by A. L. Bird
The greatest bond. The darkest betrayal.
Susan wakes up alone in a room she doesn’t recognise, with no memory of how she got there. She only knows that she is trapped, and her daughter is missing.
The relief that engulfs her when she hears her daughter’s voice through the wall is quickly replaced by fear.
Because the person who has imprisoned her has her daughter, too.
Devising a plan to keep her daughter safe, Susan begins to get closer to her unknown captor. And suddenly, she realises that she has met him before.
The Good Mother
A.L. Bird
www.CarinaUK.com
A.L. BIRD
lives in London, where she divides her time between writing and working as a lawyer. The Good Mother is her major psychological thriller for Carina UK, the fourth novel she’s written for the imprint. She has an MA in Creative Writing from Birkbeck, University of London, and is also an alumna of the Faber Academy ‘Writing a Novel’ course, which she studied under Richard Skinner. Amy is a member of the Crime Writers’Association. For updates on her writing follow her on Twitter, @ALBirdWriter
Contents
Cover
Blurb
Title Page
Author Bio
Acknowledgement
Dedication
Prologue
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 21
Chapter 22
Chapter 23
Chapter 24
Chapter 25
Chapter 26
Chapter 27
Chapter 28
Chapter 29
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter 36
Chapter 37
Chapter 38
Chapter 39
Chapter 40
Chapter 41
Chapter 42
Chapter 43
Chapter 44
Chapter 45
Chapter 46
Chapter 47
Chapter 48
Chapter 49
Chapter 50
Chapter 51
Chapter 52
Chapter 53
Chapter 54
Chapter 55
Chapter 56
Chapter 57
Chapter 58
Chapter 59
Chapter 60
Chapter 61
Chapter 62
Chapter 63
Chapter 64
Chapter 65
Chapter 66
Chapter 67
Chapter 68
Chapter 69
Endpages
Copyright
I am grateful to everyone who has given me the time, support and encouragement to write this novel. My wonderful editor Clio Cornish, who knows what I’m trying to write even before I’ve written it; my super-savvy agent Amanda Preston of LBA for her off-the-cuff creative brilliance and industry insight; my loyal family for the hours of childcare that enabled me to be closeted away in this new world; to Dr Abigail Crutchlow for her advice on characters (any straying from psychological truth is due to my artistic licence, not your input) and of course my readers, for coming back for more. Thank you.
And to my little one – welcome. May I be the best mother to you, always.
Prologue
The girl gets into the car that’s waiting for her. She looks over her shoulder first, like he’s told her to, to check Mummy isn’t watching. Would Mummy really mind? She can’t be sure. But he seems to think so. And he knows best, right? So she does the covert glance then slings her school bag into the back seat, like all the other times. He holds his cheek towards her for a kiss, which she dutifully bestows. Then he starts the engine with a vroom. Familiar buildings pass by. Buses on their way to places she recognises: Muswell Hill Broadway; Barnet (The Spires); North Finchley. There are a couple of kids from school. She raises her hand to wave but the man, seeing her, says, ‘Best not.’ So she lowers her hand and plays with the hem of her skirt, gazing absently out of the window.
Gradually, the territory becomes less familiar. The other man, the man they are going to meet, always insists on meeting outside of her home area. Says it’s safer that way. She hopes he’ll buy her a hot chocolate again. That was nice. Lots of whipped cream. Mummy always says whipped cream is bad: ‘You’ll end up big-boned. No one wants to be big-boned.’ The girl commented that the women at Mummy’s cupcake studio don’t seem big-boned. And they have lots of cream. ‘That’s because they spend a lot of time in the bathroom after each session,’ Mummy explained. That didn’t make much sense. But still, after the last visit, she hung round in the bathroom for a good ten minutes, so that the cream didn’t invade her bones and make them puff up.
And if there is hot chocolate, the girl thinks, it will be something to keep me busy. Because there’s not a lot of talking on these trips, so far. The other man doesn’t seem to know what to say. He looks at her a lot. Taking her in, from top to toe. She can feel his gaze travel down then up, up then down. Sometimes he gives a little smile. Other times a frown. She wants to please him, of course. She wants to please everyone. But when she tells him about the usual stuff – school, Mummy, music, boys even – he doesn’t say much back. And the two men glare at each other whenever they’re not looking at her. She can’t figure out why they keep hanging around together. Or what they want her to do on these occasions. So perhaps better just to concentrate on pushing the little wooden stirrer stick up and down in the hot chocolate to make holes, revealing the hot chocolate below. You have to get it to just the right meltiness to drink it. Then it’s delicious. She licks her lips in anticipation. Last time, the other man, the man they’re going to visit, looked like he was anticipating hot chocolate the whole time. Kept licking his lips. If he wanted some of her drink, he should just have said.
This might be the last time at this place, though. Because the previous time the other man, the man they’re going to see, had suggested they meet at his home. More relaxing. They could learn more about each other. He’d even given directions.
‘I just want us to be close, Cara,’ he’d said. ‘You’ll be quite safe. You’ll have your chaperone there throughout.’ He said ‘chaperone’ in a funny way. Like he was making a joke. Perhaps he only used that word because he didn’t know what to call the man who brought her. She didn’t, either, not really. Not once they’d had the little chat that evening in the car, his hand on her knee. Everything changed after that. She couldn’t be herself around him, couldn’t think of anything to say to him at all, never mind his name. She’d settled into the pattern after a while. But it was still odd. Of course it was odd. She would have asked Mummy. If Mummy were allowed to know.
Anyway, whatever he was called, the chaperon didn’t seem to like the idea of going to the other man’s home. So here they were, driving fast to the usual café. A bit faster than usual, maybe? Were they late? She looks at her watch, then realises she doesn’t know what time they’re meant to be there. And she doesn’t really know where ‘there’ is.
So there is nothing to do but sink into the seat. It’s out of her hands. But she’s perfectly safe. Of course she is. It would be like all the oth
er times. See the men. Then go home to Mummy. She looks across at the chaperone to smile, to show him she still trusts him after everything. But he doesn’t smile back. He looks ahead and he frowns.
Chapter 1
My eyes flash open.
There’s a bed, a room and a blankness.
I leap off the bed, a strange bed, a single bed, and collapse straight onto the floor.
Where am I? What’s going on? Why am I so weak?
I put my hands over my eyes. Remove my hands again. But nothing becomes right. I’ve still no idea where I am. Why am I in this alien room? In pyjamas? Is it day, is it night, how long have I been here?
And, oh God.
Where’s Cara? Where’s my daughter?
Look round the room again. It looms and distorts weirdly before me. I don’t trust my eyes.
I try to pull myself to my feet but black spots and nausea get in the way.
OK, Susan. Stop trembling. Try to remember.
A hallway. At home. The doorbell ringing. Delivery expected. Chain not on.
Going to answer the door.
Yes, that’s it. A door. I see a door now, in this room. Maybe Cara is on the other side?
Crawl over the floor. One hand in front of the other. Grunt with the effort. Feel like I’m Cara when she was learning. Past a tray of partially eaten food. White fish. The smell makes me want to vomit.
Approach the door, in this room. Lean my hands against it, inch them higher and higher, climbing with my hands. Finally at the handle. Pull and pull. Handle up, handle down. Please! Open!
Nothing. It stays firmly shut.
In my mind, in my memories, the front door of my house opens. I’ve answered the door. Then blackness, blankness. Nothing but: Cara, my Cara, I must see Cara!
I’m shouting it now, out loud. Screaming it. Black dots back again before my eyes.
Come on. Comprehend. Don’t panic.
Slide down from the door. Look around the room. It’s clean, too clean, apart from the half-eaten fish. White walls. A pine chest of drawers. Potpourri on a dresser. Beige carpets. All normal. My hands ball in and out of fists. It is not normal to me.
And you are not here.
But why, Susan, why would she be here? Was she even at home when that doorbell rang? She’s fifteen, why would she be there, at home, with Mum? She might be safe, somewhere else, happy, even now.
I shake my head. Wrong. It feels wrong. I need to know where you are. Something is telling me, the deep-rooted maternal instinct, that you’re not safe. I need to see you.
Footsteps! From the other side of the door.
A key in the lock. I watch the handle turn. Slowly, the door pushes open.
Him.
How could I have forgotten about him?
We face each other, him standing, me on the floor. Bile rises in my throat.
So.
This is the now-known stranger who has locked me in here. Wherever ‘here’ is. It’s been what – two … three days? He must have drugged the fish. That’s why it took me a while, for any recollection to return.
He’s holding a beaker of water.
‘Thought you might like something to drink, Susan.’
He knows my name. A researched, not random, snatching then. Watching, from afar? For how long?
I stare at him.
‘Where is she?’ I manage. Not my usual voice. My throat is dry. The words are cracked, splitting each syllable in two.
‘You mustn’t hate me, Susan,’ he says.
I wait for more. Some explanation. Nothing.
Could I jump him? Could I run past him, out of the door? I must try, mustn’t I? Even if there is no ‘past him’. He fills the whole doorway.
Stop thinking. Act! Forget the shaking legs. Go, go, go! Storm him, surprise him!
But he is too quick. He slips out. The door closes. The lock turns.
‘They’ll come looking!’ I shout, slamming my hands against the door.
Because they will, won’t they? Paul, even now, must be working with the police, following up trails, looking at traffic cameras, talking to witnesses. Find my wife, he’ll be shouting to anyone who’ll listen. Neighbours, dog-walkers, Mrs Smith from number thirty-nine with that blessed curtain twitching. My afternoon clients, they must have raised the alarm, when I wasn’t there. Right? I must be a missing person by now. Please, whoever has lost me, come and find me.
And, please, let Cara be with you. Let my daughter be safe.
Images of Cara frightened, hunched, bound, dying.
No!
Just focus. Look at the room. How to get out of the room.
Look, a window! High up, narrow, darkness beyond it, but possible maybe?
There’s a kind of ledge. I can pull myself up. Hands over the edge, like that, then come on – jump up, then hang on. Manage to stay there for a moment, before my weak arms fail me. Long enough to judge the window isn’t glass. It’s PCV. Unsmashable. And, of course, there is a window lock. And no key. Locked, I bet, but if I just stretch a hand – but no. I fall.
OK, so I need to put something under the window. That chair. Heavy. I push and pull it to under the window. Placing my hands on the back of the chair, I climb up onto the seat. With my new height, I stretch my arm to the window, then to the window latch.
Locked.
Still. A window is a window. People can see in, as well as out. When it’s day again, I can wave, mouth a distress signal.
So do I sit and wait in the dark until morning? Until I can see the light again?
Or does this man, this man out there, have night-time plans for me? Because you don’t just kidnap a woman and leave her in a room. You want to look at her, presumably, your toy, your little caged bird. Maybe he’s looking at me even now. A camera, somewhere? I draw my legs up close to me and hug them. I stare at the ceiling, every corner. No. No. No. No. I can’t see one.
Which means he must have another agenda.
I shudder.
Think of Cara. Be strong. What’s your best memory of Cara? Proudest mummy moment?
Apart from every morning when I see that beautiful face. I will have that moment again. I will. Just as I’ve had that moment every day since I first held you.
Little baby girl wrapped in a blanket. So precious. Be safe, be warm, always.
But apart from that.
The concert!
Yes, the concert.
All the mums and dads and siblings and assorted hangers-on filing into the school hall. The stage set up ready, music stands, empty chairs. Hustle, bustle, glasses of wine. Me chatting to Alice’s mum – Paul working late – about nothing and everything. Then, the gradual hush of anticipation spreads round the room. The lights dim. On comes the orchestra! And there’s Cara. Her beautiful blonde hair hanging loose, masking her face. She’ll tuck it behind her ear in a minute, I think. And she does. Then the whole audience can see that lovely rose tint to her cheeks, the lips so perfectly cherub-bowed to play the flute that she holds. I want to stand up and say, ‘that’s my daughter!’ Instead I just nudge Alice’s mum and we have a grin. Then there’s the customary fuss and flap as the kids take their seats. All trying to look professional, but someone drops their music, and someone else plucks a stray string of a violin. Not Cara, though. She is sitting straight, flicking stray glances out to the crowd, holding the flute tight on her lap. Come on, Cara, I say to her in my head. Just do it like you’ve practised. All those nights at home, performing to me sometimes so that you have an ‘audience’. You’ll be fine.
And she is fine. When the orchestra starts to play, it’s like she has a solo. You can see the musicianship. All nervousness gone. Head bobbing and darting, fingers flying, like a true flautist. No pretention. Just perfection. Then her actual solo. The flute shining out, beautiful, clear. Wonderful phrasing, beautiful passion. Then she’s frowning slightly – was that a wrong note? Just keep on, keep on, no one will notice. And she does, she keeps going, right to the end.
But wha
t makes me proudest, happiest, is, when her solo is over, she has this magnificent pinky-red flush over the whole of her face, and she gives this quick smile of sheer joy at her accomplishment, a brief look into the audience, before she bows her head and gets back to playing with the rest of the orchestra. Oh, my beautiful bold-shy Cara. How I adore you!
And then.
The memory is spent.
I’m just here again.
In silence.
Waiting.
Alone.
Hoping, praying, that my daughter is safe.
Chapter 2
The headmistress of Cara’s school is occupied with a small handful of girls she has brought together in her study. They’re sitting on chairs in a semicircle surrounding her desk, sipping the tea that she’s given them. Patterned china cups usually reserved for the governors are balanced precariously on saucers. The girls are too busy to worry if they are spilling their tea. Their attention is focused on the man next to the headmistress. He’s a rarity in a school that only has two male teachers. And neither of them have beards. Or wear leather jackets and open-necked shirts. It’s clean-shaven and smart suits or the door for Mrs Cavendish’s staff.
‘Who do you think he is?’ whispers one girl, skinny, ginger, to her companion, slightly rounder, brunette.
Her companion shrugs. ‘New teacher? A friend for Mr Adams and Mr Wilson?’
The skinny ginger girl shakes her head. ‘I don’t think so. I think it’s about Cara.’
‘Everything’s about Cara,’ whispers back the brunette, rolling her eyes.
And it is true. The police cordons. The letters home to parents. The visit from a special psychiatrist. The thoughts, the prayers they have been asked to give her and her family in her conspicuous absence. The anxiety they have shared.
The headmistress clears her throat.
‘Girls, thank you for coming,’ she says, as though there is a choice to disobey the headmistress’s edict. ‘As you will have guessed, this is about Cara.’
The brunette shoots a ‘see what I mean?’ glance at her ginger friend.
‘I’ve asked you bunch here in particular because of your friendship with Cara. I know you must be very upset right now. You’re doing really well. I’m proud of you.’
