If the whole town is in on it, a spider web or trap or maze-scenario (including figures like the "mayor" etc.) this would shift the story definitely into something surreal. An imagination, a dream, a fugue (as Lynch called it). This would explain the exccenticities of the plot, the sex in front of the house, Sunshine and rain, giving phone numbers to Marcel, also scenes like the mechanic, and the dinner ch. 1 which I always found nightmarish. But this imagination would 1 have to belong to one person - which one? And 2 I would think that we would have already more signals of a psychological direction behind it (fear, guilt, bad conscience, trauma), of a reality breaking through at certain points. At the moment I'm on the brink of wishing for this scenario out of reasons of aesthetic coherence.
Edit: More possible indications of that (not saying it's probable): the fact that Marcel coincidentally played basketball right there and then where she was with Sunshine and Rain. The image with Hutch looking through the window others have talked about already. The hotel clerk. The car getting taken care of is also something you would wish for in reality but it does happen only in dreams. The choice of wine which can't be explained (and is connected to a real life memory?).
Also the repetition of motives (which is an element of dream logic which builds variants of a rest of real memories): the parcels with clothes lying in front of the door. Repeated phrases and words. Again sex right in front of Hutch the second time as a totally improbable result of the evening and him looking (this seems to be a consistent fear/motive - meaning having been caught in real life once?).
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(If we follow the Mulholland Drive paradigm, it's about a "small existence" which is projected by imagination into the grandiose: in that case Vivian would be a schoolteacher with a husband who lost his job which was financially devastating and she felt helpless and developed contempt for him. She probably once cheated with the neighbour and got caught or fears that.
If we follow the Lost Highway paradigm, it's about a trauma which gets overworked or worked around by imagination: Vivian could have been raped or otherwise sexually traumatized, her husband didn't help, she felt she had to be strong alone)
Both caases would be delusional compensatory empowerment imaginations.