | 0:15:50 | |
She hid under a blanket in the back of her car to avoid the press. | 0:15:50 | 0:15:54 | |
Fuckers! | 0:15:56 | 0:15:57 | |
Tulisa was bailed to return to the police station | 0:16:01 | 0:16:04 | |
on the 29th of July to be charged with | 0:16:04 | 0:16:06 | |
the single allegation of | 0:16:06 | 0:16:08 | |
being concerned in the supply of class-A drugs. | 0:16:08 | 0:16:11 | |
This is the legal wording for fixing a drug deal. | 0:16:11 | 0:16:14 | |
But it's been delayed and she still doesn't know | 0:16:14 | 0:16:16 | |
whether she's going to be charged or not. | 0:16:16 | 0:16:18 | |
A month passes, and Tulisa is still waiting to hear | 0:16:35 | 0:16:38 | |
whether she will be officially charged. | 0:16:38 | 0:16:40 | |
All of her work is on hold and she has been forced to move out | 0:16:40 | 0:16:44 | |
of her grand Hertfordshire mansion to a small flat in north London. | 0:16:44 | 0:16:48 | |
So right now I am here. | 0:16:50 | 0:16:51 | |
I've had to leave the little white mansion | 0:16:51 | 0:16:56 | |
because for about three weeks I was being | 0:16:56 | 0:17:01 | |
what I would call "stalked". | 0:17:01 | 0:17:03 | |
24-hour surveillance, spied on by different groups of people, | 0:17:03 | 0:17:10 | |
which I'm not sure if they're connected. | 0:17:10 | 0:17:14 | |
And are you going to sell that house? | 0:17:14 | 0:17:17 | |
I am going to sell that house. I'm going to have to. | 0:17:17 | 0:17:20 | |
After everything that's happened, I don't feel safe there at all. | 0:17:20 | 0:17:24 | |
I don't even want to... | 0:17:24 | 0:17:26 | |
I don't even want to drive back there to pick up my stuff | 0:17:26 | 0:17:28 | |
because I'm afraid that someone will follow me and find me here. | 0:17:28 | 0:17:32 | |
How have your finances been through what's been happening? | 0:17:32 | 0:17:35 | |
Um, basically... | 0:17:35 | 0:17:37 | |
..my finances. | 0:17:39 | 0:17:40 | |
I'm OK. This is my issue, is that all of my endorsements | 0:17:41 | 0:17:46 | |
and where most of my money comes from, which is my branding, | 0:17:46 | 0:17:52 | |
has been frozen until we find out what's going on with the case. | 0:17:52 | 0:17:58 | |
If I sell the house, I'll be in a brilliant financial position. | 0:17:58 | 0:18:04 | |
To be able to afford to live. | 0:18:04 | 0:18:05 | |
Without even my assets being unfrozen. | 0:18:05 | 0:18:08 | |
And that would be a great sense of relief, I'd imagine? | 0:18:09 | 0:18:12 | |
That would be amazing. But, you know, we can hope for the best, | 0:18:12 | 0:18:15 | |
but you have to always prepare for the worst | 0:18:15 | 0:18:17 | |
and look at what you've got | 0:18:17 | 0:18:19 | |
and think worst-case scenario, best-case scenario. | 0:18:19 | 0:18:23 | |
Just make sure you've got a plan. But I'm OK. | 0:18:23 | 0:18:25 | |
Louboutins... My new Loubous. | 0:18:26 | 0:18:28 | |
You wore them home? | 0:18:28 | 0:18:29 | |
This afternoon, Tulisa is travelling in to | 0:18:29 | 0:18:32 | |
central London for an audition for a part in an American sitcom. | 0:18:32 | 0:18:36 | |
Thanks. | 0:18:36 | 0:18:38 | |
-Please, don't film my feet! -Sorry. -Please, don't. | 0:18:41 | 0:18:46 | |
It's very unnecessary to see my Monster-Munch toes. | 0:18:46 | 0:18:51 | |
INDISTINCT CHATTER | 0:18:51 | 0:18:53 | |
So, right now we're going to, um... | 0:18:55 | 0:18:58 | |
basically my British acting agent's office | 0:18:58 | 0:19:02 | |
to film a video audition | 0:19:02 | 0:19:05 | |
for a new American series on HBO... | 0:19:05 | 0:19:09 | |
um, for the lead role. | 0:19:09 | 0:19:12 | |
Are you nervous? | 0:19:12 | 0:19:13 | |
No. Not right now, no. | 0:19:13 | 0:19:16 | |
There's nothing to be nervous about, | 0:19:16 | 0:19:17 | |
because it's like the easiest form of audition | 0:19:17 | 0:19:20 | |
because you can take as many takes as you want | 0:19:20 | 0:19:22 | |
and send it over to them. | 0:19:22 | 0:19:24 | |
So you're not under pressure, or have one shot when you walk in with | 0:19:24 | 0:19:26 | |
the casting director, so I'm quite relaxed. | 0:19:26 | 0:19:28 | |
And how come you're doing it in London? | 0:19:28 | 0:19:31 | |
I'm doing it in London because I'm not allowed in America | 0:19:31 | 0:19:34 | |
because I'm on bail for a drugs-related charge | 0:19:34 | 0:19:39 | |
so I can't...can't go there at the minute. | 0:19:39 | 0:19:42 | |
I'll read it back to you. | 0:19:46 | 0:19:48 | |
-AMERICAN ACCENT: -"Important to your sister | 0:19:48 | 0:19:50 | |
"you come to the Hamptons' tonight. | 0:19:50 | 0:19:51 | |
"Car picking you up from your house at 3pm. | 0:19:51 | 0:19:53 | |
"Now should I say, 'LOVE, Mom' or just 'from'?' | 0:19:53 | 0:19:55 | |
"We got disconnected. No, she was so nice." | 0:19:57 | 0:19:59 | |
-NORMAL ACCENT: -And then I just burst into tears. It's not a lot, really. | 0:19:59 | 0:20:02 | |
Sorry, I went out of character for a moment. | 0:20:05 | 0:20:08 | |
-AMERICAN ACCENT: -It's not a lot, really. | 0:20:08 | 0:20:10 | |
I've got to, like, continuously talk like this for the whole journey | 0:20:10 | 0:20:13 | |
so that I get into the... into the motion of, you know, | 0:20:13 | 0:20:17 | |
speaking with an American accent. | 0:20:17 | 0:20:19 | |
Get in the moment so that, when I go in there, | 0:20:19 | 0:20:21 | |
it just comes naturally and there's no slip-ups. | 0:20:21 | 0:20:24 | |
Don't want to hear any of that British accent slipping though, | 0:20:24 | 0:20:27 | |
otherwise you're in trouble. | 0:20:27 | 0:20:28 | |
But when they arrive at her agent's offices, | 0:20:32 | 0:20:34 | |
Tulisa spots a car with blacked-out windows | 0:20:34 | 0:20:36 | |
that she saw parked outside her flat this morning. | 0:20:36 | 0:20:38 | |
Can I get out? I'm going to see who the fuck it is. | 0:20:38 | 0:20:41 | |
-That's the car that was outside my house. -That definitely is the reg? | 0:20:41 | 0:20:44 | |
100%, that's the reg number. | 0:20:44 | 0:20:45 | |
They've found us and why is he already outside? | 0:20:47 | 0:20:50 | |
He's already outside the destination of where we're going. | 0:20:50 | 0:20:53 | |
What does that tell you? | 0:20:53 | 0:20:54 | |
Somebody from the inside has tipped him off. | 0:20:54 | 0:20:57 | |
-You all right there? -Yeah, what's up with you, pal? -Huh? | 0:20:57 | 0:20:59 | |
-What's up with you? -No, I'm just asking, are you waiting for someone? | 0:20:59 | 0:21:03 | |
-No. Not you. -You're not? You're not waiting for no-one, no? | 0:21:03 | 0:21:06 | |
-No -OK, cool. -What's the issue? -Pardon? | 0:21:06 | 0:21:08 | |
-What's the issue? -I'm asking cos I thought I saw you | 0:21:08 | 0:21:10 | |
outside our house earlier. I wanted to make sure. | 0:21:10 | 0:21:12 | |
Who the fuck are you, coming up to my motor, pal? | 0:21:12 | 0:21:14 | |
-I'm just asking you who you are. -Jog on. | 0:21:14 | 0:21:17 | |
-Who the fuck are YOU? Jog on. -Right. | 0:21:17 | 0:21:19 | |
He's got walkie-talkies in the car. | 0:21:19 | 0:21:21 | |
He's fucking aggressive, he's got walkie-talkies. | 0:21:21 | 0:21:24 | |
Drew, he's got walkie-talkies, I don't care if he's a pap. | 0:21:24 | 0:21:27 | |
Who are you talking to on walkie-talkies? | 0:21:27 | 0:21:29 | |
And he's aggressive, little shit-bag. | 0:21:30 | 0:21:32 | |
-I recognise him, anyway. -I've never seen him before. | 0:21:32 | 0:21:35 | |
-Oh, I 100% recognise him. -Right. Let's just get her in. | 0:21:35 | 0:21:38 | |
-Drew, keep an eye on him. -I will. -Just see what he does. | 0:21:52 | 0:21:55 | |
I might go and talk to him. | 0:21:55 | 0:21:57 | |
No, don't go and talk to him. Please, Drew, not on camera. | 0:21:57 | 0:22:00 | |
-I won't. -Don't go near that shit. | 0:22:00 | 0:22:02 | |
He was outside my house, | 0:22:02 | 0:22:03 | |
so how did he know the destination before I've got there? | 0:22:03 | 0:22:05 | |
I know. It's a different guy, though. That wasn't the guy. Same car. | 0:22:05 | 0:22:08 | |
So I'm going to try and see what he's doing now. You go through | 0:22:08 | 0:22:10 | |
with George and Alex and let me deal with this with the police. | 0:22:10 | 0:22:13 | |
-Hi, are you all right? -Hi. Sorry. | 0:22:13 | 0:22:15 | |
-That's all right. How are you? -Can I get you anything? | 0:22:15 | 0:22:18 | |
Have you got any Coca-Cola? | 0:22:18 | 0:22:20 | |
I can get some, if that's what you want? Yeah, no problem. | 0:22:20 | 0:22:24 | |
How's it going? | 0:22:24 | 0:22:25 | |
This is what is, like, happening to me now, 24/7. | 0:22:25 | 0:22:29 | |
These... Yeah, look. | 0:22:29 | 0:22:31 | |
These scenarios like, and I'm just a nervous wreck | 0:22:31 | 0:22:34 | |
because I'm just panicking every five minutes | 0:22:34 | 0:22:37 | |
because there's people... This guy was circling my house this morning. | 0:22:37 | 0:22:40 | |
This car. Now there's a different driver with walkie-talkies in it | 0:22:40 | 0:22:43 | |
already at the destination that I'm going to before I've even got there. | 0:22:43 | 0:22:47 | |
So this is a perfect example. | 0:22:47 | 0:22:49 | |
This is the first time you've filmed me in however long, | 0:22:49 | 0:22:51 | |
you can see I'm under 24-hour surveillance. How do they know | 0:22:51 | 0:22:54 | |
where I'm going? Why have they got walkie-talkies? | 0:22:54 | 0:22:56 | |
Why are they changing drivers? I feel like I'm being bugged. | 0:22:56 | 0:22:58 | |
Luckily I've taken the number plate down this morning of the car | 0:22:58 | 0:23:02 | |
so I know that it's them. So obviously as soon as I've... | 0:23:02 | 0:23:06 | |
Keeping my eyes peeled, as soon as I've seen that reg, | 0:23:06 | 0:23:08 | |
I've gone, "That's the car that was outside my house this morning." | 0:23:08 | 0:23:11 | |
And he's not a pap cos he would've waited outside my house. | 0:23:11 | 0:23:13 | |
He circled the house. | 0:23:13 | 0:23:14 | |
He went round the back and he was watching me through my windows | 0:23:14 | 0:23:17 | |
and then he drove off again and then came back... | 0:23:17 | 0:23:20 | |
and waited outside the front. | 0:23:20 | 0:23:22 | |
Wound up by what has just happened, | 0:23:25 | 0:23:27 | |
Tulisa feels unable to go through with the audition. | 0:23:27 | 0:23:30 | |
Come on. Let's get you home. Let's get out of here. | 0:23:32 | 0:23:35 | |
Right. Don't follow me out into the street, | 0:23:35 | 0:23:37 | |
cos if they are still out there they're going to photograph... | 0:23:37 | 0:23:40 | |
I've been so...such a nervous wreck and on edge that I just literally | 0:23:46 | 0:23:51 | |
walked in there to read my lines and just...my mind just went blank. | 0:23:51 | 0:23:55 | |
So I just need to... | 0:23:55 | 0:23:57 | |
I can't do it right now. | 0:23:57 | 0:23:58 | |
I can't do the audition because my head's just... | 0:23:58 | 0:24:02 | |
I can't concentrate. | 0:24:02 | 0:24:03 | |
I can't think of anything other than what's going on. | 0:24:03 | 0:24:06 | |
So, no audition. | 0:24:07 | 0:24:10 | |
Just another day of police, drama and I'm on my way home. | 0:24:10 | 0:24:15 | |
It's now December. Six months have passed | 0:24:23 | 0:24:27 | |
while she has been waiting and waiting | 0:24:27 | 0:24:29 | |
to find out what's going to happen to her, | 0:24:29 | 0:24:31 | |
and Tulisa has just received | 0:24:31 | 0:24:32 | |
the devastating news that she WILL be charged the following day. | 0:24:32 | 0:24:37 | |
I'm going to go to the police station on Monday. | 0:24:37 | 0:24:40 | |
And there's no emotions to describe how I feel. | 0:24:43 | 0:24:48 | |
My life is ruined. It's over. | 0:24:56 | 0:25:00 | |
I feel like my whole world is falling apart. | 0:25:03 | 0:25:08 | |
I'm going to lose everything. | 0:25:14 | 0:25:16 | |
Everything I've built. | 0:25:21 | 0:25:22 | |
I just wanted to be a...person and to make music and to... | 0:25:24 | 0:25:30 | |
..just live | 0:25:32 | 0:25:34 | |
and love and be loved. | 0:25:34 | 0:25:36 | |
And that is all that I wanted | 0:25:36 | 0:25:39 | |
and now it's gone. | 0:25:39 | 0:25:41 | |
They've fucked me up good and proper. | 0:25:48 | 0:25:50 | |
They're killing me. | 0:25:58 | 0:26:00 | |
They're killing me, it's like... | 0:26:00 | 0:26:02 | |
They're fucking killing me. | 0:26:02 | 0:26:04 | |
I just want my life back. | 0:26:13 | 0:26:15 | |
They've ruined me. | 0:26:19 | 0:26:20 | |
This would never have happened unless they created the situation. | 0:26:22 | 0:26:26 | |
They MADE it happen. | 0:26:26 | 0:26:27 | |
This would NEVER have happened unless they MADE it happen. | 0:26:28 | 0:26:32 | |
THEY MADE IT HAPPEN. | 0:26:32 | 0:26:35 | |
It's evil. It's wrong. | 0:26:37 | 0:26:39 | |
Just been...pretty much an emotional wreck the whole night. | 0:26:51 | 0:26:57 | |
There were hours of drama. | 0:26:57 | 0:26:59 | |
Dappy come round and there was, like, emotional breakdowns | 0:27:01 | 0:27:05 | |
and...screaming and... | 0:27:05 | 0:27:08 | |
..I had had a drink, so everything felt... | 0:27:10 | 0:27:13 | |
..even more intensified. | 0:27:16 | 0:27:19 | |
Like I say, I always get my times when I feel like I want to give up, | 0:27:19 | 0:27:24 | |
but I've never felt it as strongly as the other day | 0:27:24 | 0:27:27 | |
when I found out this. | 0:27:27 | 0:27:29 | |
I really, like, in my mind, | 0:27:29 | 0:27:31 | |
was just like, "What's the point? What is the point? | 0:27:31 | 0:27:34 | |
"I just can't... I just don't have the energy any more to do this. | 0:27:35 | 0:27:39 | |
"Even if I get through it, then what? | 0:27:39 | 0:27:41 | |
"I'm just going to be drained as a person. | 0:27:41 | 0:27:43 | |
"I'm going to be numb by the end of this. | 0:27:43 | 0:27:45 | |
"I don't know how much of me I'm going to have left." | 0:27:45 | 0:27:49 | |
And I was like...just... | 0:27:49 | 0:27:52 | |
"Shall I just end it? Shall I just get on with it | 0:27:52 | 0:27:55 | |
"and just never have to feel like this ever again?" | 0:27:55 | 0:27:59 | |
-Do you mean kill yourself? -Yeah. | 0:27:59 | 0:28:01 | |
I'll just be honest. I don't care, yeah. | 0:28:01 | 0:28:04 | |
OK - are you ready, T? | 0:28:04 | 0:28:06 | |
He said what's going to happen, he said he's going to get there | 0:28:06 | 0:28:09 | |
for about 20 past. | 0:28:09 | 0:28:10 | |
He'll go in, get it all registered and whatnot. | 0:28:10 | 0:28:14 | |
Let us know what paps and media are there. | 0:28:14 | 0:28:16 | |
You pull up. He wants me to walk you in. | 0:28:16 | 0:28:19 | |
He'll then take you to the custody suite | 0:28:19 | 0:28:22 | |
where they're going to...basically rebook you in again. | 0:28:22 | 0:28:25 | |
You might go to a cell, you might not, | 0:28:26 | 0:28:28 | |
you might just stay in the custody thing | 0:28:28 | 0:28:30 | |
and then they'll formally charge you there. | 0:28:30 | 0:28:33 | |
And then he'll read a statement. I'll wait in reception for you. | 0:28:33 | 0:28:36 | |
You'll come out about an hour later into reception, leave | 0:28:36 | 0:28:39 | |
and he'll read a statement if anyone's out there | 0:28:39 | 0:28:41 | |
and then we'll come back here. | 0:28:41 | 0:28:43 | |
He wanted a meeting afterwards, but I said no. | 0:28:43 | 0:28:45 | |
Do you know what? Let's just get in the car. | 0:28:53 | 0:28:55 | |
I'm a bit worried, you know, Gareth. I'm worried that... | 0:29:04 | 0:29:07 | |
You know when I get my leg-shake thing, | 0:29:07 | 0:29:09 | |
when I get nervous and I feel sick, | 0:29:09 | 0:29:10 | |
cos I'm in heels, I'm worried that I'm going to... | 0:29:10 | 0:29:13 | |
I'll hold your hand. | 0:29:13 | 0:29:15 | |
I'm going to need someone to link me, cos I'm going to be shaking. | 0:29:15 | 0:29:18 | |
-Ben said I can walk in with you, yeah? -Mm-hm. | 0:29:18 | 0:29:22 | |
I can wait in reception or come back to the car. | 0:29:22 | 0:29:24 | |
I can do whatever I want, but I can go as far as reception. | 0:29:24 | 0:29:26 | |
I'm allowed to take you in and pick you up again. | 0:29:26 | 0:29:29 | |
I'm just worried about standing on the steps. | 0:29:29 | 0:29:31 | |
That's cool. You can lean on me. | 0:29:31 | 0:29:33 | |
My legs are going to shake | 0:29:33 | 0:29:35 | |
so I'm going to need to hold someone. | 0:29:35 | 0:29:37 | |
Bleurgh... | 0:29:37 | 0:29:39 | |
I feel sick. | 0:29:40 | 0:29:41 | |
Tulisa desperately wants to avoid the paparazzi today, | 0:29:45 | 0:29:48 | |
so Gareth has leaked information | 0:29:48 | 0:29:50 | |
sending the press to the wrong police station - | 0:29:50 | 0:29:53 | |
a strategy that has worked | 0:29:53 | 0:29:54 | |
as there are no photographers or camera crews | 0:29:54 | 0:29:57 | |
when they arrive at Charing Cross. | 0:29:57 | 0:29:59 | |
OK... | 0:30:08 | 0:30:10 | |
-In a bit, guys. -Good luck. See you soon. | 0:30:10 | 0:30:12 | |
So what happened in there, did you just take her in? | 0:30:33 | 0:30:35 | |
Yeah, I just took her in. Ben's briefing her | 0:30:35 | 0:30:38 | |
and then they'll take her through. | 0:30:38 | 0:30:40 | |
Weird feeling. | 0:30:40 | 0:30:41 | |
Today's been building up for so many months. | 0:30:42 | 0:30:44 | |
Yeah - it's, like, six months | 0:30:44 | 0:30:46 | |
and then, like, this decision changes everything | 0:30:46 | 0:30:49 | |
for the next 12 months to 18, | 0:30:49 | 0:30:51 | |
I guess, realistically. | 0:30:51 | 0:30:53 | |
I know everyone wants to play it down, but... | 0:30:53 | 0:30:56 | |
It's time to get fighting! | 0:30:58 | 0:30:59 | |
(Just get me in the car, Drew. | 0:31:13 | 0:31:15 | |
(Get me in the car.) | 0:31:15 | 0:31:17 | |
You go first - actually... | 0:31:19 | 0:31:21 | |
What happened in there? Talk us through it. | 0:31:29 | 0:31:31 | |
It was very different from the first time that I went in. | 0:31:31 | 0:31:35 | |
Like, obviously, the first time, the police were really nice, | 0:31:35 | 0:31:37 | |
but this time, they were, like, really accommodating. | 0:31:37 | 0:31:40 | |
They didn't keep me waiting long. | 0:31:40 | 0:31:42 | |
They just brought me in and sat me down, then stood up. | 0:31:42 | 0:31:45 | |
The officers were really sympathetic, | 0:31:45 | 0:31:48 | |
very nice to me. | 0:31:48 | 0:31:50 | |
They seemed as if they didn't want to be doing what they had to do. | 0:31:50 | 0:31:54 | |
Um... | 0:31:54 | 0:31:55 | |
One of them even said, "Good luck. I hope it all goes well." | 0:31:56 | 0:32:00 | |
-What's the process? Do they read out what the charge is? -Yes. | 0:32:00 | 0:32:04 | |
-Were you there with her? -Yes. | 0:32:04 | 0:32:05 | |
So it's a completely dictated process with no latitude. | 0:32:07 | 0:32:11 | |
They have to go through a prescribed series of questions | 0:32:11 | 0:32:14 | |
and get to the end of it and read the charge | 0:32:14 | 0:32:19 | |
and then ask Tulisa if she wanted - as they would anybody - | 0:32:19 | 0:32:21 | |
ask her if she wanted to say anything. | 0:32:21 | 0:32:24 | |
And did you say anything? | 0:32:24 | 0:32:25 | |
No. | 0:32:25 | 0:32:26 | |
Today, Tulisa has to appear at Southwark Crown Court | 0:33:03 | 0:33:07 | |
and the media have turned out in force. | 0:33:07 | 0:33:09 | |
You've been asked to get out of the road. | 0:33:19 | 0:33:22 | |
Fun, fun, fun. | 0:33:26 | 0:33:27 | |
So you're just going to get out of the car | 0:33:29 | 0:33:31 | |
-and walk straight into court? -Mm-hm. | 0:33:31 | 0:33:33 | |
-And just ignore all the...? -Mm-hm. | 0:33:33 | 0:33:35 | |
-Fuck! -Oh... | 0:33:35 | 0:33:36 | |
-Shit. -Hundreds of them. | 0:33:40 | 0:33:42 | |
DREW: It's nice they all came out, isn't it? | 0:33:49 | 0:33:51 | |
Maybe I should take my gum out. | 0:33:53 | 0:33:55 | |
-Where am I going to put it? -Stop, Drew. | 0:33:55 | 0:33:56 | |
Yeah, I'm going to stop. | 0:33:56 | 0:33:58 | |
Yeah. Here. Just here. | 0:33:58 | 0:34:00 | |
Yeah. Cool. | 0:34:00 | 0:34:03 | |
You get out first, then I'll open the door. | 0:34:03 | 0:34:05 | |
-Ready? -Yeah. | 0:34:06 | 0:34:08 | |
-INTERVIEWER: Good luck. -Thank you. | 0:34:08 | 0:34:10 | |
REPORTER: Tulisa? | 0:34:14 | 0:34:15 | |
REPORTER: Tulisa? | 0:34:52 | 0:34:53 | |
Today, Tulisa appeared at Southwark Crown Court | 0:34:58 | 0:35:01 | |
in connection with a serious allegation, | 0:35:01 | 0:35:03 | |
which is being concerned in the supply of drugs. | 0:35:03 | 0:35:06 | |
Tulisa is... | 0:35:06 | 0:35:07 | |
Tulisa is not guilty of this or any other offence | 0:35:08 | 0:35:12 | |
and is looking forward to giving her account to a jury. | 0:35:12 | 0:35:15 | |
That trial will take place in July and will reveal the full extent | 0:35:15 | 0:35:19 | |
of the role played by Mazher Mahmood of the Sunday Sun. | 0:35:19 | 0:35:23 | |
We're three weeks away from the hearing | 0:36:05 | 0:36:08 | |
at which we will try and stop the trial, | 0:36:08 | 0:36:10 | |
and if that hearing is unsuccessful, we're a month and a half away | 0:36:10 | 0:36:13 | |
from the trial itself. | 0:36:13 | 0:36:14 | |
So it's been a long run for me | 0:36:14 | 0:36:17 | |
and I imagine an even longer and harder run for Tulisa. | 0:36:17 | 0:36:20 | |
I'm at that kind of numb stage where I'm just a bit..."meh." | 0:36:22 | 0:36:25 | |
I just want it over with. | 0:36:25 | 0:36:26 | |
My line at the minute is "Two months. Two months to go. | 0:36:26 | 0:36:28 | |
"Two months, and no matter what, it's all going to be over. | 0:36:28 | 0:36:31 | |
"If I've done a year of it, I can do two months." | 0:36:31 | 0:36:34 | |
Two months is nothing. | 0:36:34 | 0:36:35 | |
What are the kind of pressures and challenges and difficulties | 0:36:35 | 0:36:38 | |
that it's like to be a defendant? | 0:36:38 | 0:36:40 | |
The honest answer is I think it's probably one of, | 0:36:42 | 0:36:45 | |
if not the most difficult experiences | 0:36:45 | 0:36:47 | |
that anybody in their life will encounter. | 0:36:47 | 0:36:51 | |
The first thing is for... | 0:36:51 | 0:36:55 | |
People who are defendants are, to a large extent, | 0:36:55 | 0:36:58 | |
locked into a system over which they have no control. | 0:36:58 | 0:37:01 | |
There is likely to be a trial, they have to come to court. | 0:37:01 | 0:37:06 | |
They have to endure the entirety of whatever aspect of their life | 0:37:06 | 0:37:12 | |
is, in issue, being explored in microcosmic detail. | 0:37:12 | 0:37:16 | |
Are you managing to get much sleep? | 0:37:16 | 0:37:17 | |
No. Oh, my God, my sleep is horrific at the moment. | 0:37:17 | 0:37:21 | |
Literally, the last three nights, I went to bed at, like, 6.30am. | 0:37:21 | 0:37:27 | |
Every night. | 0:37:27 | 0:37:29 | |
I just can't...can't sleep. | 0:37:29 | 0:37:31 | |
And obviously, it's annoying, because...when you try to explain | 0:37:31 | 0:37:34 | |
to people that you're an insomniac, | 0:37:34 | 0:37:37 | |
they're like, "OK, just take a sleeping pill", but... | 0:37:37 | 0:37:41 | |
You know, how often? | 0:37:41 | 0:37:42 | |
I can't take a sleeping pill | 0:37:42 | 0:37:44 | |
every time I have a night where I can't sleep, | 0:37:44 | 0:37:46 | |
because it's most nights. | 0:37:46 | 0:37:48 | |
So I tend to just reserve, you know, sleeping pills for court dates | 0:37:48 | 0:37:53 | |
and things like that where I HAVE to sleep. | 0:37:53 | 0:37:56 | |
Um...so the rest of the time, I just sort of deal with it. | 0:37:56 | 0:37:59 | |
There's almost the feeling that they've become a spectator | 0:37:59 | 0:38:05 | |
in a part of their own life, | 0:38:05 | 0:38:07 | |
which is a very odd sensation to have - | 0:38:07 | 0:38:10 | |
to listen, potentially, to days and days, | 0:38:10 | 0:38:12 | |
weeks and weeks of evidence given by other people | 0:38:12 | 0:38:15 | |
and argued about by lawyers in wigs and gowns | 0:38:15 | 0:38:18 | |
about what you did or you didn't do or what you did or you didn't say, | 0:38:18 | 0:38:22 | |
is a really, I would have thought - I've not been in this position - | 0:38:22 | 0:38:26 | |
a frustrating, difficult, upsetting and emotionally draining experience. | 0:38:26 | 0:38:31 | |
So, T, I know you've been seeing Jane with Gareth | 0:38:34 | 0:38:37 | |
quite a lot in terms of getting ready for the hearing coming up | 0:38:37 | 0:38:39 | |
both tomorrow, later in June and July | 0:38:39 | 0:38:42 | |
and I think it might be useful just to have a recap as to where we are. | 0:38:42 | 0:38:45 | |
You were set up and entrapped. | 0:38:45 | 0:38:48 | |
Entrapment is not a defence | 0:38:49 | 0:38:52 | |
to a criminal charge, as we've discussed before. | 0:38:52 | 0:38:56 | |
But a judge is entitled to stop the proceedings | 0:38:56 | 0:39:02 | |
if he or she feels that... | 0:39:02 | 0:39:05 | |
It's an abuse of the justice system? | 0:39:05 | 0:39:07 | |
Well, it's an abuse of the justice system, in the widest sense. | 0:39:07 | 0:39:10 | |
Essentially, what we have to demonstrate | 0:39:10 | 0:39:13 | |
is that this was crime manufactured | 0:39:13 | 0:39:17 | |
by Mahmood and the Sun newspaper. | 0:39:17 | 0:39:20 | |
Putting it another way, the current position is this - | 0:39:20 | 0:39:23 | |
that a police officer can't, as a matter of law, | 0:39:23 | 0:39:27 | |
try and persuade someone to commit a criminal offence | 0:39:27 | 0:39:30 | |
-and then prosecute them. -Yeah. | 0:39:30 | 0:39:32 | |
A journalist, like Mahmood, | 0:39:32 | 0:39:34 | |
COULD persuade somebody to commit an offence and then prosecute them - | 0:39:34 | 0:39:37 | |
we're saying that does not make sense. | 0:39:37 | 0:39:41 | |
That is fundamentally an unfair balancing act | 0:39:41 | 0:39:43 | |
and if it's wrong for police officers | 0:39:43 | 0:39:46 | |
to try and persuade people to commit crime, | 0:39:46 | 0:39:48 | |
it must be wrong for journalists | 0:39:48 | 0:39:50 | |
to try and persuade them to commit offences | 0:39:50 | 0:39:52 | |
and if it's wrong, | 0:39:52 | 0:39:53 | |
then your prosecution...against you shouldn't continue. | 0:39:53 | 0:39:56 | |
And obviously, we'll be drawing from the facts of your case - | 0:39:56 | 0:39:59 | |
the whole business of you being lured to Las Vegas, um, | 0:39:59 | 0:40:04 | |
the carrot of the 3.5 million, | 0:40:04 | 0:40:07 | |
the carrot of the major part in the film...um... | 0:40:07 | 0:40:12 | |
Winning an Oscar. | 0:40:12 | 0:40:13 | |
Winning an Oscar. | 0:40:13 | 0:40:15 | |
-Our position is... -Leonardo. | 0:40:15 | 0:40:18 | |
Leonardo Di Caprio. | 0:40:18 | 0:40:20 | |
Childhood crushes - "I did it all for Leo!" | 0:40:20 | 0:40:25 | |
-That's not a defence, either! -I know. | 0:40:25 | 0:40:28 | |
But we're saying that all of this is just a... | 0:40:28 | 0:40:32 | |
You were lured into an irresistible situation. | 0:40:32 | 0:40:35 | |
Although, of course, we hotly deny any involvement | 0:40:35 | 0:40:38 | |
in any drugs transaction. | 0:40:38 | 0:40:40 | |
But just even the stuff that was said | 0:40:40 | 0:40:43 | |
that was out of character, that they printed - | 0:40:43 | 0:40:45 | |
it's the whole defamation of character. | 0:40:45 | 0:40:47 | |
It will all form part of the abuse. | 0:40:47 | 0:40:49 | |
What's in your... What's in Honest about you and drugs? | 0:40:49 | 0:40:55 | |
That I used to smoke weed. | 0:40:55 | 0:40:57 | |
-But that's it? -Yeah. | 0:40:57 | 0:40:59 | |
-Have you read yet? -Yeah, I've read it. | 0:40:59 | 0:41:01 | |
Because I don't want them to use that as their source. | 0:41:01 | 0:41:04 | |
Weed and taking and selling cocaine | 0:41:04 | 0:41:09 | |
is a long way off smoking a bit of weed. | 0:41:09 | 0:41:11 | |
I even say in the book that I gave it up. | 0:41:11 | 0:41:14 | |
I think he says that he was contacted by someone. | 0:41:14 | 0:41:17 | |
-So he can't... -He can't change it. | 0:41:17 | 0:41:20 | |
-It can't be, "I read Honest." -No. | 0:41:20 | 0:41:23 | |
Let's just work through this, then. | 0:41:23 | 0:41:25 | |
-Let's just imagine that we don't win at the abuse. -Yeah. | 0:41:25 | 0:41:29 | |
We then move onto the trial. | 0:41:29 | 0:41:30 | |
And then we've got effectively... got about three weeks. | 0:41:30 | 0:41:34 | |
A lot of work has happened in preparation for the trial already. | 0:41:34 | 0:41:37 | |
Then you've got a three-week run to get ready for the trial. | 0:41:37 | 0:41:41 | |
Today is the final day of the abuse of process hearing. | 0:42:00 | 0:42:04 | |
This is Tulisa's legal team's final attempt | 0:42:04 | 0:42:07 | |
to try and stop the case going to a full jury trial. | 0:42:07 | 0:42:11 | |
The judge took the view | 0:42:11 | 0:42:12 | |
that there was insufficient evidence | 0:42:12 | 0:42:15 | |
of gross misconduct at that stage | 0:42:15 | 0:42:18 | |
and therefore the judge's ruling | 0:42:18 | 0:42:20 | |
was that the case should be tried by a jury | 0:42:20 | 0:42:22 | |
and that Tulisa could have a fair trial. | 0:42:22 | 0:42:25 | |
Finally, a year after being arrested in the summer of 2013, | 0:42:33 | 0:42:36 | |
Tulisa's trial is about to begin. | 0:42:36 | 0:42:38 | |
How long do you think the trial could last? | 0:42:39 | 0:42:42 | |
The trial could last up to a month. | 0:42:42 | 0:42:45 | |
It's going to be really bad. | 0:42:47 | 0:42:49 | |
How do you feel about that? | 0:42:49 | 0:42:50 | |
It's just like the long-term thought of like, every day, doing it. | 0:42:50 | 0:42:55 | |
I'm scared for myself, I'm scared for myself. Oh... | 0:42:57 | 0:43:01 | |
But when you get out of the car today, | 0:43:01 | 0:43:04 | |
and all those paps take photos of you striding in, | 0:43:04 | 0:43:06 | |
you're going to have to look kind of tough and steely. | 0:43:06 | 0:43:10 | |
No matter what face I pull, they'll always find a problem with it. | 0:43:10 | 0:43:14 | |
Because if I smile, then they'll be like, | 0:43:14 | 0:43:16 | |
"Oh, look, she thinks she's having a whale of a time, | 0:43:16 | 0:43:18 | |
"she doesn't care about the trial" | 0:43:18 | 0:43:20 | |
cos someone cracked one joke | 0:43:20 | 0:43:21 | |
that made me just go like...that for a second. | 0:43:21 | 0:43:24 | |
I'm not allowed to live. | 0:43:24 | 0:43:25 | |
-Until this is over, and then you can. -Yeah. | 0:43:27 | 0:43:30 | |
It's alleged Tulisa told the Sun on Sunday reporter | 0:43:38 | 0:43:41 | |
Mazher Mahmood, also known as the "Fake Sheikh", | 0:43:41 | 0:43:44 | |
that she could arrange for him to buy cocaine... | 0:43:44 | 0:43:47 | |
Tulisa! | 0:43:53 | 0:43:54 | |
Here, the former X Factor judge Tulisa Contostavlos | 0:43:56 | 0:43:58 | |
went on trial today over allegations | 0:43:58 | 0:44:00 | |
she was involved in supplying cocaine to an undercover reporter. | 0:44:00 | 0:44:04 | |
The trial begins with the prosecution setting out | 0:44:12 | 0:44:15 | |
the case against Tulisa and they pull no punches. | 0:44:15 | 0:44:19 | |
The press coverage paints Tulisa as a drugs fixer | 0:44:19 | 0:44:21 | |
and her version of events is hotly contested. | 0:44:21 | 0:44:25 | |
A few days in, Tulisa is feeling depressed. | 0:44:26 | 0:44:30 | |
The first day, I feel like I went in and... | 0:44:32 | 0:44:35 | |
I don't know, I kept saying I was trying to be positive, | 0:44:35 | 0:44:39 | |
so I'd built myself up to be positive. | 0:44:39 | 0:44:41 | |
So, I don't know why but, obviously, | 0:44:41 | 0:44:43 | |
a part of me expected some positivity from it, | 0:44:43 | 0:44:46 | |
do you know what I mean? I thought if anything, | 0:44:46 | 0:44:49 | |
it would start good and get worse if there was going to be... | 0:44:49 | 0:44:53 | |
hard times ahead, but it started off really bad. | 0:44:53 | 0:44:58 | |
That was the point when I went on such a low on the second day | 0:44:58 | 0:45:02 | |
that when I was driving to court, | 0:45:02 | 0:45:05 | |
in my head, I was like... | 0:45:05 | 0:45:07 | |
I really got the feeling the judge didn't like me one bit. | 0:45:07 | 0:45:11 | |
And I just thought, "If I was to be found guilty, | 0:45:11 | 0:45:14 | |
"I'm definitely going to prison." | 0:45:14 | 0:45:16 | |
It felt like it was happening and everything felt really bad. | 0:45:16 | 0:45:19 | |
And I was like, "They've got me, good and proper." | 0:45:19 | 0:45:22 | |
They have fully finished me off and set me up and I was just like, | 0:45:22 | 0:45:27 | |
I don't know. | 0:45:27 | 0:45:28 | |
I got myself in that mindframe, preparing for the worst, | 0:45:28 | 0:45:31 | |
cos that's what it's felt like. | 0:45:31 | 0:45:33 | |
How was it when Maz Mahmood gave evidence? | 0:45:33 | 0:45:36 | |
I read in the paper | 0:45:36 | 0:45:37 | |
that you asked to move so that you could be in his eyeline. | 0:45:37 | 0:45:39 | |
Yeah. When he... | 0:45:39 | 0:45:41 | |
I wanted to look at him. I wanted... | 0:45:41 | 0:45:44 | |
I wanted him to... | 0:45:45 | 0:45:47 | |
I don't know what I wanted. I just... | 0:45:47 | 0:45:49 | |
For me, it was like facing him, just facing him, | 0:45:49 | 0:45:52 | |
showing him that I'm not scared. | 0:45:52 | 0:45:55 | |
Day after day, Tulisa makes the same long car journey across London. | 0:46:01 | 0:46:05 | |
And as the days pass, | 0:46:05 | 0:46:07 | |
it looks more and more likely she could be facing prison. | 0:46:07 | 0:46:11 | |
But on day four of the trial, there's a dramatic turnaround. | 0:46:11 | 0:46:15 | |
Mazher Mahmood gave evidence | 0:46:15 | 0:46:18 | |
and he was cross-examined over the period of a day. | 0:46:18 | 0:46:21 | |
We knew that there were serious question marks over his dealings | 0:46:21 | 0:46:26 | |
with a statement from his driver | 0:46:26 | 0:46:29 | |
and the judge's view was that Mr Mahmood had lied about having | 0:46:29 | 0:46:34 | |
seen that statement and that there was an inference | 0:46:34 | 0:46:38 | |
that pressure had been put upon the driver to change his statement | 0:46:38 | 0:46:41 | |
and those were the circumstances in which | 0:46:41 | 0:46:43 | |
the judge decided that the case should be stopped. | 0:46:43 | 0:46:46 | |
The media and the wider public are completely unaware | 0:46:48 | 0:46:51 | |
of what's about to happen. | 0:46:51 | 0:46:52 | |
Everyone believes that the trial is entering its second week | 0:46:52 | 0:46:55 | |
and will continue for several weeks to come. | 0:46:55 | 0:46:58 | |
In fact, Tulisa knows that due to the lie Mazher Mahmood | 0:46:58 | 0:47:01 | |
told in court a few days earlier, | 0:47:01 | 0:47:03 | |
her nightmare ordeal is coming to a sudden and very welcome conclusion. | 0:47:03 | 0:47:08 | |
So, at the end of last week, the judge said something in court | 0:47:10 | 0:47:14 | |
that sounded like it was making him reconsider the whole case. | 0:47:14 | 0:47:18 | |
-Mm-hm. -And it appears that he's been persuaded | 0:47:18 | 0:47:21 | |
-that Mazher Mahmood lied under oath to the judge. -Mm-hm. | 0:47:21 | 0:47:25 | |
He knew a couple of weeks ago in the abuse trial, | 0:47:25 | 0:47:27 | |
he said one thing and he was 100% sure on what he said | 0:47:27 | 0:47:32 | |
and then a couple of weeks later, | 0:47:32 | 0:47:35 | |
he says the same thing | 0:47:35 | 0:47:38 | |
and then when faced with evidence to show otherwise, | 0:47:38 | 0:47:42 | |
he tries to change his story and say, "Oh, I forgot", | 0:47:42 | 0:47:45 | |
and thank God, even the prosecution and the judge were like, | 0:47:45 | 0:47:48 | |
"That's not good enough, you're lying. | 0:47:48 | 0:47:50 | |
"You're sitting here lying." | 0:47:50 | 0:47:51 | |
And I think the judge was pretty insulted. | 0:47:51 | 0:47:54 | |
He's stood up there and lied to his face about serious stuff. | 0:47:54 | 0:47:59 | |
He got one of his own team to change their statement | 0:47:59 | 0:48:03 | |
because a member of his own team, | 0:48:03 | 0:48:07 | |
his story complied with my story | 0:48:07 | 0:48:11 | |
and it confirmed everything that I was saying, | 0:48:11 | 0:48:14 | |
that it was an act. You know, I was auditioning. | 0:48:14 | 0:48:17 | |
Basically, as soon as I left the hotel, | 0:48:17 | 0:48:20 | |
after all the rubbish I was talking, | 0:48:20 | 0:48:22 | |
I went in the car and became completely anti-drugs | 0:48:22 | 0:48:26 | |
and was speaking about a situation and scenario | 0:48:26 | 0:48:29 | |
and in the complete opposite way and tone. | 0:48:29 | 0:48:32 | |
And the driver heard all of that and he knew what was going on | 0:48:32 | 0:48:37 | |
and so, luckily, he confirmed that in a statement, | 0:48:37 | 0:48:40 | |
until Mahmood obviously got hold of him, | 0:48:40 | 0:48:43 | |
because, like I said, when he wants a story to stick, | 0:48:43 | 0:48:45 | |
it has to stick, | 0:48:45 | 0:48:46 | |
got hold of him and forced him to change his statement. | 0:48:46 | 0:48:49 | |
What was your worst fear if you had been found guilty? | 0:48:49 | 0:48:53 | |
My worst fear if I was found guilty... | 0:48:55 | 0:48:58 | |
Funnily enough, most people would think it'd be going to prison. | 0:48:58 | 0:49:01 | |
It wasn't. It was losing my career. | 0:49:01 | 0:49:04 | |
I'd got to the point where I was like, | 0:49:04 | 0:49:06 | |
"I can accept prison, I can handle prison." | 0:49:06 | 0:49:08 | |
It's when I come out. | 0:49:08 | 0:49:09 | |
It's having my life taken away from me, my livelihood, my job. | 0:49:09 | 0:49:14 | |
Everything I've worked for from the age of 11 years old. | 0:49:14 | 0:49:17 | |
What have you learned from all of this? Your year of hell? | 0:49:18 | 0:49:21 | |
Oh, God, I've learned so many lessons. | 0:49:21 | 0:49:24 | |
It really is my year of enlightenment. | 0:49:24 | 0:49:27 | |
I feel like, um... | 0:49:27 | 0:49:29 | |
-Are you feeling older? -Yeah. | 0:49:29 | 0:49:32 | |
I feel like... | 0:49:32 | 0:49:33 | |
I feel like a woman now. | 0:49:33 | 0:49:36 | |
This extraordinary turn of events was highlighted by the judge | 0:49:39 | 0:49:42 | |
as he explained the situation to the jury. | 0:49:42 | 0:49:45 | |
He said... | 0:49:45 | 0:49:48 | |
Mazher Mahmood vehemently denies any duplicity in his work. | 0:50:00 | 0:50:05 | |
In a statement, the Sun said... | 0:50:06 | 0:50:09 | |
Tulisa! | 0:50:22 | 0:50:24 | |
Let me be perfectly clear. | 0:50:24 | 0:50:27 | |
I have never dealt drugs | 0:50:27 | 0:50:30 | |
and never been involved in taking or dealing cocaine. | 0:50:30 | 0:50:33 | |
This whole case was a horrific and disgusting entrapment | 0:50:35 | 0:50:40 | |
by Mazher Mahmood and the Sun on Sunday newspaper. | 0:50:40 | 0:50:43 | |
Oh, my God. | 0:51:10 | 0:51:12 | |
I am so happy. | 0:51:12 | 0:51:15 | |
Oh, my God. | 0:51:15 | 0:51:18 | |
Oh, my God. | 0:51:18 | 0:51:21 | |
I can't actually believe it's over. I can't believe it's over. | 0:51:21 | 0:51:24 | |
-PHONE RINGS -'Hello?' | 0:51:26 | 0:51:28 | |
Mummy. | 0:51:28 | 0:51:29 | |
'Hello, yes, how are you?' | 0:51:29 | 0:51:31 | |
It's over. | 0:51:31 | 0:51:33 | |
'I know, sweetheart. I know, isn't that fantastic?' | 0:51:33 | 0:51:37 | |
It's amazing. | 0:51:39 | 0:51:41 | |
'You've done so well.' | 0:51:41 | 0:51:43 | |
TULISA SNIFFLES | 0:51:46 | 0:51:47 | |
'You're very strong, you're a strong girl.' | 0:51:47 | 0:51:51 | |
Thanks to you. | 0:51:51 | 0:51:53 | |
'I love you. | 0:51:53 | 0:51:55 | |
'I love you, sweetheart.' | 0:51:55 | 0:51:57 | |
I love you, too. | 0:51:57 | 0:51:59 | |
'I know, I love you, too, precious. | 0:51:59 | 0:52:03 | |
'Well done, I've been thinking of you all the time.' | 0:52:03 | 0:52:06 | |
'I really have. I love you so.' | 0:52:08 | 0:52:12 | |
-I love you, Mummy. -'It's OK.' | 0:52:12 | 0:52:15 | |
'Have a good cry.' | 0:52:16 | 0:52:18 | |
'It's all right, sweetheart, Mummy's here. | 0:52:20 | 0:52:23 | |
'Mummy's here. I'm right with you.' | 0:52:23 | 0:52:25 | |
I was so scared, Mummy. | 0:52:27 | 0:52:30 | |
'I know you were, honey. | 0:52:30 | 0:52:32 | |
'I know you were scared, I know.' | 0:52:32 | 0:52:35 | |
'It was horrible, I know.' | 0:52:37 | 0:52:40 | |
'I know, I know, I was thinking of you all the time.' | 0:52:41 | 0:52:45 | |
'Very, very frightening. It was horrible.' | 0:52:47 | 0:52:50 | |
'I know...' | 0:52:51 | 0:52:53 | |
The way the case came to an end so suddenly | 0:52:55 | 0:52:58 | |
means that justice was really done | 0:52:58 | 0:53:01 | |
in a moment, | 0:53:01 | 0:53:02 | |
and for that reason, the staggering circumstances, | 0:53:02 | 0:53:05 | |
the speed with which such a powerful witness collapsed | 0:53:05 | 0:53:10 | |
and took with him such an important element | 0:53:10 | 0:53:13 | |
of the journalistic approach in this country | 0:53:13 | 0:53:15 | |
means that the case is one that can never be forgotten. | 0:53:15 | 0:53:18 | |
Because at the moment his evidence collapsed, | 0:53:18 | 0:53:22 | |
the case against Tulisa collapsed. | 0:53:22 | 0:53:24 | |
In the same moment, Mahmood began the journey to being convicted | 0:53:24 | 0:53:29 | |
and she commenced the journey out of the dock | 0:53:29 | 0:53:32 | |
and in that very same moment, also, | 0:53:32 | 0:53:34 | |
the face of investigative journalism in Great Britain changed. | 0:53:34 | 0:53:38 | |
It's the barrister in the court room who's going to win your case. | 0:53:38 | 0:53:41 | |
You can have the best legal team in the world behind the scenes, | 0:53:41 | 0:53:44 | |
but it's the barrister who's got to be quick on his feet, | 0:53:44 | 0:53:46 | |
the barrister who's got to stand up in that court room. | 0:53:46 | 0:53:49 | |
Jeremy Dein's tactics had Mazher Mahmood fall on his own sword | 0:53:49 | 0:53:53 | |
when he was revealed as a liar. | 0:53:53 | 0:53:55 | |
We, as a defence team, | 0:53:55 | 0:53:57 | |
firmly believed, despite a superficially strong prosecution | 0:53:57 | 0:54:02 | |
case being put together, | 0:54:02 | 0:54:04 | |
that the prosecution case was as fake as the Fake Sheikh himself. | 0:54:04 | 0:54:07 | |
And with that momentum, we worked tirelessly to get the result we did | 0:54:07 | 0:54:13 | |
and fortunately, we did manage to succeed in that objective. | 0:54:13 | 0:54:17 | |
Well, I'd say that's the end of that story, | 0:54:18 | 0:54:23 | |
but the beginning for me, | 0:54:23 | 0:54:26 | |
because that's the point that it's really...closed that chapter. | 0:54:26 | 0:54:32 | |
I don't think I could ever fully, | 0:54:32 | 0:54:36 | |
FULLY let it go, | 0:54:36 | 0:54:38 | |
even if I kept it in the back of my mind and it was subconscious, | 0:54:38 | 0:54:41 | |
I'd still... Part of me would have just really felt that injustice. | 0:54:41 | 0:54:46 | |
Um, but...now, | 0:54:46 | 0:54:50 | |
there's nothing for me to hold on to, that's it, | 0:54:50 | 0:54:54 | |
it's done a full circle - | 0:54:54 | 0:54:56 | |
what goes around comes around, | 0:54:56 | 0:54:58 | |
it couldn't ever be more relevant. Karma. | 0:54:58 | 0:55:01 | |
She's in a happy place, I think, and she's grown up massively. | 0:55:01 | 0:55:04 | |
And we could be angry, she could be bitter... But she's not, | 0:55:04 | 0:55:08 | |
she's... | 0:55:08 | 0:55:10 | |
She's in a good place. | 0:55:10 | 0:55:12 | |
A really good place. | 0:55:12 | 0:55:13 | |
You! | 0:55:14 | 0:55:16 |