Dolly Rawlins returns in Lynda La Plante’s final instalment in the trilogy, following ‘Widows’ and ‘Widows’ Revenge’.
‘She’s Out’ was originally published in 1995, a novelisation of the TV series of the same name, which served as a sequel and conclusion to the TV series ‘Widows’, which aired two seasons in 1983 and 1985. Much like the two novels before it, ‘She’s Out’ was out-of-print for many years, though was reprinted recently and thus not as rare as copies of the first two books, prior to the publication of this newly revised version to follow the republication of the first two novels.
(Warning: contains spoilers for ‘Widows’ and ‘Widows’ Revenge’)
After spending nine years in prison for the murder of her husband, Dolly is soon to be released. Her dreams of starting afresh and opening a home for disadvantaged children have kept her going throughout her sentence, with the proceeds of the diamond heist safely hidden away awaiting her release.
But Dolly isn’t the only one awaiting her release. Ester Freeman is busy gathering a group of women together on the outside, women who served time with Dolly and have all heard the rumours about the diamonds that the police were never able to recover. Also waiting for Dolly is DS Mike Withey, who holds her responsible for death of his sister, Shirley Miller. Unbeknownst to him, his mother, Audrey, is complicit in the disappearance of the stolen diamonds.
On her release, Dolly finds that Ester has made arrangements for her. Chauffeured to a remote manor house, Dolly is immediately suspicious. But Ester assures her she and the other women only have Dolly’s best interests at heart and that the manor house will be perfect for Dolly’s plans. On the spur of the moment, Dolly purchases the property, only afterwards discovering the amount of work that will be required. Ester has cleaned her out; now she must retrieve the diamonds. As the women continue their elaborate con and Mike persuades his superiors they should be paying close attention to Dolly Rawlins, Dolly begins the process of pursuing her dream of opening the manor to help children.
But the cracks soon begin to appear. Dolly’s criminal record, the presence of the other women and continued police harassment threaten to bring her dreams crashing down, while the risks she takes to retrieve the diamonds may prove fruitless. Backed into a corner, unsure who she can trust, Dolly begins making a different plan – to commit a dangerous and audacious robbery of a mail train transporting millions of pounds. But with so much mistrust and double-crossing, Dolly’s carefully laid plans threaten to unravel with tragic, violent consequences.
Full of flawed and intriguing characters, the novel explores the often-tragic stories of women pulled into a life of crime, continuing a theme firmly established in the first series/novel. The characters and their stories are at the novel’s heart, which asks both how many of them are ‘real’ criminals; and how possible is it for someone to truly be able to rehabilitate themselves? Both questions are as significant to our society twenty-five years later as they were at the time of original broadcast/publication, if not more so.
After her time inside, Dolly is colder, harder, less trusting, and still wracked with guilt. Despite his betrayal and her subsequent revenge against him, Dolly still misses Harry dreadfully. Her memories of him and the other widows allow us brief glimpses beneath her exterior and we are rooting for her throughout. On TV, Ann Mitchell returned as Dolly, showcasing the quality that the right mix of writing and acting can bring to the performance of a character.
Captivating throughout, ‘She’s Out’ hurtles relentlessly towards its devastating denouement, the final chapters full of action, tension and emotion, concluding the trilogy in a satisfying, intense and ultimately fitting way.