Running Time 10hrs 57mins
THE NUMBER ONE BESTSELLER. YOU DON’T KNOW HER. BUT SHE KNOWS YOU.
Rear Window meets Gone Girl, in this exceptional and startling psychological thriller
‘Gripping, enthralling – a top-notch thriller and a compulsive read’ S J WATSON, bestselling author of Before I Go To Sleep
Rachel catches the same commuter train every morning. She knows it will wait at the same signal each time, overlooking a row of back gardens. She’s even started to feel like she knows the people who live in one of the houses. ‘Jess and Jason’, she calls them. Their life – as she sees it – is perfect.
If only Rachel could be that happy.
And then she sees something shocking. It’s only a minute until the train moves on, but it’s enough.
Now everything’s changed. Now Rachel has a chance to become a part of the lives she’s only watched from afar.
Now they’ll see; she’s much more than just the girl on the train…
PAULA HAWKINS worked as a journalist for fifteen years before turning her hand to fiction.
Born and brought up in Zimbabwe, Paula moved to London in 1989 and has lived there ever since.
Her first thriller, The Girl on the Train, has been a global phenomenon, selling 23 million copies worldwide. Published in over forty languages, it has been a No.1 bestseller around the world and was a No.1 box office hit film starring Emily Blunt.
Into the Water, her second stand-alone thriller, has also been a global No.1 bestseller, spending twenty weeks in the Sunday Times hardback fiction Top 10 bestseller list, and six weeks at No.1.
‘Really great suspense novel. Kept me up most of the night. The alcoholic narrator is dead perfect.’ STEPHEN KING
‘The thriller scene will have to up its game if it’s to match Hawkins this year’ Observer
‘A complex and increasingly chilling tale courtesy of a number of first-person narratives that will wrong-foot even the most experienced of crime fiction readers’ Irish Times
‘achieves a sinister poetry . . . Hawkins keeps the nastiest twist for last’ Financial Times
‘Hawkins’ masterful deployment of unwittingly unreliable narration to evoke the aftershocks of abuse and trauma is a powerful way of exploring women’s marginalization’ Huffington Post