Wild Sign (Alpha & Omega #6)(6)

He bent down, put his mouth against her ear, and said, in a mock-villain growl, “You’ll have to do better than that to defeat me.”

The rumble of his voice sent chills up her spine. She loved it when he was happy. She was so easy—at least as far as Charles was concerned. She leaned back against him, then tilted her head up. He bent over and kissed her lips.

He started to pull away, hesitated, and came down for a second round. His lips were softer than they looked, sweeping from the corner of her mouth in a gentle caress before pressing her lips open.

His breath became ragged. His muscles, still warming her back, tightened until she might have been leaning against a wall instead of a living being. If there was anything sexier than being desired, she didn’t know what it could be.

Her body became liquid as their lips lingered together, taking the gift of desire and returning it to him. His hand pressed briefly on her breastbone, just above her breast, his touch gentle. Then he slid his hand up until it covered the arch of her throat, fingertips spread to span her jawline, encouraging her to keep her head tilted for his kiss. As if she needed encouragement.

When he finished with her mouth for the moment, his lips brushed her cheekbone and over to her ear, which he nipped. The sharpness after the soft and light touch sent a shock reverberating up her spine.

“Mmm,” she said.

He stepped away from her, breathing hard. His smile was sheepish. “That was a little more than I intended,” he said.

She shrugged, knowing the dismissive gesture would be given the lie by her reddened lips and the arousal he probably would not have to be a werewolf to sense. “I am not taking any of the fault for that, sir.”

He laughed, the sound low and soft. Hot. But he still took another step away—backward, as if he couldn’t quite make himself turn his back on her.

“I have a song for you,” he said. “I’ve been working on this for a while.”

He grabbed one of the cases stacked along the wall of their music room and took out a flute. He gave Anna an assessing look and then pulled her guitar off the wall where it hung with several of his.

She had come to him with nothing, but she had the feeling, given the pleasure he took in giving her things, that her collection of instruments might outpace his in time. She took the guitar when he handed it to her.

“Just what am I supposed to do with this?” she asked archly, but she reversed her position on the piano bench so the piano was at her back and gave the guitar strings an experimental strum, adjusting the high E until the pitch was true. They were new strings, and the E liked to slip.

He didn’t answer her, just pulled up a chair so he would face her when he sat in it. He dragged a low table over beside his chair and set the flute on it. Then he searched the cases and pulled out an instrument she hadn’t seen him use—a viola.

“Oooo,” she said. “Can I see?”

He raised an eyebrow but handed it over. “It’s Da’s,” he told her.

She glanced in the f-hole and found a maker’s ink signature and the date 1872. It didn’t tell her much. She reached out blindly and he gave her the bow. She tested it, tightened a peg an eighth of a turn, and stroked the bow across the strings, smiling at the rich tone.

“Bran has good taste,” she said, handing the viola and bow back to him.

He took more care in tuning it than she had with the guitar—as one does, she thought with amusement. Violas—like their little sister, the violin—were temperamental. When he was satisfied, he sat down, the viola held like a cello, instead of the more usual under-the-chin method.

“Ready?” he asked.

She rolled her eyes. “No? What are we playing? Or do I get to make something up? How about a key signature?”

He grinned. “I have faith. Join in when you are ready.”

He picked up the flute and . . . he was right, she recognized the tune.

She’d been making an effort at reconnecting with a few of her friends from Northwestern. A few months ago one of them had shared a link to a self-proclaimed Mongolian folk metal band. They called themselves the Hu. They played modified traditional Mongolian instruments in addition to those more commonly found in rock bands. They also used a type of throat singing in which a single singer produced more than one note at the same time.

They sounded exactly like what she’d have expected musicians from Genghis Khan’s troops to sound like if they’d been given the power of modern instruments. She loved it.

She’d shared their music with Charles, he’d listened to a couple of songs, nodded his head—and she’d thought that had been that. Apparently, she’d been wrong.

He began, as the original song did, with the flute, switching seamlessly to the viola, which he used to mimic the traditional horsehead fiddle. When he sang, he used the throat-singing technique—in, as far as she could tell, the original Mongolian.

It was a gift. He’d done a great deal of work—and he was a busy man—to prepare this song for her. For a quiet man, Charles was very good at saying “I love you.”

When the song drew to an end, Anna, flushed with enjoyment and pleasure, applauded enthusiastically. “Holy cow. Just wow. I didn’t know you speak Mongolian. You are full of surprises.”

He put the viola away and gave her a lighthearted grin that lit up his face. “I just mimic. Doubtless my song would leave anyone who actually spoke Mongolian scratching their head. And I don’t have the throat singing down right. There’s a vibration technique I haven’t figured out yet. I had to do that on the viola.”