Both were alarming signs, because for all her scary sexiness Juliet wears human flesh at a jaunty angle. She’s not human, so a human body is only ever a disguise for her, or a craftily designed lure like an anglerfish’s light. She doesn’t have to breathe or sweat if she doesn’t want to. There are, of course, times when she wants to do both – but this seemed to be involuntary.
A little while later, when I looked at her again out of the corner of my eye, trying not to make a big deal out of it, she’d either fallen asleep or passed out.
She didn’t respond when I whispered her name, and her sharp, sweet scent – the smell that more than anything else defined her in my mind – was gone. She smelled of nothing except a faint, inorganic sourness: an almost chemical odour.
What was going on here? I turned over some possibilities in my mind.
Or maybe this was something completely different: an anti-demonic casting that we were flying into, like the wards and stay-nots that people put up over their doors to stop the dead from crossing the threshold.
Either way, there might be something I could do about it. I started to whistle under my breath, so faintly that it was barely voiced and wouldn’t carry beyond the row of seats we were in. The tune was Juliet: the sequence of notes and cadences that represented her in my mind.
She slept through the whole flight. When the stewardess came round with our meals, I ate one-handed so as not to disturb Juliet. It was an odd and unsettling experience.