Perfume. The story of a murderer

He went back to his chamber, bathed in sweat and trembling with agitation, no, not with agitation, but with fear, for he finally admitted it to himself: it was naked fear that had seized him, and in admitting it he grew calmer and his thoughts clearer. To be honest, he had not believed in the efficacy of the bishop’s anathema from the start, nor that the murderer was now prowling about Grenoble, nor that he had ever left town. No, he was still living here, among the citizens of Grasse, and at some point he would strike again. Richis had seen several of the girls murdered during August and September. The sight had horrified him, and at the same time, he had to admit, fascinated him, for they all, each in her own special way, had been of dazzling beauty. He never would have thought that there was so much unrecognized beauty in Grasse. The murderer had opened his eyes. The murderer possessed exquisite taste. And he had a system. It was not just that all the murders had been carried out in the same efficient manner, but the very choice of victims betrayed intentions almost economical in their planning. To be sure, Richis did not know what the murderer actually craved from his victims, since he could not have robbed them of the best that they offered-their beauty and the charm of youth… or could he? In any case, it seemed to him, as absurd as it sounded, that the murderer was not a destructive personality, but rather a careful collector. For if one imagined-and so Richis imagined-all the victims not as single individuals, but as parts of some higher principle and thought of each one’s characteristics as merged in some idealistic fashion into a unifying whole, then the picture assembled out of such mosaic pieces would be the picture of absolute beauty, and the magic that radiated from it would no longer be of human, but of divine origin. (As we can see, Richis was an enlightened thinker who did not shrink from blasphemous conclusions, and though he was not thinking in olfactory categories, but rather in visual ones, he was nevertheless very near the truth.) Assuming then-Richis continued in his thoughts -that the murderer was just such a collector of beauty and was working on the picture of perfection, even if only in the fantasy of his sick brain; assuming, moreover, that he was the man of sublime taste and perfect methods that he indeed appeared to be-then one could not assume that he would waive claim to the most precious component on earth needed for his picture: the beauty of Laure. His entire previous homicidal work would be worth nothing without her. She was the keystone to his building.

As he drew this horrifying conclusion, Richis was sitting in his nightshirt on the edge of his bed, and he was amazed at how calm he had become. He no longer felt chilled, was no longer trembling. The vague fear that had plagued him for weeks had vanished and was replaced by the awareness of a specific danger: Laure had quite obviously been the goal of all the murderer’s endeavors from the beginning. And all the other murders were adjuncts to the last, crowning murder. It remained quite unclear what material purpose these murders were intended to serve or if they even had one at all. But Richis had perceived the essence of the matter: the murderer’s systematic method and his idealistic motive. The longer he thought about it, the better both of these pleased him and the greater his admiration for the murderer-an admiration, admittedly, that reflected back upon him as would a polished mirror, for after all, it was he, Richis, who had picked up his opponent’s trail with his own refined and analytical powers of reasoning.

If he, Richis, had been the murderer and were himself possessed by the murderer’s passions and ideas, he would not have been able to proceed in any other fashion than had been employed thus far, and like him, he would do his utmost to crown his mad work with the murder of the unique and splendid Laure.