Midnight Crossroad Read online

  Ace Books by Charlaine Harris

  The Midnight, Texas, Novels

  MIDNIGHT CROSSROAD

  The Sookie Stackhouse Novels

  DEAD UNTIL DARK

  LIVING DEAD IN DALLAS

  CLUB DEAD

  DEAD TO THE WORLD

  DEAD AS A DOORNAIL

  DEFINITELY DEAD

  ALL TOGETHER DEAD

  FROM DEAD TO WORSE

  DEAD AND GONE

  DEAD IN THE FAMILY

  DEAD RECKONING

  DEADLOCKED

  DEAD EVER AFTER

  A TOUCH OF DEAD

  AFTER DEAD

  Ace Books Edited by Charlaine Harris

  THE SOOKIE STACKHOUSE COMPANION

  Ace Anthologies Edited by Charlaine Harris and Toni L. P. Kelner

  MANY BLOODY RETURNS

  WOLFSBANE AND MISTLETOE

  DEATH’S EXCELLENT VACATION

  HOME IMPROVEMENT: UNDEAD EDITION

  AN APPLE FOR THE CREATURE

  GAMES CREATURES PLAY

  Berkley Prime Crime Books by Charlaine Harris

  SWEET AND DEADLY

  A SECRET RAGE

  The Harper Connelly Mysteries

  GRAVE SIGHT

  GRAVE SURPRISE

  AN ICE COLD GRAVE

  GRAVE SECRET

  The Lily Bard Mysteries

  SHAKESPEARE’S LANDLORD

  SHAKESPEARE’S CHAMPION

  SHAKESPEARE’S CHRISTMAS

  SHAKESPEARE’S TROLLOP

  SHAKESPEARE’S COUNSELOR

  The Aurora Teagarden Mysteries

  REAL MURDERS

  A BONE TO PICK

  THREE BEDROOMS, ONE CORPSE

  THE JULIUS HOUSE

  DEAD OVER HEELS

  A FOOL AND HIS HONEY

  LAST SCENE ALIVE

  POPPY DONE TO DEATH

  Berkley Prime Crime Anthologies Edited by Charlaine Harris

  CRIMES BY MOONLIGHT

  InkLit Graphic Novels by Charlaine Harris

  GRAVE SIGHT

  InkLit Graphic Novels by Charlaine Harris and Christopher Golden

  CEMETERY GIRL: BOOK ONE: THE PRETENDERS

  THE BERKLEY PUBLISHING GROUP

  Published by the Penguin Group

  Penguin Group (USA) LLC

  375 Hudson Street, New York, New York 10014

  USA • Canada • UK • Ireland • Australia • New Zealand • India • South Africa • China

  penguin.com

  A Penguin Random House Company

  This book is an original publication of The Berkley Publishing Group.

  Copyright © 2014 by Charlaine Harris, Inc.

  Penguin supports copyright. Copyright fuels creativity, encourages diverse voices, promotes free speech, and creates a vibrant culture. Thank you for buying an authorized edition of this book and for complying with copyright laws by not reproducing, scanning, or distributing any part of it in any form without permission. You are supporting writers and allowing Penguin to continue to publish books for every reader.

  Ace Books are published by The Berkley Publishing Group.

  ACE and the “A” design are trademarks of Penguin Group (USA) LLC.

  eBook ISBN: 978-1-101-59879-5

  Library of Congress Cataloging-in-Publication Data

  Harris, Charlaine.

  Midnight crossroad / Charlaine Harris. — First edition.

  pages cm — (A novel of Midnight, Texas ; 1)

  ISBN 978-0-425-26315-0 (hardback)

  1. Young women—Fiction. 2. Texas—Fiction. I. Title.

  PS3558.A6427M53 2014

  813'.54—dc23

  2013043340

  FIRST EDITION: May 2014

  Cover illustration © Hugh Syme.

  Cover photographs: Starfield © Chris Rogers / Thinkstock; Red truck © spirit of america / Shutterstock.

  Cover design by Judith Lagerman.

  Endpaper art: Antiques in Display Case © Richard Freeda / Getty; Turquoise Rings © Doug Knight / iStockphoto.

  Interior text design by Tiffany Estreicher.

  This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental.

  Version_1 ScreamQueen

  Contents

  Books by Charlaine Harris

  Title Page

  Copyright

  Dedication

  Acknowledgments and Thanks

  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

  As always, this is for my readers.

  I hope you like this new world and its people.

  ACKNOWLEDGMENTS AND THANKS

  My thanks to Dr. Karen Ross, Dr. Ed Uthman, the Reverend Gary Nowlin, Ellen Dugan (witch and writer), and Mike Meyers, the owner of Purple Heart Pawn. All of you helped me in the writing of this book. If I have made mistakes, they are mine alone. And, as always, thanks to Dana Cameron and Toni L. P. Kelner (aka Leigh Perry), for aid and support above and beyond the call of friendship. Paula, I really appreciate your reading the hate mail so I don’t have to wade through it. Joshua, I couldn’t have a better agent. You and the staff of JABberwocky are my agents of S.H.I.E.L.D. Hal, thanks for staying calm.

  You might pass through the town of Midnight without noticing it, if there weren’t a stoplight at the intersection of Witch Light Road and the Davy highway. Most of the town residents are very proud of the stoplight, because they know that without it the town would dry up and blow away. Because there’s that pause, that moment to scan the storefronts, maybe three cars a day do stop. And those people, more enterprising or curious (or lower on gas) than most, might eat at the Home Cookin Restaurant, or get their nails done at the Antique Gallery and Nail Salon, or fill up their tanks and buy a soda at Gas N Go.

  The really inquisitive ones always go to Midnight Pawn.

  It’s an old building, the oldest building in town. In fact, it was there before the town grew up around it, before there were two roads to intersect. The pawnshop, situated at the northeast corner of the intersection, is stone, like most buildings in Midnight. Rock is easier to come by than timber in West Texas. The colors—beige, brown, copper, tan, cream—lend a certain charm to any house, no matter how small or ill-proportioned. Fiji (“Feegee”) Cavanaugh’s cott
age, on the south side of Witch Light Road, is a prime example. It was built in the nineteen thirties; Fiji (“I’m named for the country; my mom and dad liked to travel”) doesn’t know the exact year. Her great-aunt, Mildred Loeffler, left it to Fiji. It has a stone-flagged front porch big enough for two large urns full of flowers and a little bench. There’s a low wall all around it, and rock columns hold up the porch roof. The large living room, across the whole front of the building, has a fireplace on the right side, which Fiji uses in the winter. The living room is now a shop/meeting place where Fiji holds her classes. Fiji is an avid gardener, like her great-aunt before her. Even at the beginning of fall—which is only a date on the calendar in Texas; it’s still hot as hell—the small front yard is overflowing with flowers, in large tubs and in the ground. The effect is charming, especially when her marmalade cat, Mr. Snuggly, sits like a furry statue amongst the roses, the ice plants, and the petunias. People stop and look, and read the prim, small sign that says THE INQUIRING MIND on the top line, followed by CLASSES FOR THE CURIOUS, EVERY THURSDAY EVENING AT 7:00.

  The Inquiring Mind, most commonly known as Fiji’s house, is on the east side of the Wedding Chapel and Pet Cemetery, run by the Reverend Emilio Sheehan. The Wedding Chapel is open (that is, unlocked) twenty-four/seven, but the sign at the gate of the fenced cemetery behind the chapel informs mourning pet owners that funerals are by appointment. Though his business is to the east of the Davy highway, the Rev’s home lies to the west, to the right of the Home Cookin Restaurant, which is past the closed hotel and the closed hardware store. The Rev’s house is similar to Fiji’s, but it’s older, smaller, and has only sparse grass in the little front yard. It is also in no way welcoming or charming, and he has no cat.

  But back to Midnight Pawn, the largest occupied building in Midnight. The pawnshop has a basement, sort of, which is unusual in Texas. Digging through the rock is a job for the stout of heart, and the original owner of the pawnshop was a formidable individual. That basement is only partly under the ground level; the windows of the two apartments peek out above the hard-baked dirt like suspicious prairie dogs. Most of the time, the prairie dogs’ eyes are shut, since the windows are heavily curtained. The main floor, up a set of six steps at the entrance, is the pawnshop proper, where Bobo Winthrop reigns by day. He has an apartment above the shop, a big one, taking up the whole floor. There are only light curtains over the windows in his personal space. Who is there to look in? There’s nothing else that tall for miles. Bobo bought the house next door in a parcel with the pawnshop. It’s intended for the owner to live in, but at the time he bought the place, Bobo thought he would be just as happy over the shop. He planned to rent the house for extra income. He did some necessary repairs and advertised for years. But no one wanted to rent the house until now.

  Today, the house has a brand-new tenant. Everyone in Midnight (except the Reverend Sheehan; who knows what he thinks?) is excited because the new resident is moving in.

  Fiji Cavanaugh peeks out from behind her lace curtains from time to time and then commands herself to go back to work behind the glass shop counter, which is filled with New Age–type merchandise: glass unicorns, fairy bookmarks, dolphins galore on every conceivable item. On the lower workspace built in behind the high counter, Fiji is mixing an herbal compound that should confound her enemies . . . if she had any. She is fighting the impulse to dig into the Hershey’s Kisses she keeps in a bowl on the counter for her customers. (Her customers just happen to like Fiji’s favorite candy.)

  Across Witch Light Road, at Midnight Pawn, Bobo walks down the enclosed staircase from his apartment. At the pawnshop level, he has choices. There’s a door to his left leading out to the driveway. There’s a short open stairway down to the tenants’ floor. And there’s an inner door to the pawnshop on his right. Bobo should unlock it and enter, since the pawnshop has been closed since Lemuel went to bed a whole two hours before, but Bobo ignores it. He chooses the outer door, relocks it when he’s outside, walks across the graveled driveway leading to the rear of the pawnshop, then over a little strip of downtrodden grass, then across the rutted driveway of the house next door, to offer help to the newcomer, a short, slim man who’s unloading boxes from a U-Haul truck and sweating profusely.

  “Need a hand?” Bobo asks.

  The new tenant says, “Sure, some help would be great. I had no idea how I was going to get the couch out. You can take the time from the store?”

  Bobo laughs. He’s a big golden guy in his thirties, and his laugh is big and golden, too, despite the lines in his face and the expression of his mouth and eyes, which is mostly sad. “I can see if a car pulls in and walk back into the shop in less than thirty seconds,” he says. In no time he’s lifting boxes and putting them where the labels say they should go. Most of the boxes have “Living Room” scribbled on them, and they’re heavy. The bedroom boxes are not so numerous, nor the kitchen boxes. There’s furniture to move, really old furniture that wasn’t that nice to begin with.

  “Yeah,” Bobo says, surveying the interior of the U-Haul. “You would have been up the creek without another pair of hands.”

  Joe Strong, with his little Peke on a leash, strolls over from the Antique Gallery and Nail Salon. He, too, offers assistance. Joe looks like his name. He’s muscular in the extreme, and tan, though thinning brown hair and the lines around his eyes hint that Joe is older than his body suggests. Since Joe’s obviously a great box lifter, the new tenant accepts his help, too, and the job goes faster and faster. The Peke, Rasta, is tethered by his rhinestone leash to the front post of the porch, and the new tenant unearths a bowl from a “Kitchen” box and fills it full of water for the dog.

  Looking out her front window, Fiji wonders if she should go over to help, too, but she knows she can’t carry as much as the guys. Also, Mr. Snuggly has an ongoing feud with Rasta; he would be sure to follow her if she crossed the road. After an hour of inner debate, Fiji decides that she will carry over lemonade and cookies; but by the time she gets everything assembled, the men have vanished. She steps out onto the street to see them heading down to the Home Cookin Restaurant. Apparently, they’re taking a lunch break. She sighs and decides to try again about three o’clock.

  As the small party walks west on the north side of the road, they pass the pawnshop and cross the intersection. The Davy highway is wider and well paved, the newcomer notices. They pass Gas N Go, waving at the middle-aged man inside. Then there’s an alley and another vacant store, and next they’d reach the Antique Gallery and Nail Salon. But instead, they cross Witch Light Road to get to Home Cookin. The newcomer has been taking in the vacant buildings.

  “Are there more people?” the newcomer asks. “Than us?”

  “Sure,” Bobo replies. “There are people strung out along Witch Light and a few on the Davy highway, and farther out there are ranches. We see the ranch families and workers now and then. The few other people who live close, the ones who don’t run ranches, work in Davy or Marthasville. The commute is cheaper than moving.”

  The new tenant understands that the core group of people in Midnight is very small. But that’s fine with him, too.

  When the men (and Rasta) come into the restaurant, Madonna Reed looks up from the infant carrier atop the ancient Formica counter. She’s been playing with the baby, and her face is soft and happy.

  “How’s Grady?” Joe asks. He brings the Peke in with him without any discussion, so the new tenant realizes Joe must do this often.

  “He’s good,” says Madonna. Her smile switches from genuine to professional in a wink. “I see we’ve got a newbie today.” She nods at the new tenant.

  “Yeah, I guess we’ll need menus,” Bobo says.

  The newcomer looks politely from Madonna to the other men. “You must come here often,” he says.

  “All the time,” Bobo says. “We may only have one place to eat fresh-made food, but Madonna’s a great cook, so I’m no
t complaining.”

  Madonna is a plus-size woman with an intimidating Afro. Perhaps her ancestors were from Somalia, because she is tall, there is a reddish cast to her brown skin, and her nose is thin and high-bridged. She is very pretty.

  The newcomer accepts his menu, which is a single-sided typed sheet in a plastic envelope. It’s a bit battered and obviously hasn’t been changed in some time. Today is a Tuesday, and under the heading “Tuesday” he sees he has a choice between fried catfish and baked chicken. “I’ll have the catfish,” he says.

  “What sides with that?” Madonna asks. “Pick two out of the three. The catfish comes with hush puppies.” The sides for Tuesday are mashed potatoes with cheese and onions, slaw, and a baked apple with cinnamon. The new guy picks slaw and an apple.

  They’re sitting at the largest table in the restaurant, a circular one set in the middle of the small room. It seats eight, and the newcomer wonders why they’re at this particular table. There are four booths against the west wall, and two tables for two against the front window, which looks north over Witch Light Road. After looking around, the new guy doesn’t worry about hogging the big table any longer. There’s no one else in the place.

  A short Hispanic man walks in, wearing a crisp striped sport shirt and immaculate khakis with a gleaming brown leather belt and loafers. He’s probably forty. He comes over to the table, kisses Joe Strong on the cheek, and slips into the chair by him. The new customer leans over to give Rasta a scratch on the head before he reaches across the table to shake hands with the new guy. “I’m Chewy Villegas,” he says.

  Not Chewy . . . Chuy. “I’m Manfred Bernardo,” the new guy says.

  “Did Joe help you get settled?”

  “I’d still be moving furniture and boxes if he and Bobo hadn’t shown up. There’s not that much more to go. I can unpack in increments.”

  Chuy bends down to pet the dog. “How’s Rasta been?” he asks his partner.

  Joe laughs. “Ferocious. Scared Manfred to death with his vicious fangs. At least Mr. Snuggly stayed on his side of the road.”

  Though Chuy’s eyes are marked by crow’s feet, his hair does not show a trace of gray. His voice is soft and has a very slight accent, maybe more a careful choice of words, that indicates he was not originally from the United States. He seems to be as muscular as his partner.