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The British justice system is the envy of the world. | 0:00:02 | 0:00:05 | |
But in the past, mistakes have been made. | 0:00:05 | 0:00:08 | |
Between the year 1900 and the year 1964, | 0:00:08 | 0:00:11 | |
approximately 800 people were hanged in the United Kingdom. | 0:00:11 | 0:00:14 | |
Many of those desperately protested their innocence. | 0:00:16 | 0:00:19 | |
Some of these long-standing convictions could be a | 0:00:19 | 0:00:22 | |
miscarriage of justice. | 0:00:22 | 0:00:24 | |
She's received most of the blows in this position, | 0:00:24 | 0:00:27 | |
once she's already bleeding. | 0:00:27 | 0:00:29 | |
In this series, a living relative will attempt to clear | 0:00:29 | 0:00:31 | |
their family name. | 0:00:31 | 0:00:33 | |
It's the justice. It would be great to prove that they were wrong. | 0:00:33 | 0:00:36 | |
Searching for new evidence... | 0:00:37 | 0:00:39 | |
I can make the 32 fire both calibres. | 0:00:39 | 0:00:42 | |
GUNSHOT | 0:00:42 | 0:00:45 | |
..with help from two of the UK's leading barristers, | 0:00:45 | 0:00:48 | |
one for the defence... | 0:00:48 | 0:00:50 | |
This is a very worrying case. | 0:00:50 | 0:00:52 | |
I think the evidence is very suspect. | 0:00:52 | 0:00:55 | |
..and one for the prosecution. | 0:00:55 | 0:00:57 | |
I'm still of the view that this was a cogent case of murder | 0:00:57 | 0:01:01 | |
committed during the course of a robbery. | 0:01:01 | 0:01:04 | |
They are on a mission to solve the mystery... | 0:01:04 | 0:01:06 | |
..submitting their findings to a Crown Court judge. | 0:01:08 | 0:01:10 | |
There is a real risk that there has been a miscarriage of justice here. | 0:01:10 | 0:01:15 | |
I will look again at the evidence in the light of the arguments that you | 0:01:15 | 0:01:19 | |
both have put before me. | 0:01:19 | 0:01:21 | |
Can this modern investigation... | 0:01:21 | 0:01:23 | |
GUNSHOT | 0:01:23 | 0:01:24 | |
..rewrite history? | 0:01:24 | 0:01:25 | |
Essex, 1922. | 0:01:32 | 0:01:34 | |
Percy Thompson is stabbed only yards from his house. | 0:01:36 | 0:01:39 | |
His wife makes a shocking revelation - | 0:01:40 | 0:01:42 | |
she knows the murderer. | 0:01:42 | 0:01:44 | |
It's her boyfriend, Frederick Bywaters. | 0:01:44 | 0:01:47 | |
Accused of conspiring to murder Percy, | 0:01:51 | 0:01:53 | |
Edith is tried alongside Freddie. | 0:01:53 | 0:01:55 | |
Shocked, Edith proclaims her innocence. | 0:01:57 | 0:02:01 | |
Both are found guilty... | 0:02:01 | 0:02:02 | |
..and hanged. | 0:02:03 | 0:02:05 | |
But should Edith have been executed? | 0:02:05 | 0:02:07 | |
This is a picture of her. | 0:02:13 | 0:02:14 | |
And this is actually her husband, Percy. | 0:02:16 | 0:02:18 | |
And this is Freddie, who she had an affair with. | 0:02:18 | 0:02:21 | |
Now, 95 years later, Edith's relative has discovered | 0:02:22 | 0:02:26 | |
this family secret. | 0:02:26 | 0:02:28 | |
I'm Nicola Toy and my grandfather was Edith's cousin. | 0:02:28 | 0:02:35 | |
He was a very private man. | 0:02:35 | 0:02:37 | |
He hated scandal. | 0:02:37 | 0:02:39 | |
And therefore, he didn't discuss it. | 0:02:39 | 0:02:41 | |
So, no, we didn't know anything about it. | 0:02:41 | 0:02:44 | |
Edith, I think she was a modern woman. | 0:02:44 | 0:02:46 | |
She wasn't the dull housewife. She was a working woman, a career woman. | 0:02:46 | 0:02:53 | |
She was quite special, quite unique, in the 1920s. | 0:02:53 | 0:02:57 | |
And I think that she might well have been innocent. | 0:02:57 | 0:03:00 | |
Edith lived and worked in a rapidly changing post-war London. | 0:03:02 | 0:03:06 | |
It was the Roaring '20s | 0:03:06 | 0:03:08 | |
and she was keen to escape the shackles of Victorian attitudes. | 0:03:08 | 0:03:11 | |
Nicky is making her way across London to meet the barristers who | 0:03:13 | 0:03:16 | |
will be reinvestigating the case. | 0:03:16 | 0:03:18 | |
Proving my cousin Edith is innocent | 0:03:19 | 0:03:22 | |
would be absolutely fantastic. | 0:03:22 | 0:03:25 | |
I'm hoping that the barristers will talk me through the trial | 0:03:25 | 0:03:29 | |
and explain a lot of things that perhaps I don't understand | 0:03:29 | 0:03:33 | |
and really confirm what I feel, that she's not guilty. | 0:03:33 | 0:03:37 | |
I just want to get things right and see if we can find some justice. | 0:03:37 | 0:03:41 | |
Edith protested her innocence, | 0:03:43 | 0:03:45 | |
but the jury were convinced that she had planned her husband's murder. | 0:03:45 | 0:03:49 | |
Can a modern-day legal team uncover the truth? | 0:03:49 | 0:03:52 | |
Sasha Wass QC has over 30 years' experience of the criminal bar | 0:03:53 | 0:03:58 | |
and has prosecuted high-profile cases ranging from money-laundering | 0:03:58 | 0:04:02 | |
to murder. | 0:04:02 | 0:04:03 | |
Defence barrister Jeremy Dein has successfully defended countless | 0:04:04 | 0:04:08 | |
homicide cases since being called to the bar in 1982. | 0:04:08 | 0:04:11 | |
The barristers will be reinvestigating Edith Thompson's | 0:04:13 | 0:04:16 | |
case on Nicky's behalf. | 0:04:16 | 0:04:18 | |
But is she prepared to learn the truth about Edith | 0:04:18 | 0:04:22 | |
and the murder of Percy Thompson? | 0:04:22 | 0:04:24 | |
-Hello, Nicky. -Hello. -Nice to meet you. | 0:04:26 | 0:04:28 | |
-My name's Jeremy. -Hello, I'm Nicky. | 0:04:28 | 0:04:30 | |
-Hi, Nicky. -Hello. -Hello, there, hi. | 0:04:30 | 0:04:32 | |
First of all, what is it that's led you to take an interest | 0:04:33 | 0:04:37 | |
in Edith's case? Tell us, please. | 0:04:37 | 0:04:39 | |
Well, I didn't know about the case. | 0:04:39 | 0:04:42 | |
I didn't know about Edith until recently, but from what I've read, | 0:04:42 | 0:04:46 | |
I don't feel that there was strong enough evidence to convict her. | 0:04:46 | 0:04:50 | |
If the upshot of our enquiry is to suggest that Edith | 0:04:50 | 0:04:54 | |
was wrongly hanged, what would you feel about that? | 0:04:54 | 0:04:58 | |
I already think... | 0:04:58 | 0:04:59 | |
..she was wrongly hanged. | 0:05:00 | 0:05:02 | |
It's obviously something that means a lot to you. | 0:05:02 | 0:05:04 | |
Yes, it does. | 0:05:04 | 0:05:06 | |
It does. Not just because she's my cousin, it's the justice. | 0:05:06 | 0:05:10 | |
And it would be great to prove that they were wrong. | 0:05:10 | 0:05:13 | |
If, at the end of the day, a judge rules that the conviction is safe, | 0:05:13 | 0:05:20 | |
is that something you think you can deal with? | 0:05:20 | 0:05:23 | |
Well, yes, I'll have to. | 0:05:23 | 0:05:25 | |
It would be very sad. | 0:05:25 | 0:05:26 | |
I would rather it the other way. | 0:05:28 | 0:05:29 | |
It was absolutely brilliant meeting the barristers. | 0:05:31 | 0:05:33 | |
I'm really excited about them going back and having a look at the court | 0:05:33 | 0:05:36 | |
case, and whether it was fair or not, | 0:05:36 | 0:05:38 | |
and whether the outcome was just and true. | 0:05:38 | 0:05:41 | |
While Nicky sets out to learn more about her relative... | 0:05:43 | 0:05:45 | |
..Sasha and Jeremy will scrutinise the facts of the case. | 0:05:47 | 0:05:50 | |
Percy Thompson died as a result of blood loss | 0:05:52 | 0:05:54 | |
from multiple stab wounds. | 0:05:54 | 0:05:56 | |
Suspicion fell on his wife... | 0:05:56 | 0:05:58 | |
..the only eyewitness to the incident. | 0:05:59 | 0:06:02 | |
What's interesting about this case | 0:06:02 | 0:06:04 | |
is Edith's reaction to the attack on her husband. | 0:06:04 | 0:06:09 | |
Her first reaction, according to passers-by, was to say, "Oh, my God, | 0:06:10 | 0:06:16 | |
"will you help me? My husband is ill." | 0:06:16 | 0:06:19 | |
Later, she was asked by somebody what had happened to her husband, | 0:06:19 | 0:06:22 | |
and she said, "Don't ask me, I don't know." | 0:06:22 | 0:06:24 | |
"Someone flew past. When I turned to speak to him, | 0:06:24 | 0:06:27 | |
"blood was pouring out of his mouth." | 0:06:27 | 0:06:30 | |
So there's a recognition that there WAS a third person there. | 0:06:30 | 0:06:34 | |
But when the police decided to question her, | 0:06:34 | 0:06:37 | |
she just said that her husband had suddenly dropped down | 0:06:37 | 0:06:40 | |
and she couldn't account for his wounds at all. | 0:06:40 | 0:06:43 | |
So her first reactions were really all over the place. | 0:06:43 | 0:06:48 | |
So I see that, um, really, as a potential sign of guilt. | 0:06:48 | 0:06:53 | |
Edith's story quickly unravelled once Freddie Bywaters, | 0:06:54 | 0:06:57 | |
who was known to be a family friend, was brought in for questioning. | 0:06:57 | 0:07:00 | |
His belongings were searched, revealing a stash of letters | 0:07:02 | 0:07:05 | |
from Edith, and it became clear the pair had been having an affair. | 0:07:05 | 0:07:09 | |
The other matter that formed the backbone of the prosecution case was | 0:07:10 | 0:07:15 | |
the correspondence the police found. | 0:07:15 | 0:07:17 | |
Edith had been talking about poisoning her husband, | 0:07:17 | 0:07:21 | |
about wanting him out of the way. | 0:07:21 | 0:07:23 | |
Really saying things which provided very cogent evidence of her | 0:07:23 | 0:07:28 | |
complicity in what Freddie Bywaters had done, namely, | 0:07:28 | 0:07:32 | |
murdered her husband. | 0:07:32 | 0:07:34 | |
Now, I'm interested in looking further at the way Edith Thompson | 0:07:34 | 0:07:38 | |
was portrayed during the trial. | 0:07:38 | 0:07:41 | |
The judge summarised the case to the jury on the basis that this | 0:07:41 | 0:07:46 | |
was a common or ordinary charge of a wife and an adulterer | 0:07:46 | 0:07:49 | |
murdering the husband. But was that regarded by the jury as the | 0:07:49 | 0:07:53 | |
linchpin for the prosecution case in an improper fashion? | 0:07:53 | 0:07:58 | |
So my first impressions are that Edith Thompson | 0:07:58 | 0:08:03 | |
was wrongly convicted of murder. | 0:08:03 | 0:08:06 | |
So with the barristers immediately at odds regarding Edith's guilt... | 0:08:06 | 0:08:10 | |
..Nicky is retracing her cousin's fateful steps | 0:08:11 | 0:08:14 | |
on the night of the murder to understand the facts of the case. | 0:08:14 | 0:08:18 | |
On October 3rd 1922, the Thompsons had attended the theatre in London | 0:08:19 | 0:08:24 | |
and were walking home when they were ambushed. | 0:08:24 | 0:08:27 | |
They came from Ilford station | 0:08:27 | 0:08:28 | |
and they crossed over onto this side of the road | 0:08:28 | 0:08:31 | |
and we believe that Freddie was hiding in a garden on the corner. | 0:08:31 | 0:08:36 | |
And so they were walking down here together | 0:08:38 | 0:08:40 | |
and Freddie must have attacked them. | 0:08:40 | 0:08:42 | |
Edith went down and Percy and Freddie continued to fight. | 0:08:42 | 0:08:47 | |
For 44 feet, apparently, there was blood all over the pavement. | 0:08:47 | 0:08:51 | |
The case put forward at trial is that Edith and her lover, Freddie, | 0:08:55 | 0:08:59 | |
planned the attack on Percy together | 0:08:59 | 0:09:01 | |
and were jointly responsible for the murder. | 0:09:01 | 0:09:03 | |
Freddie claims, however, that the killing was accidental | 0:09:04 | 0:09:07 | |
and that Edith had nothing to do with it. | 0:09:07 | 0:09:11 | |
If he hadn't had the knife in his pocket, | 0:09:11 | 0:09:13 | |
and we all wonder why that was there, but apparently | 0:09:13 | 0:09:15 | |
seamen do carry knives around with them, and | 0:09:15 | 0:09:18 | |
he was going off to sea the next day. | 0:09:18 | 0:09:19 | |
I don't think he wanted to murder Percy, | 0:09:19 | 0:09:22 | |
I think he wanted to have it out with Percy. | 0:09:22 | 0:09:25 | |
He was desperate for Edith to be free, so, I guess, | 0:09:25 | 0:09:28 | |
when he came back, he could be with her. | 0:09:28 | 0:09:30 | |
The love affair between Edith and Freddie was presented as the motive | 0:09:32 | 0:09:35 | |
for Percy Thompson's murder. | 0:09:35 | 0:09:38 | |
Jeremy and Sasha have opposing views on whether the facts support this. | 0:09:38 | 0:09:42 | |
Freddie Bywaters was nowhere near his home address when, um, | 0:09:43 | 0:09:48 | |
Percy was stabbed. | 0:09:48 | 0:09:50 | |
And the jury might have questioned how it was that he knew that Edith | 0:09:50 | 0:09:55 | |
and Percy were going to be walking along that road, just at that time, | 0:09:55 | 0:09:59 | |
in the early hours of the morning. | 0:09:59 | 0:10:01 | |
Sasha, she told him that she was going to the theatre with | 0:10:01 | 0:10:05 | |
Percy Thompson that night. | 0:10:05 | 0:10:06 | |
The fact that she had imparted that information to Fred Bywaters | 0:10:06 | 0:10:12 | |
does not mean that she had given him the green light to slaughter | 0:10:12 | 0:10:16 | |
her husband. | 0:10:16 | 0:10:17 | |
Jeremy, we have to be realistic about this. | 0:10:17 | 0:10:20 | |
Freddie Bywaters would not have acted | 0:10:20 | 0:10:24 | |
without the consent of his lover, Edith Thompson. | 0:10:24 | 0:10:28 | |
And Edith lied from the moment that murder was committed | 0:10:28 | 0:10:33 | |
and she did so in order to protect his identity. | 0:10:33 | 0:10:37 | |
Remember, it was only when she saw him at the police station that she | 0:10:37 | 0:10:42 | |
came clean and said that he was the killer. | 0:10:42 | 0:10:45 | |
Until that moment, she had hoped he'd have got away with it and she'd | 0:10:45 | 0:10:48 | |
have hoped he'd have got away with it because she had set him up to it. | 0:10:48 | 0:10:52 | |
Having been to the scene of the crime, | 0:10:52 | 0:10:54 | |
Nicky is visiting the home Edith and Percy bought together. | 0:10:54 | 0:10:57 | |
With both their careers flourishing, they were coming up in the world. | 0:10:58 | 0:11:02 | |
But it seems Edith's professional success was not matched by her | 0:11:02 | 0:11:06 | |
personal happiness. | 0:11:06 | 0:11:08 | |
They moved in in 1920. | 0:11:10 | 0:11:12 | |
I think they'd only been married a couple of years. | 0:11:12 | 0:11:14 | |
So they were doing well. | 0:11:14 | 0:11:16 | |
But I think she was very unhappy. | 0:11:16 | 0:11:18 | |
I think she was bored of being with him and... | 0:11:18 | 0:11:22 | |
..it wasn't exciting enough, I don't think, and she wanted more. | 0:11:23 | 0:11:26 | |
Plus, she had this young, um... | 0:11:26 | 0:11:28 | |
..exciting, romantic person that sailed the world | 0:11:29 | 0:11:35 | |
that was very interested in her and there was a lot of passion between them. | 0:11:35 | 0:11:38 | |
And I think that that's what she longed for. | 0:11:38 | 0:11:41 | |
Edith wrote to Freddie of her plans for the future. | 0:11:41 | 0:11:43 | |
But did she really want to divorce Percy? | 0:11:45 | 0:11:47 | |
In reality, if she left her husband, she would have lost everything. | 0:11:53 | 0:11:58 | |
In those days, she wouldn't have got anything. | 0:11:58 | 0:12:00 | |
She would have walked away from all of this. | 0:12:00 | 0:12:02 | |
So, it makes me wonder, was the other option for him not to be here | 0:12:02 | 0:12:06 | |
and maybe if he had died, she might be left with this lovely house. | 0:12:06 | 0:12:10 | |
Police discovered over 80 letters and notes that Edith had written to | 0:12:14 | 0:12:17 | |
Freddie. More than half of these were used at trial. | 0:12:17 | 0:12:21 | |
Sasha has found some shocking evidence in these letters. | 0:12:21 | 0:12:24 | |
What we do know from the letters is that there are repeated references | 0:12:34 | 0:12:41 | |
by Edith to a wish that her husband should be dead. | 0:12:41 | 0:12:48 | |
I mean, for example, she says in one letter: | 0:12:48 | 0:12:51 | |
She's obviously referring to herself. | 0:12:59 | 0:13:02 | |
"How unfair everything is," she says. | 0:13:02 | 0:13:05 | |
That's just a passing comment, isn't it? | 0:13:05 | 0:13:07 | |
Yes, it could be a passing comment if it were once, | 0:13:07 | 0:13:10 | |
but we have repeated references to poisoning him. | 0:13:10 | 0:13:14 | |
She sends cuttings referring to wives killing their husband. | 0:13:14 | 0:13:19 | |
And at one stage she says: | 0:13:19 | 0:13:21 | |
And then she talks about grinding up glass from a light bulb. | 0:13:30 | 0:13:35 | |
Sasha, if I may say so, | 0:13:35 | 0:13:37 | |
you might well be falling into the same trap as the jury. | 0:13:37 | 0:13:42 | |
My feeling is that too much was made of these letters. | 0:13:42 | 0:13:48 | |
Did Fred Bywaters take it upon himself to kill Percy Thompson? | 0:13:48 | 0:13:54 | |
Is that why she said to the police when she saw Fred Bywaters at the | 0:13:54 | 0:13:58 | |
police station, "Oh, God, oh, God, what can I do?" | 0:13:58 | 0:14:03 | |
"Why did he do it? I did not want him to do it. | 0:14:03 | 0:14:06 | |
"I must tell the truth." | 0:14:06 | 0:14:08 | |
I am of the view that even if these letters | 0:14:08 | 0:14:13 | |
are indicative of her thought process, | 0:14:13 | 0:14:15 | |
that is a very different issue to her being complicit in the | 0:14:15 | 0:14:19 | |
vicious stabbing of Percy Thompson on the night in question. | 0:14:19 | 0:14:24 | |
Edith's defence at trial was that these letters were just fantasy. | 0:14:24 | 0:14:28 | |
It's just unfortunate, from her point of view, | 0:14:28 | 0:14:30 | |
that her fantasy involved the demise of her husband | 0:14:30 | 0:14:35 | |
and on the 3rd October, her lover killed her husband, | 0:14:35 | 0:14:41 | |
fulfilling that fantasy. | 0:14:41 | 0:14:43 | |
Edith's letters were crucial to the case. | 0:14:45 | 0:14:48 | |
But do the barristers agree with the 1922 assessment that they were | 0:14:48 | 0:14:52 | |
clear evidence of Edith's guilt? | 0:14:52 | 0:14:54 | |
The letters, which were the bedrock of the prosecution case, in my view, | 0:14:54 | 0:14:58 | |
are ambiguous. | 0:14:58 | 0:15:00 | |
Those letters were a cry for help. | 0:15:01 | 0:15:03 | |
But what she wasn't asking for was for Percy Thompson to be stabbed to | 0:15:03 | 0:15:07 | |
death and that's what Fred Bywaters did. | 0:15:07 | 0:15:09 | |
That's what he said he did. | 0:15:09 | 0:15:11 | |
He said she wasn't involved and I fear that that may well be the | 0:15:11 | 0:15:15 | |
true scenario from the point of view of a miscarriage of justice here. | 0:15:15 | 0:15:18 | |
Well, the letter evidence suggests that Edith Thompson had | 0:15:21 | 0:15:27 | |
fantasies about killing her husband. | 0:15:27 | 0:15:30 | |
She didn't keep those fantasies to herself, | 0:15:30 | 0:15:32 | |
she shared them with the man who eventually killed her husband. | 0:15:32 | 0:15:36 | |
Coupled with that, of course, | 0:15:36 | 0:15:38 | |
we've got the fact that he knew that Edith wanted her husband dead | 0:15:38 | 0:15:43 | |
and Edith did everything possible to try to shield the identity of the | 0:15:43 | 0:15:48 | |
person who had killed her husband in the street, | 0:15:48 | 0:15:50 | |
although she knew full well from the outset that it was her lover. | 0:15:50 | 0:15:55 | |
So I don't see this as a weak case. | 0:15:55 | 0:15:58 | |
It may have been an unfortunate case, it's clearly a tragic case, | 0:15:58 | 0:16:01 | |
three people lost their lives, | 0:16:01 | 0:16:03 | |
but that's not the same as saying it's a miscarriage of justice. | 0:16:03 | 0:16:07 | |
Nicky has come to the National Archives at Kew, | 0:16:15 | 0:16:18 | |
hoping to learn more about Edith. | 0:16:18 | 0:16:20 | |
But she might be surprised by what she reads in newspapers | 0:16:21 | 0:16:24 | |
from the time. | 0:16:24 | 0:16:26 | |
Daily Chronicle, 16th December '22. | 0:16:30 | 0:16:34 | |
"Large numbers of people are visiting Mr Barrington Matthews' | 0:16:34 | 0:16:37 | |
"office to sign the petition for a reprieve. | 0:16:37 | 0:16:40 | |
"Among those who signed the petition | 0:16:40 | 0:16:42 | |
"yesterday was Mr and Mrs Graden, | 0:16:42 | 0:16:44 | |
"the parents of Mrs Thompson and | 0:16:44 | 0:16:46 | |
"her brother and her sister." | 0:16:46 | 0:16:48 | |
What gets me is there's not a petition for their own daughter. | 0:16:49 | 0:16:53 | |
And he's the one that killed Percy and she didn't. | 0:16:53 | 0:16:58 | |
So why is there not a petition for Edith? | 0:16:58 | 0:17:01 | |
I don't understand that. | 0:17:01 | 0:17:03 | |
While there was no public petition for Edith's reprieve, | 0:17:05 | 0:17:08 | |
several of Edith's friends and family members wrote to the press, | 0:17:08 | 0:17:12 | |
to government and to the king and queen, making pleas for mercy. | 0:17:12 | 0:17:16 | |
This is a letter handwritten from... | 0:17:17 | 0:17:20 | |
..Mrs Laxton, who is the sister of Mrs Thompson's mother, | 0:17:22 | 0:17:26 | |
so she is the sister of my great | 0:17:26 | 0:17:31 | |
grandmother. "My husband and I were the aunt and uncle with whom | 0:17:31 | 0:17:35 | |
"Mr and Mrs Thompson spent the evening at the theatre and I assure | 0:17:35 | 0:17:39 | |
"you, gentlemen, that from Mrs Thompson's manner, | 0:17:39 | 0:17:43 | |
"conversation and also arrangements we all made to go to dinners, | 0:17:43 | 0:17:48 | |
"dances and other theatres, | 0:17:48 | 0:17:50 | |
"it was absolutely impossible for Mrs Thompson to have entered into | 0:17:50 | 0:17:56 | |
"any arrangement with Bywaters to commit the crime. | 0:17:56 | 0:18:00 | |
"But, gentlemen, my real plea is on behalf of the parents. | 0:18:00 | 0:18:05 | |
"By hanging the unhappy couple, it is not them who suffer, | 0:18:05 | 0:18:09 | |
"but the family... | 0:18:09 | 0:18:11 | |
"..left behind." | 0:18:14 | 0:18:15 | |
-TEARFUL: -Well, it's the truth, isn't it? | 0:18:19 | 0:18:21 | |
They lost their lives, but, um... | 0:18:23 | 0:18:25 | |
..the punishment's carried with the family... | 0:18:26 | 0:18:29 | |
..and the generations. | 0:18:32 | 0:18:33 | |
It's dreadful. | 0:18:35 | 0:18:36 | |
So they're pleading, pleading with them, to just intern them | 0:18:36 | 0:18:41 | |
and not have them die by hanging. | 0:18:41 | 0:18:44 | |
And how it would affect the family. | 0:18:45 | 0:18:47 | |
-TEARFUL: -God, they must have been so desperate. | 0:18:50 | 0:18:53 | |
The barristers are meeting criminal psychologist Doctor Donna Youngs. | 0:19:01 | 0:19:06 | |
She's been analysing Edith's letters | 0:19:06 | 0:19:08 | |
to try to profile her intentions with regards to Freddie's actions. | 0:19:08 | 0:19:12 | |
Was she trying to incite her lover to murder her husband? | 0:19:14 | 0:19:17 | |
Or was she weaving an elaborate fantasy inspired by | 0:19:18 | 0:19:21 | |
fiction and newspaper stories? | 0:19:21 | 0:19:24 | |
Donna, what I'd like to know from you | 0:19:25 | 0:19:27 | |
is what sort of character was Edith? | 0:19:27 | 0:19:29 | |
She's a very interesting character, er... | 0:19:29 | 0:19:32 | |
..in the fact that there are a lot of quite contrasting personality traits. | 0:19:34 | 0:19:37 | |
-Her thinking is... I'd almost characterise it as childlike. -Mmhm. | 0:19:37 | 0:19:42 | |
This letter, to me, is a clear indication of her general | 0:19:42 | 0:19:46 | |
immaturity of cognition. | 0:19:46 | 0:19:49 | |
"I'm not going to look any further forward and you're not, either." | 0:20:00 | 0:20:03 | |
Being incapable of seeing beyond three months into the future, | 0:20:03 | 0:20:06 | |
that's how a child talks about time. | 0:20:06 | 0:20:09 | |
This is not a mature woman. | 0:20:09 | 0:20:11 | |
Edith faced charges of conspiracy to commit murder | 0:20:11 | 0:20:15 | |
and of soliciting and inciting Frederick Bywaters | 0:20:15 | 0:20:18 | |
to kill her husband. | 0:20:18 | 0:20:20 | |
One of the features of the case was that Edith was an older woman, | 0:20:20 | 0:20:25 | |
using her dominant personality, preying on a young man. | 0:20:25 | 0:20:29 | |
Have you seen anything in the letters which supports | 0:20:29 | 0:20:32 | |
a more dominant relationship on her part? | 0:20:32 | 0:20:34 | |
No, absolutely not. That's an utterly ridiculous characterisation of her. | 0:20:34 | 0:20:39 | |
-Unwittingly, she has encouraged him, clearly. -Yeah. | 0:20:39 | 0:20:43 | |
But, no, I don't think there was any direct intention to... | 0:20:43 | 0:20:48 | |
..move directly towards a murder. | 0:20:49 | 0:20:51 | |
I mean, she wanted to motivate his passion. | 0:20:51 | 0:20:53 | |
In fact, what seems to have been completely ignored is that, | 0:20:53 | 0:20:57 | |
actually, Edith pleas with Freddie against him taking | 0:20:57 | 0:21:02 | |
any kind of direct action. | 0:21:02 | 0:21:04 | |
We see this here in this quote in this letter. | 0:21:05 | 0:21:08 | |
So here she's saying, "Darling, I'll do and say all | 0:21:09 | 0:21:13 | |
"and everything you tell me to about friend. | 0:21:13 | 0:21:16 | |
"Only remember not to do anything that will leave me behind, | 0:21:16 | 0:21:19 | |
"by myself." | 0:21:19 | 0:21:22 | |
She's pleading with him not to do anything. | 0:21:22 | 0:21:24 | |
The thing is, Donna, clearly, she has had fantasies, | 0:21:24 | 0:21:28 | |
and it goes right through these letters, of killing her husband. | 0:21:28 | 0:21:32 | |
In the criminal sphere we look at all sorts of threat letters, | 0:21:32 | 0:21:35 | |
terrorist propaganda, | 0:21:35 | 0:21:37 | |
to see if we can identify which threats are really likely to be carried out, | 0:21:37 | 0:21:40 | |
anything that shows a genuine commitment, | 0:21:40 | 0:21:43 | |
and there's nothing here which is consistent with a genuine commitment. | 0:21:43 | 0:21:46 | |
-To what? -To killing her husband. -Right. That's very, very clear. | 0:21:46 | 0:21:50 | |
-BOTH: -Thank you very much indeed. | 0:21:50 | 0:21:52 | |
Having learned that there was little public sympathy for Edith, | 0:21:57 | 0:22:00 | |
Nicky wants to understand what life was like for women in the 1920s. | 0:22:00 | 0:22:05 | |
She's come to Redbridge town hall in Ilford | 0:22:07 | 0:22:09 | |
to meet historian Professor Lucy Bland. | 0:22:09 | 0:22:11 | |
Edith Thompson, she was a fascinating woman. | 0:22:15 | 0:22:17 | |
I mean, she left school at 15. | 0:22:17 | 0:22:19 | |
She worked for a milliners. | 0:22:19 | 0:22:21 | |
She was a buyer, she was a book-keeper | 0:22:21 | 0:22:24 | |
and she became a manageress. | 0:22:24 | 0:22:26 | |
She taught herself French. | 0:22:26 | 0:22:28 | |
-I didn't know that. -She went to Paris. | 0:22:28 | 0:22:30 | |
Yes, she went to Paris to buy things and could speak pretty good French. | 0:22:30 | 0:22:33 | |
She was very vivacious, she loved dancing. | 0:22:33 | 0:22:36 | |
A girl after my own heart! | 0:22:36 | 0:22:37 | |
We're in this room here because this was one of the dance halls | 0:22:37 | 0:22:40 | |
-she'd come to. -Ah, OK. | 0:22:40 | 0:22:42 | |
As a fashionable young woman, | 0:22:44 | 0:22:46 | |
Edith embraced the changing look of the 1920s | 0:22:46 | 0:22:50 | |
and adopted the new flapper style. | 0:22:50 | 0:22:52 | |
The flapper is thought of as a young woman who's very much into things | 0:22:53 | 0:22:59 | |
precisely that Edith's into. | 0:22:59 | 0:23:02 | |
Dancing, having a good time, smoking, drinking. | 0:23:02 | 0:23:06 | |
-Being kind of wild. -A bit flirtatious? -A bit flirtatious. | 0:23:06 | 0:23:10 | |
And the clothes - fashion changed. Much shorter skirts... | 0:23:10 | 0:23:13 | |
-Bit more revealing. -..shorter hair. She had a bob, which was, you know, | 0:23:13 | 0:23:17 | |
she's one of the first, in the early '20s, women started to do this. | 0:23:17 | 0:23:20 | |
-She was a bit of a trend setter, then? -She was. | 0:23:20 | 0:23:22 | |
Edith worked throughout the war and, unusually, | 0:23:26 | 0:23:29 | |
continued to be known by her maiden name, Graden, | 0:23:29 | 0:23:31 | |
by her colleagues and employers at Carlton And Prior. | 0:23:31 | 0:23:35 | |
Huge numbers of men have died in the war, but there is actually | 0:23:35 | 0:23:38 | |
very high unemployment and so there was a kind of disapproval about a | 0:23:38 | 0:23:42 | |
married woman still holding on to a job. She should be back in the home, | 0:23:42 | 0:23:46 | |
looking after her husband, having children. | 0:23:46 | 0:23:48 | |
-So she was seen as behaving inappropriately... -Right. | 0:23:48 | 0:23:51 | |
..and that she'd got this rather fast way of living. | 0:23:51 | 0:23:53 | |
Reports in the press were initially supportive of Edith, | 0:23:54 | 0:23:58 | |
who was described as glamorous and fashionable. | 0:23:58 | 0:24:01 | |
But once the contents of her letters to Freddie were released, | 0:24:01 | 0:24:04 | |
the tide of public opinion soon turned against her. | 0:24:04 | 0:24:08 | |
Was she supported in any way by the public? | 0:24:08 | 0:24:11 | |
There was no petition for her, | 0:24:11 | 0:24:13 | |
but The Daily Sketch, a very widely read paper at the time, | 0:24:13 | 0:24:16 | |
they got a petition going for his reprieve, not hers. | 0:24:16 | 0:24:21 | |
-Oh, really? -They got over 1 million signatures, | 0:24:21 | 0:24:24 | |
which was the biggest petition that anyone had ever got for someone who | 0:24:24 | 0:24:28 | |
was convicted of murder. | 0:24:28 | 0:24:30 | |
This older woman led him astray, she had incited jealousy. | 0:24:30 | 0:24:34 | |
He was blameless. | 0:24:34 | 0:24:36 | |
But she was in a no-win situation, really, wasn't she... | 0:24:36 | 0:24:38 | |
-She was. -..right from the beginning. | 0:24:38 | 0:24:40 | |
Edith's lifestyle was frowned upon by many, including the judge, | 0:24:40 | 0:24:45 | |
which may have influenced the verdict. | 0:24:45 | 0:24:48 | |
Some people still living in the Victorian era of the woman must be | 0:24:48 | 0:24:52 | |
at home, she must be a housewife, | 0:24:52 | 0:24:55 | |
she must have children. | 0:24:55 | 0:24:57 | |
This is not what Edith was doing at all. | 0:24:57 | 0:24:59 | |
She was out having fun, she had a great career | 0:24:59 | 0:25:02 | |
and earning good money. | 0:25:02 | 0:25:04 | |
She was moving forward | 0:25:05 | 0:25:07 | |
and I think that that actually went against her in the court. | 0:25:07 | 0:25:11 | |
It was really quite sad, really. | 0:25:11 | 0:25:14 | |
Edith also faced charges of attempted murder by administering | 0:25:17 | 0:25:21 | |
poison and broken glass to Percy through his food. | 0:25:21 | 0:25:24 | |
The barristers call on consultant pathologist Doctor Stuart Hamilton | 0:25:25 | 0:25:29 | |
to investigate these allegations. | 0:25:29 | 0:25:32 | |
There are several references in Edith's letters to putting | 0:25:32 | 0:25:36 | |
ground glass in her husband's food. | 0:25:36 | 0:25:40 | |
If that had actually been done, what would a pathologist be looking for | 0:25:40 | 0:25:44 | |
and what might he expect to find? | 0:25:44 | 0:25:47 | |
So, the two things that you can have with ground glass | 0:25:47 | 0:25:50 | |
is if it's ground up to a very fine powder, it has no sharp edges, | 0:25:50 | 0:25:54 | |
it will pass through the system, | 0:25:54 | 0:25:56 | |
doing absolutely nothing to you on the way past. | 0:25:56 | 0:25:59 | |
-Right. -If you have larger pieces of glass, | 0:25:59 | 0:26:02 | |
something that I would describe more like a shard of glass, | 0:26:02 | 0:26:05 | |
you'll notice it, it'll cut your mouth. | 0:26:05 | 0:26:07 | |
So on the one hand, it's totally ineffective, | 0:26:07 | 0:26:10 | |
on the other hand, it would be patently obvious. | 0:26:10 | 0:26:13 | |
She's mentioned belladonna, quinine. Would they actually, | 0:26:13 | 0:26:17 | |
or are they capable of, causing someone's death in the correct dose? | 0:26:17 | 0:26:21 | |
So, belladonna, it's got alkaloids in it, | 0:26:21 | 0:26:23 | |
that simply break down the system, stop your body working effectively. | 0:26:23 | 0:26:28 | |
It is still recognised as a deadly poison. | 0:26:28 | 0:26:30 | |
Quinine, because it's so bitter, | 0:26:30 | 0:26:33 | |
it would be very difficult to get large amounts into somebody without | 0:26:33 | 0:26:37 | |
them being aware of that. | 0:26:37 | 0:26:39 | |
The methods that she's talking about are the sort of things that anyone | 0:26:39 | 0:26:43 | |
who was relatively well-read at that time would know about from novels. | 0:26:43 | 0:26:48 | |
They're childish ideas. | 0:26:48 | 0:26:50 | |
Percy was stabbed 11 times, including the wound | 0:26:51 | 0:26:54 | |
to the side of his neck, which proved fatal. | 0:26:54 | 0:26:57 | |
The cause of death was obvious to the coroner - | 0:26:59 | 0:27:01 | |
heart failure due to blood loss. | 0:27:01 | 0:27:03 | |
Edith's letters, however, | 0:27:04 | 0:27:06 | |
raised the question of whether Edith had ever attempted to poison her | 0:27:06 | 0:27:09 | |
husband. There was only one thing to do - | 0:27:09 | 0:27:13 | |
dig up the body. | 0:27:13 | 0:27:14 | |
Is there any evidence that she had administered to Percy | 0:27:14 | 0:27:18 | |
any of the substances she discussed in her letters? | 0:27:18 | 0:27:21 | |
There is no evidence from either the initial postmortem examination, | 0:27:21 | 0:27:25 | |
or the examination after the exhumation, | 0:27:25 | 0:27:27 | |
that these things actually happened anywhere other than in Edith's own mind. | 0:27:27 | 0:27:31 | |
The experts have told Jeremy and Sasha that Edith's letters | 0:27:32 | 0:27:35 | |
were pure fantasy and that there is no evidence that Edith | 0:27:35 | 0:27:39 | |
carried out her plans to injure or harm her husband. | 0:27:39 | 0:27:43 | |
But will this provide them with enough new evidence to put a case | 0:27:43 | 0:27:46 | |
-before Judge Radford? -Having spoken to Stuart | 0:27:46 | 0:27:50 | |
and considered the postmortem evidence, | 0:27:50 | 0:27:52 | |
there is no support for the fact that Percy's body contained poison | 0:27:52 | 0:27:57 | |
or ground glass. | 0:27:57 | 0:27:59 | |
But absence of evidence is not evidence of absence. | 0:27:59 | 0:28:03 | |
It doesn't mean it didn't happen. | 0:28:03 | 0:28:06 | |
Donna's analysis was that the letters may have | 0:28:06 | 0:28:10 | |
unwittingly encouraged Fred to kill Percy. | 0:28:10 | 0:28:14 | |
My view is that the jury had the option of coming to the | 0:28:14 | 0:28:19 | |
conclusion that they were deliberately encouraging... | 0:28:19 | 0:28:22 | |
..Fred and that must have been the conclusion they drew. | 0:28:24 | 0:28:28 | |
If Donna's analysis suggests that Edith was unwittingly persuading | 0:28:29 | 0:28:35 | |
Fred to kill Percy, then Edith remains not guilty of murder, | 0:28:35 | 0:28:38 | |
because a fundamental prerequisite for proof of murder is intention. | 0:28:38 | 0:28:43 | |
So even if she was doing it unwittingly... | 0:28:43 | 0:28:45 | |
..she had an innocent state of mind. | 0:28:46 | 0:28:48 | |
While the barristers evaluate their findings so far, | 0:28:51 | 0:28:54 | |
Nicky is reflecting on the human tragedy of this case. | 0:28:54 | 0:28:57 | |
An innocent man, Percy Thompson, was murdered, | 0:28:59 | 0:29:02 | |
and two people died as a result. | 0:29:02 | 0:29:04 | |
This photo speaks loads to me. | 0:29:07 | 0:29:10 | |
You know, the body language of the two men | 0:29:10 | 0:29:14 | |
and she's stuck in the middle, | 0:29:14 | 0:29:15 | |
living in this fantasy world of this young romantic man that gave her | 0:29:15 | 0:29:19 | |
everything exciting that she read in these novels | 0:29:19 | 0:29:22 | |
and yet she went home to this rather dull life. | 0:29:22 | 0:29:24 | |
You can see she's desperately thinking, "What am I doing? | 0:29:26 | 0:29:30 | |
"Where am I going? Where's this going to lead to? | 0:29:30 | 0:29:33 | |
"How am I going to deal with this?" | 0:29:33 | 0:29:34 | |
And I'm not saying she's thinking about killing her husband. | 0:29:35 | 0:29:38 | |
I don't think that's what she wanted to do. | 0:29:39 | 0:29:41 | |
She just didn't know. | 0:29:41 | 0:29:43 | |
She was stuck between these two men. | 0:29:43 | 0:29:45 | |
And ultimately, through Freddie's mistake one evening, | 0:29:47 | 0:29:54 | |
they ultimately all lost their lives. | 0:29:54 | 0:29:56 | |
-TEARFUL: -And I find that extremely sad. | 0:29:57 | 0:29:59 | |
I think that's a really strong image. | 0:30:01 | 0:30:04 | |
Nicky has returned to meet the barristers | 0:30:15 | 0:30:17 | |
so they can update her on the progress of their investigation. | 0:30:17 | 0:30:21 | |
Will what they have discovered so far be enough to convince a judge | 0:30:21 | 0:30:24 | |
that Edith's conviction was unsafe? | 0:30:24 | 0:30:27 | |
So, with the assistance of a criminal psychologist, | 0:30:28 | 0:30:31 | |
we've looked long and hard at the letters and Doctor Youngs is | 0:30:31 | 0:30:35 | |
of the view that they're far more consistent with | 0:30:35 | 0:30:38 | |
Edith expressing her innermost thoughts | 0:30:38 | 0:30:42 | |
than this being the framework of a criminal plot. | 0:30:42 | 0:30:46 | |
The other aspect of the case is the pathologist confirmed that there is | 0:30:46 | 0:30:52 | |
no evidence in this case of any attempt to poison Percy Thompson. | 0:30:52 | 0:30:57 | |
Unfortunately, that's not the kind of angle that we're going to succeed | 0:30:57 | 0:31:01 | |
-on all these years later. -No. | 0:31:01 | 0:31:03 | |
Judge Sherman, he had the final address to the jury... | 0:31:03 | 0:31:09 | |
..and it was very negative. | 0:31:10 | 0:31:12 | |
And I just wondered if this is normal practice, to be so personal? | 0:31:12 | 0:31:16 | |
Well, Jeremy and I are about to conduct an exercise to see whether | 0:31:16 | 0:31:20 | |
-the judge did cross the line in that case. -Oh, right, good. | 0:31:20 | 0:31:22 | |
Again, however, the judge's summing up was open to complaint | 0:31:22 | 0:31:26 | |
-at the appeal. -Yes. | 0:31:26 | 0:31:28 | |
So, in order for me, at least, | 0:31:28 | 0:31:31 | |
to be able to progress things now, I need to find something significant | 0:31:31 | 0:31:35 | |
that wasn't complained about at the time. | 0:31:35 | 0:31:38 | |
And that is something that's of interest? | 0:31:38 | 0:31:41 | |
Yes, absolutely, without any shadow of a doubt, it's of great interest. | 0:31:41 | 0:31:44 | |
-Great, OK. -Yes. | 0:31:44 | 0:31:46 | |
I think it's really good that modern-day barristers | 0:31:46 | 0:31:49 | |
are looking at this. | 0:31:49 | 0:31:50 | |
And I'm really hoping that there's a legal outcome that's much better | 0:31:50 | 0:31:54 | |
than what actually happened in real life. | 0:31:54 | 0:31:56 | |
They need to find something new and that's the worry. | 0:31:56 | 0:31:59 | |
That's what I'm really concerned about. | 0:31:59 | 0:32:01 | |
Edith was found guilty of murder and sentenced to death. | 0:32:02 | 0:32:06 | |
Her subsequent appeal was dismissed and calls for mercy were rejected. | 0:32:06 | 0:32:11 | |
She was hanged at 9am on 9th January 1923. | 0:32:11 | 0:32:15 | |
As was the rule, her body was buried within the walls of Holloway Prison. | 0:32:17 | 0:32:21 | |
In 1971, however, Edith's remains were reburied | 0:32:23 | 0:32:26 | |
at Brookwood Cemetery in Surrey, | 0:32:26 | 0:32:29 | |
along with those of three other women who'd been executed. | 0:32:29 | 0:32:32 | |
-TEARFUL: -So, here you are, Edith. | 0:32:36 | 0:32:38 | |
It's been a journey, I have to say. | 0:32:39 | 0:32:42 | |
And I feel like I know you now. | 0:32:44 | 0:32:47 | |
Certainly much more than I did a few weeks ago. | 0:32:47 | 0:32:49 | |
I'm really finding it quite moving that my cousin is here | 0:32:51 | 0:32:57 | |
and, strangely enough, only eight miles away from where I grew up. | 0:32:57 | 0:33:02 | |
And she was right here the whole time and I never knew. | 0:33:02 | 0:33:05 | |
Edith Jessie Thompson, | 0:33:05 | 0:33:09 | |
25th December 1893... | 0:33:09 | 0:33:14 | |
..to 9th January 1923. | 0:33:15 | 0:33:18 | |
So you were just 29 when you died. | 0:33:20 | 0:33:24 | |
It's so sad. | 0:33:27 | 0:33:29 | |
So sad that she never had a life. | 0:33:29 | 0:33:31 | |
It was taken away from her by a jury. | 0:33:33 | 0:33:35 | |
I wish you'd had a longer life. | 0:33:42 | 0:33:44 | |
I wish I'd known you, Edith. | 0:33:45 | 0:33:47 | |
With judgement day looming, Jeremy and Sasha are struggling to identify | 0:34:07 | 0:34:11 | |
new information that could be put before Judge Radford. | 0:34:11 | 0:34:15 | |
They're examining the manner in which the original trial judge | 0:34:15 | 0:34:18 | |
summed up the case to the jury in 1922. | 0:34:18 | 0:34:22 | |
The summing up was harsh. | 0:34:22 | 0:34:24 | |
It was judgmental. | 0:34:24 | 0:34:26 | |
I can see that the jury might have been influenced by it. | 0:34:26 | 0:34:29 | |
I mean, the judge, although he was rather impolite about Edith, | 0:34:29 | 0:34:34 | |
he did make it plain in the summing up | 0:34:34 | 0:34:37 | |
that facts were a matter for the jury. | 0:34:37 | 0:34:40 | |
He is effectively dehumanising the defendants. | 0:34:40 | 0:34:43 | |
They've both been stripped of their dignity by him long before they were | 0:34:43 | 0:34:48 | |
taken to the gallows. | 0:34:48 | 0:34:50 | |
Edith's defence barrister, Sir Henry Curtis-Bennett KC, | 0:34:51 | 0:34:55 | |
was bitterly disappointed by his failure to have his client acquitted, | 0:34:55 | 0:34:59 | |
saying that she paid the extreme penalty for her immorality. | 0:34:59 | 0:35:03 | |
Will Jeremy be similarly forced to admit failure with regard to | 0:35:03 | 0:35:07 | |
Edith Thompson's case? | 0:35:07 | 0:35:09 | |
The day of judgment has arrived. | 0:35:12 | 0:35:14 | |
Today, Jeremy and Sasha will have the opportunity to make submissions | 0:35:16 | 0:35:20 | |
before his Honour, Judge David Radford. | 0:35:20 | 0:35:22 | |
But have they found enough new information to convince him that the | 0:35:24 | 0:35:28 | |
original verdict was not safe? | 0:35:28 | 0:35:31 | |
Last time Jeremy and I met Nicky, we told her we were going to go away | 0:35:31 | 0:35:36 | |
and really study the summing up in considerable detail. | 0:35:36 | 0:35:39 | |
We have done that. | 0:35:39 | 0:35:41 | |
There's plenty to say about the quality of that summing up | 0:35:41 | 0:35:44 | |
and I'm hoping that Judge Radford will feel that there is real force | 0:35:44 | 0:35:49 | |
in the submissions I have to make. | 0:35:49 | 0:35:51 | |
I'm really feeling rather nervous. | 0:35:52 | 0:35:55 | |
Obviously, I want the outcome to be positive for the family | 0:35:55 | 0:35:59 | |
and positive for Edith. | 0:35:59 | 0:36:01 | |
I'm just hoping that Jeremy's found enough evidence to support the | 0:36:01 | 0:36:06 | |
fact that she's innocent, which is what I believe. | 0:36:06 | 0:36:09 | |
Based on Jeremy and Sasha's legal arguments, | 0:36:11 | 0:36:14 | |
and his own reading of the case, | 0:36:14 | 0:36:16 | |
Judge Radford will recommend if the original verdict in this case was | 0:36:16 | 0:36:20 | |
safe or not. | 0:36:20 | 0:36:22 | |
I'm here today to consider the safety of the conviction of | 0:36:22 | 0:36:28 | |
Mrs Edith Thompson, | 0:36:28 | 0:36:30 | |
in December 1922, of the murder of her husband. | 0:36:30 | 0:36:35 | |
Well, Mr Dein, perhaps you would like to start. | 0:36:35 | 0:36:38 | |
What I have to say has to be seen in the context of a highly | 0:36:38 | 0:36:42 | |
circumstantial case. | 0:36:42 | 0:36:44 | |
Edith Thompson did not stab Percy Thompson. | 0:36:44 | 0:36:49 | |
She was a secondary party, according to the prosecution. | 0:36:49 | 0:36:52 | |
The incident took place in a highly emotive context | 0:36:54 | 0:36:59 | |
and it was incumbent upon the judge, even in 1922, | 0:36:59 | 0:37:04 | |
to deliver the fairest and clearest possible summing up. | 0:37:04 | 0:37:08 | |
In fact, he did the reverse. | 0:37:08 | 0:37:11 | |
The tone is set when the learned judge speaks | 0:37:11 | 0:37:14 | |
of the woman in the dock as... | 0:37:14 | 0:37:16 | |
Is there anything prejudicial in making clear he was referring to the | 0:37:16 | 0:37:20 | |
female defendant, as opposed to the male? | 0:37:20 | 0:37:23 | |
Well, only to say that when one reads the summing up as a whole... | 0:37:23 | 0:37:27 | |
..there are numerous occasions where I would submit that Edith Thompson | 0:37:29 | 0:37:33 | |
is effectively dehumanised by the judge in the way comment | 0:37:33 | 0:37:38 | |
is made about her. An example of this is where the judge introduces | 0:37:38 | 0:37:42 | |
the case by saying, quote, | 0:37:42 | 0:37:45 | |
"This is an ordinary case of a wife and an adulterer | 0:37:45 | 0:37:49 | |
"murdering her husband." | 0:37:49 | 0:37:52 | |
And at one stage, he even invites the jury to put aside the evidence | 0:37:52 | 0:37:56 | |
of the man and the woman because you may think the whole of it is made up. | 0:37:56 | 0:38:02 | |
He concludes by saying to the jury, | 0:38:02 | 0:38:05 | |
"If you find the man guilty of murder, | 0:38:05 | 0:38:08 | |
"you have to go on to consider the woman." | 0:38:08 | 0:38:11 | |
And it's my submission that it's not surprising that these two defendants | 0:38:11 | 0:38:15 | |
were hanged not long after the conclusion of the summing up, | 0:38:15 | 0:38:19 | |
in the light of the approach the judge took. | 0:38:19 | 0:38:23 | |
And if Edith Thompson was not fairly tried, | 0:38:23 | 0:38:27 | |
then the risk of miscarriage of justice, of course, follows, | 0:38:27 | 0:38:31 | |
and in those circumstances, I invite your Honour to order that the case | 0:38:31 | 0:38:36 | |
be reopened. | 0:38:36 | 0:38:38 | |
Thank you, Mr Dein. Ms Wass? | 0:38:39 | 0:38:42 | |
Sasha's role is to evaluate the case and any new evidence from | 0:38:42 | 0:38:46 | |
the point of view of the prosecution. | 0:38:46 | 0:38:48 | |
But will she agree with Jeremy that the judge's summing up prejudiced | 0:38:48 | 0:38:52 | |
Edith's verdict? | 0:38:52 | 0:38:54 | |
I have considered, with care, | 0:38:54 | 0:38:57 | |
the adequacy of the summing up of Mr Justice Sherman | 0:38:57 | 0:39:02 | |
and judged it by the standards of today. | 0:39:02 | 0:39:06 | |
And I say straightaway, the summing up was so defective, | 0:39:06 | 0:39:11 | |
-that it meant the defendants did not have a fair trial. -Yes. | 0:39:11 | 0:39:16 | |
And for that reason, I'm not going to be resisting Mr Dein's | 0:39:17 | 0:39:21 | |
-application to you. -Well, thank you, Ms Wass. | 0:39:21 | 0:39:25 | |
Well, I'll take time to consider the submissions made and to look, | 0:39:25 | 0:39:32 | |
once again, at the summing up. | 0:39:32 | 0:39:33 | |
Jeremy and Sasha are in agreement on this case. | 0:39:35 | 0:39:39 | |
But will the judge concur? | 0:39:39 | 0:39:40 | |
For Nicky, this could be the justice she has sought for Edith. | 0:39:41 | 0:39:46 | |
Or it could be the end of her journey. | 0:39:46 | 0:39:49 | |
We did say to you that, you know, we would go back to the summing up | 0:39:49 | 0:39:53 | |
and we looked at it separately and together | 0:39:53 | 0:39:56 | |
and, as criminal lawyers, | 0:39:56 | 0:39:57 | |
I think we both found the summing up to be highly unacceptable. | 0:39:57 | 0:40:01 | |
I think we need to stress that the decision is the judge's. | 0:40:01 | 0:40:04 | |
I know, but it's looking so much better than I thought it would, | 0:40:04 | 0:40:07 | |
-which is brilliant. -He challenges everything and everyone, | 0:40:07 | 0:40:11 | |
which is exactly the right way to be. | 0:40:11 | 0:40:14 | |
But he's not simply going to agree with us just because we agree with | 0:40:14 | 0:40:18 | |
each other in this instance. | 0:40:18 | 0:40:20 | |
-We'll know soon enough. -Yes. | 0:40:20 | 0:40:22 | |
-That's great. Thank you so much, both of you. -Not a problem. | 0:40:22 | 0:40:25 | |
If Edith never attempted to poison her husband, | 0:40:26 | 0:40:29 | |
and her letters were pure fantasy, | 0:40:29 | 0:40:31 | |
should she have been found guilty of murder? | 0:40:31 | 0:40:34 | |
Were the jury unduly influenced by the judge's opinion | 0:40:34 | 0:40:37 | |
of Edith's morals? | 0:40:37 | 0:40:40 | |
The judge is ready to give his final verdict. | 0:40:40 | 0:40:43 | |
Whatever may be the apparent strength of the prosecution case | 0:40:47 | 0:40:52 | |
against an accused person, | 0:40:52 | 0:40:54 | |
every defendant is entitled to a fair and just trial. | 0:40:54 | 0:40:59 | |
That was as true in December 1922 as it is today. | 0:40:59 | 0:41:05 | |
With great respect to the distinguished trial judge in this case, | 0:41:05 | 0:41:10 | |
I have concluded for myself, with regret, | 0:41:10 | 0:41:13 | |
that the summing up in this trial failed, fundamentally, | 0:41:13 | 0:41:18 | |
to direct the jury properly as to key legal matters. | 0:41:18 | 0:41:23 | |
It was, as a whole, fundamentally lacking in balance and fairness. | 0:41:23 | 0:41:29 | |
My task today is not, I make clear, | 0:41:29 | 0:41:33 | |
to pass judgment on whether either Mr Bywater and/or Mrs Thompson | 0:41:33 | 0:41:38 | |
were innocent, but to express my judgment | 0:41:38 | 0:41:42 | |
as to whether Mrs Thompson, her conviction is a safe one. | 0:41:42 | 0:41:47 | |
I find that, clearly, there are grounds for coming to the | 0:41:47 | 0:41:52 | |
final decision... | 0:41:52 | 0:41:53 | |
..that the conviction of Mrs Thompson was | 0:41:54 | 0:41:58 | |
unsafe and, indeed, unsatisfactory. | 0:41:58 | 0:42:01 | |
And that is my view of this case. | 0:42:01 | 0:42:04 | |
That's such good news. | 0:42:10 | 0:42:12 | |
Well done. | 0:42:12 | 0:42:14 | |
I was extremely pleased, particularly for Nicky, | 0:42:14 | 0:42:16 | |
but I was pleased because I felt justice had been done. | 0:42:16 | 0:42:19 | |
From the time I looked at the Edith Thompson papers, I never felt happy | 0:42:19 | 0:42:25 | |
with the conviction. | 0:42:25 | 0:42:27 | |
I couldn't really work out why, | 0:42:27 | 0:42:30 | |
and it was only when I saw the summing up and really pulled it apart | 0:42:30 | 0:42:33 | |
and analysed all the defects, | 0:42:33 | 0:42:35 | |
that I realised why I had that instinctive discomfort. | 0:42:35 | 0:42:40 | |
Obviously, I think we both agree the judge has made the right decision. | 0:42:40 | 0:42:43 | |
Absolutely. Absolutely. | 0:42:43 | 0:42:46 | |
Fantastic. So, finally, some justice. | 0:42:46 | 0:42:49 | |
To get where we are now, it's been quite incredible, really. | 0:42:49 | 0:42:52 | |
And a real adventure, but also really emotional. | 0:42:52 | 0:42:57 | |
And to find that the verdict was incorrect, | 0:42:57 | 0:43:00 | |
or not as it should have been, it's absolutely brilliant. | 0:43:00 | 0:43:03 | |
I'm really, really thrilled. | 0:43:03 | 0:43:05 |