The Good Mother: A tense psychological thriller with a shocking twist. A. Bird L.
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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.