She’s Out

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My thanks to Verity Lambert, Jonathan Powell, to my script editor Betina Soto Acebal, and my executive assistant Liz Thorburn and Alice Asquith, my research assistant, from La Plante Productions.

Thanks also to Suzanne Baboneau and Hazel Orme at Macmillan, and my appreciation as always to Jackie Malton, Chris Tchaikowsky and to all the staff at Holloway and Brixton prisons.

I would also like to take this opportunity to thank all the crew of the film, the stunt girls, make-up and wardrobe, and all the production staff. A very special thanks to Colin Munn and Annie Fielden.

Last, but by no means least, my sincere thanks to the director of She’s Out, Ian Toynton, who also directed my first television series Widows. Ian’s inspiration and talent make us all fortunate to have worked with him; his patience with each and every one of us was, as he was, inexhaustible.

The date was ringed with a fine red biro circle, 15 March 1994. It was the only mark on the cheap calendar pinned to the wall in her cell. There were no photographs, no memorabilia, not even a picture cut out of a magazine. She had always been in a cell by herself. The prison authorities had discussed the possibility of her sharing with another inmate but it had been decided it was preferable to leave Dorothy Rawlins as she had requested — alone.

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