With the cadence of the best sellers and pulling an overwhelming inspiration, Lorraine Franco It goes from Silvia Blanch to Nora Roy. Two enigmatic women who serve title and sustain magnetic suspense in these last two novels by the author. But the matter is very different for a Nora Roy to be discovered in all its edges. Because we soon discovered that being the uncertain victim of a crime does not suit her.
Quite the opposite. Nora serves the cause of the most electric start, taking off a plot that throws her hook like a stormy sum of scenarios. Immediately afterwards he places us in that chicha calm where we already wait for anything to happen. At any moment, new gusts can arrive that can be seen in the thick blackness of the horizon of events.
No one knows what prompted Nora Roy, a patient at the Vera de la Cruz psychiatric center, to murder her psychiatrist and one of the nurses. No one understands how she was able to lock them in the basement, kill them and flee without being seen. While everyone is looking for Nora, Eva rents a room to Charlotte, a strange and discreet Parisian.
One night, Eva meets Adrián, a man she hardly knows, at a disco, and they end up in her apartment for what seems like a promising date. The next morning, Adrián is gone and Charlotte has disappeared, leaving behind her blood-spattered walls and Eva's life irreparably disturbed.
The facts seem disjointed. And that is where the mastery of the writer intertwines the plots to awaken those small frictions in the form of suspicions that end up constricting us to the point of suffocation.
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