![]() ![]() Yet as Hawkins demonstrates, apparently fixed identities and fortunes have their foundation on shifting sands. Rachel is not just weak, occasionally spiteful and self-pitying, but also overweight and relatively unattractive a sad sack compared with vibrant Megan and glossy, sexy Anna, who glories in her victory over her predecessor. It is a bold move to create such a flawed female lead the alcoholic lifestyle with its miserable excuses, urine-soaked underwear and vomit on the stairs is outlined in all its bleak, cyclic predictability. She has also been persecuting Tom and Anna, bombarding them with offensive messages. ![]() She is convinced that “Jason”, now the prime suspect – and really called Scott – would never harm his beloved wife.īut Rachel is prone to blackouts, irrationality and drunk dialling, and the police dismiss her as a rubbernecker. ![]() Until one day she sees something that startles her in their garden, and when she reads in the paper that “Jess” – who is really called Megan – has vanished, she decides to tip off the police. Rachel looks out for the pair every day, daydreaming about their perfect lives. She has become obsessed with the beautiful young couple living there, whom she names Jess and Jason. Unable to look at number 23, her old home, where ex-husband Tom now lives with new wife Anna, she focuses instead on number 15. The journey takes Rachel along the backs of houses on the street where she used to live. ![]()
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