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Speaker 1: Pushkin. A woman lies motionless. A passer by mistakes her

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Speaker 1: for a vagrant people often curl up in the hallways

3
00:00:31,636 --> 00:00:36,316
Speaker 1: of this building at night. He ignores her. Another two

4
00:00:36,316 --> 00:00:41,036
Speaker 1: hours passed before anyone realizes that the sleeping figure is

5
00:00:41,076 --> 00:00:45,596
Speaker 1: in fact dead, and not dead from illness or mishap.

6
00:00:46,276 --> 00:00:51,116
Speaker 1: She's been stabbed multiple times. Her clothing has also been

7
00:00:51,156 --> 00:00:55,796
Speaker 1: pushed up, exposing the lower half of her body. Local

8
00:00:55,876 --> 00:00:59,196
Speaker 1: residents claim they saw and heard nothing of her murder

9
00:00:59,196 --> 00:01:02,836
Speaker 1: in the night, but perhaps they simply heard nothing out

10
00:01:02,876 --> 00:01:07,476
Speaker 1: of the ordinary. After all, the neighborhood of Whitechapel, this

11
00:01:07,596 --> 00:01:10,956
Speaker 1: patch of London's yeast end, has a reputation as a

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Speaker 1: sink of misery and vice, a place feared and reviled

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Speaker 1: by many richer Londoners, a byeword for all that is

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Speaker 1: wrong with modern society. It is no stranger to violence

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Speaker 1: and murder, and soon it will become synonymous with the

16
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Speaker 1: deeds of a serial killer. I'm Hallie Reubin. Hold you're

17
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Speaker 1: listening to Bad Women. The Ripper retold, a series about

18
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Speaker 1: the real lives of the women killed by Jack the

19
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Speaker 1: Ripper and how we got their stories so wrong. One side,

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Speaker 1: money plenty and friends too by the scar Then for June,

21
00:02:03,796 --> 00:02:17,876
Speaker 1: smilder upon me hanaw One as my dolone. I'm not

22
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Speaker 1: twelve half seems to love me. I'm conflac. In order

23
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Speaker 1: to tell you these victims stories, I first need to

24
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Speaker 1: acquaint you with the spaces where they spent their final months,

25
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Speaker 1: days and hours in London's East End. Listen, this is

26
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Speaker 1: the sound of eighteen eighty eight. It's a piece of

27
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Speaker 1: music called the Lost Chord, recorded in the summer of

28
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Speaker 1: that year on a phonograph, a marvelous new invention of

29
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Speaker 1: the era. We are in London and the date is

30
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Speaker 1: August sixth. This is the capital of one of the richest,

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Speaker 1: most technologically advanced superpowers on the face of the Earth.

32
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Speaker 1: It's also at the center of the largest empire in history,

33
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Speaker 1: with colonies, conquests, and dominions spanning a quarter of the globe,

34
00:03:31,676 --> 00:03:36,876
Speaker 1: from Canada to the Cape Egypt to Australia. Queen Victoria

35
00:03:36,916 --> 00:03:39,836
Speaker 1: has been sitting on the throne for more than fifty years,

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Speaker 1: reigning over this center of art, literature, commerce and science.

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Speaker 1: She has recently celebrated her golden jubilee with a series

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Speaker 1: of lavish balls magnificent festivals, dinners, regattas, races and parades

39
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Speaker 1: designed to display the extraordinary wealth of the nation. But

40
00:03:58,916 --> 00:04:03,956
Speaker 1: for all the splendor, there remains squalor out in town,

41
00:04:04,236 --> 00:04:12,916
Speaker 1: and pits and pockets of absolute destitution. Like here, I've

42
00:04:12,916 --> 00:04:17,476
Speaker 1: brought you to the heart of Whitechapel. This is Jack

43
00:04:17,516 --> 00:04:23,796
Speaker 1: the Rippers, London. A sailor from the busy docks nearby

44
00:04:23,916 --> 00:04:28,356
Speaker 1: has wandered, or perhaps been lured into the dense maze

45
00:04:28,396 --> 00:04:32,996
Speaker 1: of alleyways and dark courtyards. Get you, he'll be beaten

46
00:04:33,396 --> 00:04:37,516
Speaker 1: and left for dead. Whitechapel is one of the most

47
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Speaker 1: densely populated parts of the city. Dozens of people will

48
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Speaker 1: have heard the sailor's cries for help, but no one

49
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Speaker 1: lifts a finger. Well, why ain't deaf? But there ain't

50
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Speaker 1: a night passes, There ain't a fight in a passage

51
00:04:51,796 --> 00:04:54,636
Speaker 1: or a drunken row. But why should I in sophere?

52
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Speaker 1: So I ain't no business of mine. Let's walk along

53
00:05:01,916 --> 00:05:05,916
Speaker 1: this street. It's called George Yard. It's not the sort

54
00:05:05,916 --> 00:05:09,796
Speaker 1: of place for the unwary to wander. Even the local

55
00:05:09,836 --> 00:05:13,236
Speaker 1: police agree. They consider Georgeyard to be one of the

56
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Speaker 1: most dangerous streets in the locality. It is said that

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Speaker 1: police constables dare not even enter the buildings around us.

58
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Speaker 1: Crime has been decreasing across London as living standards have improved,

59
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Speaker 1: but not here, in these tight, crowded streets, grinding poverty persists.

60
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Speaker 1: I can tell you this with some certainty, because the

61
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Speaker 1: written records are as rich as they are sobering. One

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Speaker 1: eminent businessman, Charles Booth, set about documenting the true extent

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Speaker 1: of poverty in the city. He sent his researchers to

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Speaker 1: visit these streets and assess the inhabitants. They marked the

65
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Speaker 1: findings down on a map, color coding what they had witnessed.

66
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Speaker 1: Look on those maps, and this neighborhood is bordered by

67
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Speaker 1: streets of red, pink, and purple, the middle class, the

68
00:06:10,516 --> 00:06:14,556
Speaker 1: well to do, and the comfortably off. But closer to

69
00:06:14,676 --> 00:06:20,516
Speaker 1: us those purples darkened blue denoting the poor and very

70
00:06:20,596 --> 00:06:26,276
Speaker 1: poor people in chronic want. Where we stand in George Yard,

71
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Speaker 1: The map shows stretches of jet black. In the legend

72
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Speaker 1: of the Booth maps, black stands for the lowest class, vicious,

73
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Speaker 1: it reads, and semi criminal. The houses here are tall,

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Speaker 1: dark and old. Their brickwork has worn and covered in soot.

75
00:06:48,836 --> 00:06:52,396
Speaker 1: Their plaster and paint cracks and crumbles. Many of the

76
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Speaker 1: windows are broken. Indeed, these buildings are so shabby and

77
00:06:56,836 --> 00:07:01,556
Speaker 1: neglected they look like they must be abandoned, but they're not.

78
00:07:03,036 --> 00:07:06,036
Speaker 1: The decrepit rooms inside have been portioned out to a

79
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Speaker 1: multitude of different occupants. Entire families are crammed into these

80
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Speaker 1: tiny living spaces, along with a variety of vermin which

81
00:07:14,996 --> 00:07:19,156
Speaker 1: make life itchy and disease ridden. There's a shared toilet

82
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Speaker 1: a grim common privy, but many residents avoid this if

83
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Speaker 1: they can help it, especially at night. Instead, they use

84
00:07:28,916 --> 00:07:32,556
Speaker 1: a chamber pot stowed under the bed, so the stench

85
00:07:32,676 --> 00:07:36,676
Speaker 1: in each room is heavy. I want you to meet

86
00:07:36,716 --> 00:07:41,836
Speaker 1: the people who live here, people like Elizabeth Stride. She's

87
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Speaker 1: currently renting a sparsely furnished room in one of these

88
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Speaker 1: buildings with her hard drinking, violent partner, Michael Kidney. Elizabeth

89
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Speaker 1: is resourceful, intelligent, and brave. She was born in rural

90
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Speaker 1: Sweden and has taught herself to speak English fluently. Her

91
00:08:02,076 --> 00:08:05,436
Speaker 1: life has been varied, at times filled with passion, but

92
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Speaker 1: also marked by terrible misfortune. Her forty four years of

93
00:08:10,436 --> 00:08:15,236
Speaker 1: life are fascinating, touching, and thought provoking, but she will

94
00:08:15,276 --> 00:08:19,876
Speaker 1: be remembered merely as the third victim of Jack the Ripper.

95
00:08:21,116 --> 00:08:25,036
Speaker 1: Elizabeth and Michael Kidney's room is grim and desolate, but

96
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Speaker 1: it does offer one significant advantage over other types of accommodation,

97
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Speaker 1: a door that can be shut. At the alternative a

98
00:08:34,036 --> 00:08:40,396
Speaker 1: common lodging house, all space is shared and privacy is nonexistent.

99
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Speaker 1: This is where we're heading next, Just over there on

100
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Speaker 1: Thrall Street as Wilmot's, a woman only lodging house. Polly Nichols,

101
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Speaker 1: another Ripper victim, is staying there at the moment. She's

102
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Speaker 1: been sleeping rough across London and she's only just arrived

103
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Speaker 1: in Whitechapel. Polly feels safer at Wilmot's than at lodging

104
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Speaker 1: houses that accommodate both sexes. Lodging house life can be

105
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Speaker 1: violent and unpredictable for a woman on her own. Polly's

106
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Speaker 1: heavy set but small in stature, and her father has

107
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Speaker 1: always thought she looked young for her age, even at

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Speaker 1: forty three. Polly's relationships with her family fascinate me. She

109
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Speaker 1: was certainly a daddy's girl, but even he couldn't fix

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Speaker 1: the mess that resulted when she walked out on her

111
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Speaker 1: husband and children never to return. For a Victorian wife

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Speaker 1: and mother, this is extraordinarily bold, almost unheard of. What

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Speaker 1: motivated her? Why would she do such a thing. But

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Speaker 1: we'll return to Polly Nichols in a later episode. For now,

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Speaker 1: we're on the way to another lodging house altogether via

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Speaker 1: a local market kite. These streets are a hive of activity.

117
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Speaker 1: Street sellers, beggars, musicians, drunkards, workers, shoppers, of course, lots

118
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Speaker 1: of horse traffic. All buy rope, stair rods, petticoat lane

119
00:10:14,876 --> 00:10:20,076
Speaker 1: bursts with extraordinary sights, sounds and smells. Canny salesman push

120
00:10:20,196 --> 00:10:26,236
Speaker 1: cheap garments, imitation jewelry and dubious medicines. That first price

121
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Speaker 1: is bad. They crowd the street, and the path between

122
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Speaker 1: them is narrow. I can't give you sixteen. Some stalls

123
00:10:33,436 --> 00:10:36,556
Speaker 1: offer a medley of brick a brack, Madam, looks like

124
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Speaker 1: you've guy through a fire for a bargain. Furniture covers

125
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Speaker 1: all clothes, worn out boots, and rusty locks. Buyers planned

126
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Speaker 1: to renovate their items and sell them on again. There

127
00:10:47,316 --> 00:10:50,476
Speaker 1: is a flourishing trade in secondhand clothing and wear better

128
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Speaker 1: than anything you've bought before, and the rent is due,

129
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Speaker 1: or when someone has an eaten for a while, a

130
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Speaker 1: lady's bonnet or a man's shirt can be turned over

131
00:10:58,156 --> 00:11:03,236
Speaker 1: to a dealer or a pawnbroker for reddy cash over.

132
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Speaker 1: There is Ammy Chapman, that tired and weak soul with

133
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Speaker 1: a terrible cough. She's contracted tuberculosis. Annie is counting the

134
00:11:14,036 --> 00:11:17,956
Speaker 1: days until Saturday. That's when her partner, Ted Stanley comes

135
00:11:17,956 --> 00:11:20,436
Speaker 1: and meets her, takes her to the pub and spends

136
00:11:20,436 --> 00:11:23,796
Speaker 1: the weekend with her at a local lodging house. Annie

137
00:11:23,876 --> 00:11:26,716
Speaker 1: has bought herself a cheap ring to wear in place

138
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Speaker 1: of a wedding band. Even here in Whitechapel, she is

139
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Speaker 1: worried about appearances. Not that long ago, Annie led an

140
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Speaker 1: entirely different life. She owned pretty ear rings, brooches, and

141
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Speaker 1: a real wedding ring. She even lived on a country

142
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Speaker 1: estate in the shadow of Windsor Castle, Queen Victoria's residence.

143
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Speaker 1: Her story, her tumble from comfort in nineteenth century respectability,

144
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Speaker 1: is an astonishing and poignant one, but she rarely reveals

145
00:11:58,876 --> 00:12:01,396
Speaker 1: the truth of her past life to anyone around here.

146
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Speaker 1: The woman they call Dark Annie leans against a wall

147
00:12:06,716 --> 00:12:13,076
Speaker 1: watching the hubbub traders hock fruits and vegetables, breads and cakes.

148
00:12:13,596 --> 00:12:20,556
Speaker 1: Customers haggle over fish. This part of London is home

149
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Speaker 1: to a huge immigrant community. Jewish refugees fleeing the murderous

150
00:12:25,516 --> 00:12:29,636
Speaker 1: programs of Russia and Eastern Europe have flocked here. Yiddish

151
00:12:29,716 --> 00:12:32,876
Speaker 1: is spoken on the streets and floats from the theaters

152
00:12:32,876 --> 00:12:38,636
Speaker 1: and music halls that catered to the newcomers. But we're

153
00:12:38,676 --> 00:12:41,876
Speaker 1: just passing through the market and down this side street.

154
00:12:42,596 --> 00:12:46,596
Speaker 1: Its slick with sewage and pools of stagnant water. In

155
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Speaker 1: certain places, the stench of rot and refuse is pungent

156
00:12:51,156 --> 00:12:57,116
Speaker 1: and nauseating. Trash gathers in the corners near dwellings, human waste,

157
00:12:57,156 --> 00:13:00,916
Speaker 1: horse droppings, worthless scraps, and things broken beyond use or

158
00:13:00,956 --> 00:13:05,556
Speaker 1: scattered about. Nothing of any value, no matter how minute,

159
00:13:05,836 --> 00:13:08,916
Speaker 1: is ever thrown away. There is always some one who

160
00:13:09,196 --> 00:13:12,916
Speaker 1: or repurpose it, fix it, or sell it on. People

161
00:13:13,036 --> 00:13:17,356
Speaker 1: have many ways of surviving here, and here's our destination.

162
00:13:18,316 --> 00:13:21,956
Speaker 1: This common lodging house is a bleak and grimy establishment.

163
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Speaker 1: Common lodging houses got going in the early eighteen fifties

164
00:13:27,196 --> 00:13:30,876
Speaker 1: in order to cater for very poor people who could

165
00:13:30,956 --> 00:13:34,516
Speaker 1: no longer even afford a weekly rent in a room

166
00:13:34,596 --> 00:13:39,636
Speaker 1: of their own that social historian Sarah Wise. Now, these

167
00:13:39,676 --> 00:13:44,476
Speaker 1: common lodging houses were totally private concerns, but they had

168
00:13:44,516 --> 00:13:48,796
Speaker 1: by law to be inspected by the Metropolitan Police. The

169
00:13:48,876 --> 00:13:52,876
Speaker 1: stipulation was a common lodging house was somewhere in which

170
00:13:53,156 --> 00:13:56,996
Speaker 1: three or more persons not of the same family may

171
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Speaker 1: sleep within the same dormitory. So it's the idea that, yes,

172
00:14:02,476 --> 00:14:05,236
Speaker 1: we're mixing loads of people together with all the potential

173
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Speaker 1: moral dangers of that could involve. But that's okay because

174
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Speaker 1: all the beds are separated. We've got a superintendent on site,

175
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Speaker 1: so no hanky panky gets going, And of course the

176
00:14:14,716 --> 00:14:19,516
Speaker 1: police can inspect. Common lodging houses aren't supposed to admit

177
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Speaker 1: any one of known bad character. Drunkenness and other forms

178
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Speaker 1: of vice like adultery aren't supposed to flourish here, but

179
00:14:26,996 --> 00:14:30,836
Speaker 1: in practice many turn a blind eye. They're not too

180
00:14:30,876 --> 00:14:35,676
Speaker 1: fussed about bad character, and they do admit drunks. In fact,

181
00:14:35,796 --> 00:14:37,996
Speaker 1: the conditions at a lodging house are as good or

182
00:14:38,036 --> 00:14:40,796
Speaker 1: as bad as the person who runs it, and this

183
00:14:40,876 --> 00:14:43,916
Speaker 1: lodging house is home to an awful lot of vice.

184
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Speaker 1: At the entrance, SIT's the deputy lodging housekeeper or manager.

185
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Speaker 1: Before nightfall, he collects fourpence from everyone who intends to

186
00:14:52,916 --> 00:14:56,476
Speaker 1: use the dormitory upstairs. That would be less than about

187
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Speaker 1: ten dollars today. Fourpence buys a coffin bed, a person

188
00:15:01,356 --> 00:15:05,756
Speaker 1: sized box, likely hopping with fleas, in which to lie down.

189
00:15:06,516 --> 00:15:10,956
Speaker 1: The room is noisy, dirty and stifling, but it's better

190
00:15:10,996 --> 00:15:17,356
Speaker 1: than the street. And down this passage is another room.

191
00:15:17,436 --> 00:15:21,556
Speaker 1: This kitchen is thirty feet long and packed full of people.

192
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Speaker 1: An older woman dozes to one side with a filthy

193
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Speaker 1: child playing at her feet. One thinder dear dead days

194
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Speaker 1: beyond recall. Smells like old grease, beer, stale tobacco smoke,

195
00:15:37,436 --> 00:15:41,836
Speaker 1: and the sharp and ninny scent of sweaty, unwashed bodies.

196
00:15:43,156 --> 00:15:46,276
Speaker 1: Just over there is Kate Edo's with her partner John Kelly.

197
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Speaker 1: Kate's the one singing Sweet Kata spent much of her

198
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Speaker 1: life doing this, though usually she's selling sheet music. When

199
00:15:56,116 --> 00:16:00,596
Speaker 1: she's belting out a tune. Everyone who knows her, from

200
00:16:00,596 --> 00:16:03,796
Speaker 1: her sisters to her friends at the lodging house, remark

201
00:16:03,876 --> 00:16:12,036
Speaker 1: on her jolly personality. Just a song. Twilight, when the

202
00:16:12,316 --> 00:16:25,036
Speaker 1: lights are low and the flickering shadows softly, Godman gone. However,

203
00:16:25,556 --> 00:16:31,516
Speaker 1: drink can turn her high spiritedness into aggression. Kate fascinates me.

204
00:16:32,316 --> 00:16:35,236
Speaker 1: She's a rebel, and she was born to a rebel.

205
00:16:36,116 --> 00:16:39,356
Speaker 1: Her father was a Union agitator, so perhaps it was

206
00:16:39,436 --> 00:16:42,956
Speaker 1: he who taught her to rail against the system. She

207
00:16:43,076 --> 00:16:46,916
Speaker 1: rejected the conventional existence of her mother, grandmother and sisters

208
00:16:47,196 --> 00:16:51,756
Speaker 1: life constantly giving birth, scrubbing and cooking, and instead chose

209
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Speaker 1: the open road. She's lived for many years as a vagrant.

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Speaker 1: Kate's story is about the lack of choices available to

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Speaker 1: women and how class and gender kept them in poverty.

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Speaker 1: Lost his shot a group of men, all of them drunk,

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Speaker 1: a crowded by the range, quaffing beer. This is a

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Speaker 1: common sight. Many of the people here are bereathed, lonely

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Speaker 1: and homeless, and they drown their Sorrows's lost this place,

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Speaker 1: you may as well. Whistles are not. Some commotion is

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Speaker 1: breaking out in one corner. It's two women arguing over

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Speaker 1: a bar of soap. This is a precious commodity that

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Speaker 1: get off me. But there's also conviviality in this kitchen.

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Speaker 1: The cooking range, the focus of the room burns all

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Speaker 1: day and it bathes the space around it in warmth.

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Speaker 1: This is a blessing. Even in the summer London days

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Speaker 1: can be chilly. Everybody convened down in the great big

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Speaker 1: common kitchen. You would buy your food out in the street,

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Speaker 1: maybe from a cost amonger. Maybe you get a savolloy

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Speaker 1: or some fish that, maybe some bacon or a jacket potato,

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Speaker 1: and you use the range of the common stove to

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Speaker 1: cook your food and you eat it in the kitchen

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Speaker 1: with everyone around you. And we've got plenty of eyewitness

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Speaker 1: accounts of just what kind of quite convivial places these

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Speaker 1: could be card games, all sorts of board games going on,

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Speaker 1: people laughing, joking, reading the newspaper in the corner, and

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Speaker 1: this human warmth and human noise and company and chat.

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Speaker 1: I wouldn't underestimate the value of that. In some broken lines,

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Speaker 1: this lodging house is the haunt of beggars, criminals, women

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Speaker 1: selling sex, chronic alcoholics, the unemployed, the sick, the old.

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Speaker 1: But there are people here from other walks of life too.

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Speaker 1: Some of these lodging house residents entered the world in

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Speaker 1: entirely different circumstances. We do hear of members of the

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Speaker 1: aristocracy who have drunk their inheritance or gambled it away.

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Speaker 1: Maybe being an aristocrat wasn't what they wanted. So a

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Speaker 1: much bigger mix than many people would have thought living

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Speaker 1: in your common lodging house Today, the sixth August, I'm

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Speaker 1: looking for a particular face in this kitchen, a local

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Speaker 1: woman named Martha Tabram. Martha's around forty, and like most

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Speaker 1: of the women who live here, her hard life has

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Speaker 1: taken its toll. Her marriage has soured, as have other

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Speaker 1: partnerships with men. In a few hours, Martha's story will

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Speaker 1: end in her murder. As evening draws in, the atmosphere

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Speaker 1: in the kitchen starts to change, desperation increases. The deputy

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Speaker 1: lodging housekeeper has started turning out those who haven't paid

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Speaker 1: for a bed that night. Outside, a police constable is

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Speaker 1: on patrol. Fights often break out when lodging houses close

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Speaker 1: their doors for the evening. Today is a public holiday,

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Speaker 1: so some locals have indulged in more drink than usual.

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Speaker 1: This officer is ready and waiting to arrest any troublemakers.

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Speaker 1: The men of the local Police Force H Division will

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Speaker 1: soon be pitched into a difficult and desperate hunt to

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Speaker 1: find Jack. The Ripper and end the horrific killings. What

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Speaker 1: they do, what they say, and what they decide to

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Speaker 1: enter into the historical record will set the tone for

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Speaker 1: how the murdered women are remembered well into the twenty

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Speaker 1: first century. So let's learn a bit about them and

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Speaker 1: follow this police constable back to headquarters. The Ripper, we're told,

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00:20:41,876 --> 00:20:55,996
Speaker 1: will be back in just a moment. Welcome to Leamon

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Speaker 1: Street Police Station, home to H Division of the Metropolitan Police.

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Speaker 1: H Division comprises about five hundred officers pounding their beats

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Speaker 1: in a labyrinth of dark city streets. From the wharves

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Speaker 1: and docks on the rivers up to the gas works

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Speaker 1: and filthy canals of Haggerston. In between are some of

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Speaker 1: the most deprived neighborhoods in the capital. Plenty of dark

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Speaker 1: blues and blacks on Charles Booth's poverty map. Inside is

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Speaker 1: the kind of commotion you might expect of a busy

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Speaker 1: police station, very much shutter. We know from the records

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Speaker 1: that there's a steady flow of arrests and that the

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00:21:35,476 --> 00:21:39,436
Speaker 1: holding cells are filling up. John Hawkins has been brought

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00:21:39,476 --> 00:21:42,836
Speaker 1: in for assaulting his wife and nineteen year old Joseph

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00:21:42,836 --> 00:21:48,596
Speaker 1: Gibson is under arrest, charged with indecent exposure. I'm interested

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Speaker 1: in one police officer in particular, Thomas Barrett. He's about

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Speaker 1: to start a night shift and he's going to play

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00:21:55,316 --> 00:21:59,676
Speaker 1: a significant role in Martha Tabram's story. We know from

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Speaker 1: police records that Thomas is five foot ten. This is

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Speaker 1: tall by Victorian standards. He's also just moved to London

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Speaker 1: from a dyllick rural Dorset. White Chapel has surely been

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Speaker 1: a shock to the system. He himself lives outside the neighborhood,

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00:22:15,316 --> 00:22:18,556
Speaker 1: for Whitechapel isn't considered a fitting address for such an

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00:22:18,596 --> 00:22:23,356
Speaker 1: upstanding young man. Thomas is getting ready to walk his

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Speaker 1: regular beat. He carries an oil lantern swinging from his belt,

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00:22:27,396 --> 00:22:30,836
Speaker 1: which he'll use to peer into Whitechapel's dark corners, and

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00:22:30,956 --> 00:22:34,236
Speaker 1: there are many of those. He also has a pair

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00:22:34,276 --> 00:22:37,556
Speaker 1: of handcuffs with him and a whistle. This is a

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00:22:37,636 --> 00:22:41,196
Speaker 1: relatively new piece of technology, allowing him to cut through

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Speaker 1: the din of the Whitechapel streets and someone help if

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00:22:44,196 --> 00:22:48,116
Speaker 1: he needs it. It's a useful tool as he patrols,

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00:22:48,156 --> 00:22:51,236
Speaker 1: he'll meet with all kinds of crimes and misdemeanors from

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00:22:51,276 --> 00:22:56,396
Speaker 1: alcohol fueled fights to robberies, stabbings and domestic violence. He'll

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00:22:56,396 --> 00:23:00,836
Speaker 1: also confront social care issues. When the police encounter drunkards

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00:23:00,836 --> 00:23:03,556
Speaker 1: who are so inebriated that they can no longer walk,

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Speaker 1: they arrest them and bring them in glass and circumciser.

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00:23:12,516 --> 00:23:15,996
Speaker 1: Take local woman Margaret Kine. By the start of this year,

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00:23:16,156 --> 00:23:20,876
Speaker 1: she had been charged with drunken disorderliness over two hundred times.

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00:23:21,236 --> 00:23:26,196
Speaker 1: Sometimes she challenges the policeman outside the station. On other occasions,

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00:23:26,196 --> 00:23:33,676
Speaker 1: she just hands herself in. The recruitment criteria to join

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00:23:33,716 --> 00:23:37,316
Speaker 1: the force are strict. Officers must be able to read

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00:23:37,356 --> 00:23:40,676
Speaker 1: and write. They also must be over a certain height,

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00:23:41,196 --> 00:23:44,756
Speaker 1: aged between twenty one and thirty five, and come with

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00:23:44,836 --> 00:23:49,836
Speaker 1: a reference that shows their good, respectable character. But whatever

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00:23:49,916 --> 00:23:53,356
Speaker 1: you might have gathered from Sherlock Holmes stories, the detection

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00:23:53,436 --> 00:23:58,396
Speaker 1: skills of these officers are limited. They rely on eye witnesses, confessions,

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Speaker 1: and catching culprits red handed. We're back out on the

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00:24:04,636 --> 00:24:09,036
Speaker 1: street and it's dark. Let's follow Constable Bearrett on his

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00:24:09,196 --> 00:24:11,236
Speaker 1: beat about the Angel and Crown for a drink. We

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00:24:11,316 --> 00:24:14,876
Speaker 1: pass off duty soldiers stationed at the nearby Tower of London.

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00:24:15,316 --> 00:24:18,756
Speaker 1: I rather fancy the King girls were turning onto Whitechapel Road,

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Speaker 1: the busiest and widest thoroughfare in the area. It's lined

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Speaker 1: with pubs, one seemingly every few yards. Here the hopeless

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00:24:28,796 --> 00:24:31,996
Speaker 1: drown their sorrows and rot gut gin. But they are

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Speaker 1: also the closest thing many local people have to a

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00:24:35,196 --> 00:24:39,436
Speaker 1: parlor or a living room. Here people can meet, talk,

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Speaker 1: play games, and sing together, all in the warm amber

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Speaker 1: glow of gaslight. Some pubs are even opulent, with carved

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Speaker 1: wooden paneling and decorative mirrors. Alado knows myself that's half

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Speaker 1: a pint of Ale with a pennyworth of the Angel

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Speaker 1: and Crown on Gholston Street is not such a place.

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Speaker 1: It's one hundred and fifty years old, and it shows.

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Speaker 1: This pub's interior has been worn by the years and

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00:25:05,556 --> 00:25:08,476
Speaker 1: by the rough company that congregates here. Will you take something?

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00:25:08,556 --> 00:25:11,676
Speaker 1: Miss Martha Tabram has been here this evening with a

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Speaker 1: friend and two soldiers who would have been paying for

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Speaker 1: their drinks. In the Victorian era, this was expected of men,

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Speaker 1: no matter their social background. Martha, like so many Whitechapel inhabitants,

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Speaker 1: likes a tipple. But it's possible that an edge of

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00:25:28,276 --> 00:25:31,956
Speaker 1: desperation crept in on her enjoyment as the hours wore

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Speaker 1: on this evening. Martha would have woken this morning not

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Speaker 1: knowing where she would be sleeping come nightfall, when the

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00:25:39,756 --> 00:25:43,156
Speaker 1: pub closes, she'll be worried about scraping together the four

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00:25:43,196 --> 00:25:46,596
Speaker 1: pence to return to her lodging house. Will she be

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Speaker 1: able to afford it? Or will she have to sleep

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00:25:49,316 --> 00:25:54,276
Speaker 1: on the street, With all the dangers this brings. Constable

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00:25:54,316 --> 00:25:58,276
Speaker 1: Barrett continues his beat. Leaving the main street, we are

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00:25:58,476 --> 00:26:03,396
Speaker 1: entering darker, narrower alleys and passages. This lack of light

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00:26:03,756 --> 00:26:08,396
Speaker 1: is oppressive and menacing. We slide and skid on who

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00:26:08,436 --> 00:26:12,316
Speaker 1: knows what? A figure appears ahead of us, a man

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00:26:13,236 --> 00:26:18,116
Speaker 1: Barrett's lamp illuminates a soldier in uniform. The Constable challenges him,

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00:26:18,516 --> 00:26:21,676
Speaker 1: what is he doing loitering here at this time? Wayne

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00:26:21,756 --> 00:26:24,236
Speaker 1: for a chum who went off with a girl? Comes

347
00:26:24,276 --> 00:26:27,996
Speaker 1: the reply. Not an unusual answer perhaps, And so the

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00:26:28,036 --> 00:26:34,996
Speaker 1: beat continues, hour after hour with no rest. We are

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00:26:34,996 --> 00:26:38,636
Speaker 1: passing Miller's Court. Now there in the broken window of

350
00:26:38,716 --> 00:26:43,876
Speaker 1: number thirteen, a light flickers. Mary Jane Kelly, a sex worker,

351
00:26:43,996 --> 00:26:47,156
Speaker 1: rents this one room abode with her partner Joseph Barnett,

352
00:26:47,596 --> 00:26:51,036
Speaker 1: who has only recently lost his job at Billingsgate Fish Market.

353
00:26:51,876 --> 00:26:55,036
Speaker 1: This was their only source of income, and Barnett is

354
00:26:55,076 --> 00:26:58,236
Speaker 1: too proud to let his girlfriends solicit on the streets again.

355
00:26:58,996 --> 00:27:02,316
Speaker 1: Their worries will grow in the coming weeks before Mary

356
00:27:02,396 --> 00:27:06,796
Speaker 1: Jane becomes a victim of the Ripper. Mary Jane's life

357
00:27:06,876 --> 00:27:09,356
Speaker 1: is a puzzle for anyone attempting to unraub all the

358
00:27:09,436 --> 00:27:13,196
Speaker 1: stories and half truths that make up her existence. She

359
00:27:13,316 --> 00:27:16,036
Speaker 1: once sold sex in the rich West End of London

360
00:27:16,436 --> 00:27:20,156
Speaker 1: and moved in much higher circles, wearing nice dresses and

361
00:27:20,316 --> 00:27:24,756
Speaker 1: traveling in carriages between restaurants and hotels. What on earth

362
00:27:24,836 --> 00:27:28,076
Speaker 1: happened to land her here in a furnished room in

363
00:27:28,116 --> 00:27:32,236
Speaker 1: a yard across from a block of stinking latrines, But

364
00:27:32,356 --> 00:27:36,156
Speaker 1: that will be for later. Now, as the first glow

365
00:27:36,196 --> 00:27:39,316
Speaker 1: of morning breaks the eastern sky, and as workers begin

366
00:27:39,356 --> 00:27:42,476
Speaker 1: to rise from their beds, there are other matters to

367
00:27:42,556 --> 00:27:48,156
Speaker 1: return to place. We are back in George Yard. A

368
00:27:48,236 --> 00:27:51,876
Speaker 1: woman's body has been found. The wide pool of blood

369
00:27:51,956 --> 00:27:55,716
Speaker 1: around it has already begun to thicken and dry. Her

370
00:27:55,756 --> 00:28:00,716
Speaker 1: clothes are in disarray. It seems hopeless but Constable Barrett

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00:28:00,796 --> 00:28:05,036
Speaker 1: sends for medical assistance. Martha Tabram has been dead for

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00:28:05,076 --> 00:28:09,316
Speaker 1: several hours, says doctor Khaleim. He counts thirteen nine d

373
00:28:09,476 --> 00:28:13,836
Speaker 1: stab wounds. When the catalog of injuries has later read

374
00:28:13,836 --> 00:28:16,916
Speaker 1: out the coroner accord, he says it is the most

375
00:28:17,036 --> 00:28:21,156
Speaker 1: dreadful crime anyone can imagine, and declares that the murderer

376
00:28:21,276 --> 00:28:29,196
Speaker 1: must be a savage. He urges the officers of h

377
00:28:29,276 --> 00:28:33,596
Speaker 1: Division to find the culprit. Constable Barrett is sent to

378
00:28:33,596 --> 00:28:36,196
Speaker 1: track down the soldier he'd seen at about the time

379
00:28:36,196 --> 00:28:40,236
Speaker 1: of Martha's death, but he has no luck. The other

380
00:28:40,276 --> 00:28:44,516
Speaker 1: soldiers he interviews close ranks, offering up alibis for each

381
00:28:44,556 --> 00:28:50,996
Speaker 1: other and frustrating Barrett's investigation. With hindsight, the viciousness of

382
00:28:51,076 --> 00:28:54,836
Speaker 1: Martha's unsolved murder will cause some people to conclude that

383
00:28:54,916 --> 00:29:00,556
Speaker 1: her death was the work of Jack the Ripper. Rightly

384
00:29:00,636 --> 00:29:04,916
Speaker 1: or wrongly, Martha's death doesn't feature in the conventional telling

385
00:29:04,956 --> 00:29:08,596
Speaker 1: of the Famous Ripper story. Her murder, along with the

386
00:29:08,676 --> 00:29:12,076
Speaker 1: killings of ten other women between April eighteen eighty eight

387
00:29:12,156 --> 00:29:16,116
Speaker 1: and February eighteen ninety one, are referred to collectively as

388
00:29:16,156 --> 00:29:20,516
Speaker 1: the White Chapel murders. Those women were Emma Elizabeth Smith,

389
00:29:20,956 --> 00:29:26,276
Speaker 1: Polly Nichols, Annie Chapman, Elizabeth Stride, Katherine Edos, Mary Jane,

390
00:29:26,356 --> 00:29:31,796
Speaker 1: Kelly Rose Milott, Alice Mackenzie, Francis Coles, and the torso

391
00:29:32,036 --> 00:29:36,596
Speaker 1: of an anonymous woman found under a railway arch. At

392
00:29:36,636 --> 00:29:40,436
Speaker 1: the time and even today, there is debate about whether

393
00:29:40,516 --> 00:29:44,356
Speaker 1: all of these women were victims of the same killer. Eventually,

394
00:29:44,396 --> 00:29:46,916
Speaker 1: the consensus among the police would be that, due to

395
00:29:46,956 --> 00:29:49,436
Speaker 1: the similarity of the weapon used and the nature of

396
00:29:49,476 --> 00:29:53,996
Speaker 1: the injuries, only Polly, Annie, Elizabeth, Katherine, and Mary Jane

397
00:29:54,196 --> 00:29:58,636
Speaker 1: could be identified as Ripper victims. Martha's death, as well

398
00:29:58,676 --> 00:30:01,356
Speaker 1: as the murders of those who followed, whether by the

399
00:30:01,436 --> 00:30:05,476
Speaker 1: hands of Jack the Ripper or some other malefactor, only

400
00:30:05,516 --> 00:30:09,436
Speaker 1: served to illustrate just how normal deadly violence against women

401
00:30:09,636 --> 00:30:13,756
Speaker 1: was in nineteenth century Whitechapel, and how the killers so

402
00:30:13,996 --> 00:30:19,276
Speaker 1: often escaped justice. I often get asked why I didn't

403
00:30:19,276 --> 00:30:22,876
Speaker 1: include Martha Tabram among the Ripper victims, or why I

404
00:30:22,916 --> 00:30:26,156
Speaker 1: didn't write a book called The Eleven. But writing a

405
00:30:26,156 --> 00:30:29,596
Speaker 1: book about Jack the Ripper, obsessing over the minute shy

406
00:30:29,676 --> 00:30:33,556
Speaker 1: of injuries and murder weapons was never my objective. I

407
00:30:33,676 --> 00:30:37,836
Speaker 1: wanted to study life, not the agonizing, terror filled moments

408
00:30:37,836 --> 00:30:41,876
Speaker 1: of death, and The Five offered me a perfect data set.

409
00:30:42,676 --> 00:30:46,836
Speaker 1: The experiences of Polly Annie, Elizabeth Kate, and Mary Jane

410
00:30:47,316 --> 00:30:51,116
Speaker 1: were quite simply the experiences of millions of Victorian women.

411
00:30:51,916 --> 00:30:55,876
Speaker 1: They fell in love, injured, childbirth and the deaths of parents.

412
00:30:56,396 --> 00:31:01,436
Speaker 1: They argued with their siblings. They wept, they dreamed, they hurt,

413
00:31:02,116 --> 00:31:06,436
Speaker 1: and they enjoyed small triumphs. The courses of their lives

414
00:31:06,476 --> 00:31:10,876
Speaker 1: mirrored that of so many others, and yet their lives

415
00:31:10,916 --> 00:31:14,876
Speaker 1: were so singular in the ways they ended. Jack the

416
00:31:14,956 --> 00:31:18,436
Speaker 1: Ripper will never be caught, but justice can be restored

417
00:31:18,476 --> 00:31:22,716
Speaker 1: when we remember their names and learn their stories. They

418
00:31:22,756 --> 00:31:26,436
Speaker 1: don't need to be forgotten or to remain silent any longer.

419
00:31:27,476 --> 00:31:31,436
Speaker 1: So please come with me. I can't wait to introduce

420
00:31:31,476 --> 00:31:52,716
Speaker 1: you to them. Bad Women The Ripper Were Told is

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Speaker 1: brought to you by Pushkin Industries and me Hallie Rubbinhold,

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Speaker 1: and is based on my book The Five. It was

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Speaker 1: produced and co written by Ryan Dilley and Alice Fines,

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Speaker 1: with help from Pete Norton. Pascal Wise Sound designed and

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Speaker 1: mixed the show and composed all the original music. Also

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Speaker 1: heard the voice talents of Soul Boyer, Melanie Gutridge, Gemma Saunders,

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Speaker 1: and rufus Wright. The show also wouldn't have been possible

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Speaker 1: without the work of mil LaBelle, Jacob Weisberg, Jen Guera,

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Speaker 1: Heather Fane, Carlie Migliori, Maggie Taylor, Nicole Morano and Daniella

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Speaker 1: Lacan were special thanks to my agents Sarah Ballard and

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Speaker 1: Ellie Kron