Wild Sign (Alpha & Omega #6)(8)

“My name,” Anna said, letting ice coat her voice, “is Anna Cornick.” Since they were standing on her porch, they already knew her real name.

Second, give the appearance of cooperation—but don’t give them anything you don’t have to.

“He was trying to be tactful,” Leslie said, though she didn’t believe it.

Anna raised an eyebrow. “Werewolves can smell lies.” This was something, like her name, that they also already knew.

Leslie flinched subtly and gave her cohort a grim look. The next sentence out of her mouth was the truth, and she sounded more like a professional agent than a friend. “I’m sorry for the surprise, but we do need to talk to you. Rather than advertising that the FBI came to call on you, can we come in?”

Anna crossed her arms over her chest and snorted. “This is a small town. Everyone already knows you’re here. Sometime in the next ten minutes they’ll look up your plates.”

“It’s a rental car.”

Challenge accepted, Anna thought. “Helen Oxford has a sister who works in the airport in Missoula with the rental car agencies. She won’t have any trouble finding out who rented the car.”

“We drove in from Spokane, not Missoula,” said Leslie.

“Rental car agencies are nationwide companies,” Goldstein remarked to no one in particular. Then he said, “Point taken, Ms. Cornick. If you wish to discuss this on your doorstep . . .” He looked around.

They were surrounded by mountains and forest. There were no nearby houses. The closest neighbor was a half mile away.

“. . . then I see no reason we cannot do that.”

Invite them in, said Brother Wolf.

Anna glanced over her shoulder to see the red wolf standing in most of the available floor of their galley kitchen. She wondered, again, why Bran had decided to give the FBI a werewolf to look at.

It was not a bad idea to remind your enemy of who you are, she supposed. Though she hadn’t thought the FBI were their enemies. She had considered Leslie a friend. But she couldn’t afford them to be friends now.

“We have two items of business to bring before you today,” Goldstein was saying. “We know some things we think you should know. And we’d like to start building toward a more formal relationship that could help us both.”

Brother Wolf had said to let them in, but Anna wasn’t sure it was a good idea. She was reasonably certain that Charles wouldn’t tear into the FBI agents without violent provocation. And she was reasonably certain, having dealt with both agents in the past, that neither of them was likely to be violently provocative. But Brother Wolf was an entirely different kettle of fish.

We’ll behave, Brother Wolf assured her. You can let them in.

“I see,” said Anna. “Perhaps you should come in.”

She stepped back, opening the door as an invitation. The open door also gave them a very good view of Brother Wolf. If the sight of the werewolf bothered them, neither of them let it show. They had met Charles’s wolf before.

Anna waved a hand, directing the agents through the living room and into the dining area beyond. Leslie let Agent Goldstein take the lead, and Anna followed behind them.

Leslie paused, looking at the large painting hung over the fireplace. Other than the various instruments that were scattered about, it was the only piece of art in the room.

It was a new painting, still smelling of oils to Anna’s sensitive nose. The smaller piece it replaced had been moved to their bedroom, both works by the same artist.

On one level, the painting was of a gray wolf—not a werewolf—standing in winter woods. But that wasn’t the lingering impression it made. Whenever Anna looked at it, she could feel the tension drain away and optimism flood in to replace it. Anna had stared at the painting for hours, and she still didn’t know how Wellesley had done it. Wellesley’s work had always been spectacular—but this one, painted after his curse had been removed, was more . . . more something.

Asil had brought it over after Wellesley had left. It had come with a note that read: For Anna. He hadn’t signed either the note or the painting.

“Beautiful piece,” Leslie said, reaching out but not touching the canvas. “Who is the artist?”

“A friend,” answered Anna. She had no idea if Wellesley would be interested in painting as a career again, or what name he would choose when and if he did. But she did think if he had wanted people to know who had painted it, he would have signed it. If she and Leslie were being friendly, she might have told her so. As it was, the words lingered in the air.

Leslie frowned at Anna but continued on to the dining room to sit beside Goldstein. Once she was seated, she glanced over her shoulder at the painting again.

Anna pulled up a seat opposite the two agents. Charles moved to her side and stared at them. Neither agent stared back at him, which was smart of them. Charles was not happy.

“We are,” Anna began softly, “very interested in who told you where we live.”

Goldstein nodded and put his briefcase—a battered leather case that had seen better days—on the table and opened it. He pulled out a thick file in a folder and held it out to Anna. Taped to the front of the folder was a thumb drive. When she didn’t take it, he set in on the table between them.

“Most of what we know about werewolves has been gathered in bits and pieces for decades, if not longer.” Goldstein’s voice had a faint New York accent Anna hadn’t caught before. “A slip here, a note there. A colleague of mine has been riding a hobbyhorse of werewolf lore for the entirety of his forty-year career at the bureau. You’ll find most of the general information comes to us from the armed forces—apparently there have been a great many werewolves over the years who have served their country.”