Perfume. The story of a murderer - Suskind Patrick (читать книги онлайн бесплатно полностью без сокращений .txt) 📗
Naturally there was not room for all these wares in the splendid but small shop that opened onto the street (or onto the bridge), and so for lack of a cellar, storage rooms occupied not just the attic, but the whole second and third floors, as well as almost every room facing the river on the ground floor. The result was that an indescribable chaos of odors reigned in the House of Baldini. However exquisite the quality of individual items-for Baldini bought wares of only highest quality-the blend of odors was almost unbearable, as if each musician in a thousand-member orchestra were playing a different melody at fortissimo. Baldini and his assistants were themselves inured to this chaos, like aging orchestra conductors (all of whom are hard of hearing, of course); and even his wife, who lived on the fourth floor, bitterly defending it against further encroachments by the storage area, hardly noticed the many odors herself anymore. Not so the customer entering Baldini’s shop for the first time. The prevailing mishmash of odors hit him like a punch in the face. Depending on his constitution, it might exalt or daze him, but in any case caused such a confusion of senses that he often no longer knew what he had come for. Errand boys forgot their orders.
Belligerent gentlemen grew queasy. And many ladies took a spell, half-hysteric, half-claustrophobic, fainted away, and could be revived only with the most pungent smelling salts of clove oil, ammonia, and camphor.
Under such conditions, it was really not at all astonishing that the Persian chimes at the door of Giuseppe Baldini’s shop rang and the silver herons spewed less and less frequently.
Ten
“CHENIER!” BALDINI cried from behind the counter where for hours he had stood rigid as a pillar, staring at the door. “Put on your wig!” And out from among the kegs of olive oil and dangling Bayonne hams appeared Chenier-Baldini’s assistant, somewhat younger than the latter, but already an old man himself-and moved toward the elegant front of the shop. He pulled his wig from his coat pocket and shoved it on his head. “Are you going out, Monsieur Baldini?”
“No,” said Baldini. “I shall retire to my study for a few hours, and I do not wish to be disturbed under any circumstances.”
“Ah, I see! You are creating a new perfume.”
BALDSNI: Correct. With which to impregnate a Spanish hide for Count Verhamont. He wants something like… like… I think he said it’s called Amor and Psyche, and comes he says from that… that bungler in the rue Saint-Andre-des-Arts, that… that…
CHENIER: Pelissier.
BALDINI: Yes. Indeed. That’s the bungler’s name. Amor and Psyche, by Pelissier.-Do you know it?”
CHENIER: Yes, yes. I do indeed. You can smell it everywhere these days. Smell it on every street corner. But if you ask me-nothing special! It most certainly can’t be compared in any way with what you will create, Monsieur Baldini.
BALDSNI: Naturally not.
CHENIER: It’s a terribly common scent, this Amor and Psyche.
BALDINI: Vulgar?
CHENIER: Totally vulgar, like everything from Pelissier. I believe it contains lime oil.
BALDINI: Really? What else?
CHENIER: Essence of orange blossom perhaps. And maybe tincture of rosemary. But I can’t say for sure.
BALDINI: It’s of no consequence at all to me in any case.
CHENIER: Naturally not.
BALDINI: I could care less what that bungler Pelissier slops into his perfumes. I certainly would not take my inspiration from him, I assure you.
CHENIER: You’re absolutely right, monsieur.
BALDINI: As you know, I take my inspiration from no one. As you know,! create my own perfumes.
CHENIER: I do know, monsieur.
BALDINI: I alone give birth to them.
CHENIER: I know.
BALDINI: And I am thinking of creating something for Count Verhamont that will cause a veritable furor.
CHENIER: I am sure it will, Monsieur Baldini.
BALDINI: Take charge of the shop. I need peace and quiet. Don’t let anyone near me, Chenier.
And with that, he shuffled away-not at all like a statue, but as befitted his age, bent over, but so far that he looked almost as if he had been beaten-and slowly climbed the stairs to his study on the second floor.
Chenier took his place behind the counter, positioning himself exactly as his master had stood before, and stared fixedly at the door. He knew what would happen in the next few hours: absolutely nothing in the shop, and up in Baldini’s study, the usual catastrophe. Baldini would take off his blue coat drenched in frangipani, sit down at his desk, and wait for inspiration. The inspiration would not come. He would then hurry over to the cupboard with its hundreds of vials and start mixing them haphazardly. The mixture would be a failure. He would curse, fling open the window, and pour the stuff into the river. He would try something else, that too would be a failure, he would then rave and rant and throw a howling fit there in the stifling, odor-filled room. At about seven o’clock he would come back down, miserable, trembling and whining, and say: “Chenier, I’ve lost my nose, I cannot give birth to this perfume, I cannot deliver the Spanish hide to the count, all is lost, I am dead inside, I want to die, Chenier, please, help me die!” And Chenier would suggest that someone be sent to Pelissier’s for a bottle of Amor and Psyche, and Baldini would acquiesce, but only on condition that not a soul should learn of his shame. Chenier would swear himself to silence, and tonight they would perfume Count Verhamont’s leather with the other man’s product. That was how it would be, no doubt of it, and Chenier only wished that the whole circus were already over. Baldini was no longer a great perfumer. At one time, to be sure, in his youth, thirty, forty years ago, he had composed Rose of the South and Baldini’s Gallant Bouquet, the two truly great perfumes to which he owed his fortune. But now he was old and exhausted and did not know current fashions and modern tastes, and whenever he did manage to concoct a new perfume of his own, it was some totally old-fashioned, unmarketable stuff that within a year they had to dilute ten to one and peddle as an additive for fountains. What a shame, Chenier thought as he checked the sit of his wig in the mirror-a shame about old Baldini; a shame about his beautiful shop, because he’s sure to ruin it; and a shame about me, because by the time he has ruined it, I’ll be too old to take it over…
Eleven
GIUSEPPE BALDINI had indeed taken off his redolent coat, but only out of long-standing habit. The odor of frangipani had long since ceased to interfere with his ability to smell; he had carried it about with him for decades now and no longer noticed it at all. And although he had closed the doors to his study and asked for peace and quiet, he had not sat down at his desk to ponder and wait for inspiration, for he knew far better than Chenier that inspiration would not strike-after all, it never had before. He was old and exhausted, that much was true, and was no longer a great perfumer, but he knew that he had never in his life been one. He had inherited Rose of the South from his father, and the formula for Baidini’s Gallant Bouquet had been bought from a traveling Genoese spice salesman. The rest of his perfumes were old familiar blends. He had never invented anything. He was not an inventor. He was a careful producer of traditional scents; he was like a cook who runs a great kitchen with a routine and good recipes, but has never created a dish of his own. He staged this whole hocus-pocus with a study and experiments and inspiration and hush-hush secrecy only because that was part of the professional image of a perfumer and glover. A perfumer was fifty percent alchemist who created miracles-that’s what people wanted. Fine! That his art was a craft like any other, only he knew, and was proud of the fact. He didn’t want to be an inventor. He was very suspicious of inventions, for they always meant that some rule would have to be broken. And he had no intention of inventing some new perfume for Count Verhamont. Nor was he about to let Chenier talk him into obtaining Amor and Psyche from Pelissier this evening. He already had some. There it stood on his desk by the window, in a little glass flacon with a cut-glass stopper. He had bought it a couple of days before. Naturally not in person. He couldn’t go to Pelissier and buy perfume in person! But through a go-between, who had used yet another go-between… Caution was necessary. Because Baldini did not simply want to use the perfume to scent the Spanish hide-the small quantity he had bought was not sufficient for that in any case. He had something much nastier in mind: he wanted to copy it.
