Tales of Chinatown, Sax Rohmer [mobile ebook reader .TXT] 📗

an extravagant artistic mind, Tcheriapin's career on his own showing had been that of a callous blackguard. I began by being disgusted and ended by being fascinated, not by the man's scandalous adventures, but by the scarcely human psychology of the narrator.

From Warsaw to Budapesth, Shanghai to Paris, and Cairo to London he passed, leaving ruin behind him with a smile—airily flicking cigarette ash upon the floor to indicate the termination of each “episode.”

Andrews watched him in a lowering way which I did not like at all. He had ceased to snort his scorn; indeed, for ten minutes or so he had uttered no word or sound; but there was something in the pose of his ungainly body which strangely suggested that of a great dog preparing to spring. Presently the violinist recalled what he termed a “charming idyll of Normandy.”

“There is one poor fool in the world,” he said, shrugging his slight shoulders, “who never knew how badly he should hate me. Ha! ha! of him I shall tell you. Do you remember, my friends, some few years ago, a picture that was published in Paris and London? Everybody bought it; everybody said: 'He is a made man, this fellow who can paint so fine.'”

“To what picture do you refer?” asked Dr. Kreener.

“It was called 'A Dream at Dawn.'”

As he spoke the words I saw Andrews start forward, and Dr. Kreener exchanged a swift glance with him. But the Scotsman, unseen by the vainglorious half-caste, shook his head fiercely.

The picture to which Tcheriapin referred will, of course, be perfectly familiar to you. It had phenomenal popularity some eight years ago. Nothing was known of the painter—whose name was Colquhoun—and nothing has been seen of his work since. The original painting was never sold, and after a time this promising new artist was, of course, forgotten.

Presently Tcheriapin continued:

“It is the figure of a slender girl—ah! angels of grace!—what a girl!” He kissed his hand rapturously. “She is posed bending gracefully forward, and looking down at her own lovely reflection in the water. It is a seashore, you remember, and the little ripples play about her ankles. The first blush of the dawn robes her white body in a transparent mantle of light. Ah! God's mercy! it was as she stood so, in a little cove of Normandy, that I saw her!”

He paused, rolling his dark eyes; and I could hear Andrews's heavy breathing; then:

“It was the 'new art'—the posing of the model not in a lighted studio, but in the scene to be depicted.

“And the fellow who painted her!—the man with the barbarous name! Bah! he was big—as big as our Mr. Andrews—and ugly—pooh! uglier than he! A moon-face, with cropped skull like a prize-fighter and no soul. But, yes, he could paint. 'A Dream at Dawn' was genius—yes, some soul he must have had.

“He could paint, dear friends, but he could not love. Him I counted as—puff!”

He blew imaginary down into space.

“Her I sought out, and presently found. She told me, in those sweet stolen rambles along the shore, when the moonlight made her look like a Madonna, that she was his inspiration—his art—his life. And she wept; she wept, and I kissed her tears away.

“To please her I waited until 'A Dream at Dawn' was finished. With the finish of the picture, finished also his dream of dawn—the moon-faced one's.”

Tcheriapin laughed, and lighted a fresh cigarette.

“Can you believe that a man could be so stupid? He never knew of my existence, this big, red booby. He never knew that I existed until—until his 'dream' had fled—with me! In a week we were in Paris, that dream-girl and I—in a month we had quarrelled. I always end these matters with a quarrel; it makes the complete finish. She struck me in the face—and I laughed. She turned and went away. We were tired of one another.

“Ah!” Again he airily kissed his hand. “There were others after I had gone. I heard for a time. But her memory is like a rose, fresh and fair and sweet. I am glad I can remember her so, and not as she afterward became. That is the art of love. She killed herself with absinthe, my friends. She died in Marseilles in the first year of the great war.”

Thus far Tcheriapin had proceeded, and was in the act of airily flicking ash upon the floor, when, uttering a sound which I can only describe as a roar, Andrews hurled himself upon the smiling violinist.

His great red hands clutching Tcheriapin's throat, the insane Scotsman, for insane he was at that moment, forced the other back upon the settee from which he had half arisen. In vain I sought to drag him away from the writhing body, but I doubt that any man could have relaxed that deadly grip. Tcheriapin's eyes protruded hideously and his tongue lolled forth from his mouth. One could hear the breath whistling through his nostrils as Andrews silently, deliberately, squeezed the life out of him.

It all occupied only a few minutes, and then Andrews, slowly opening his rigidly crooked fingers, stood panting and looking down at the distorted face of the dead man.

For once in his life the Scotsman was sober, and turning to Dr. Kreener:

“I have waited seven long years for this,” he said, “and I'll hang wi' contentment.”

I can never forget the ensuing moments, in which, amid a horrible silence broken only by the ticking of a clock and the heavy breathing of Colquhoun (so long known to us as Andrews) we stood watching the contorted body on the settee.

And as we watched, slowly the rigid limbs began to relax, and Tcheriapin slid gently on to the floor, collapsing there with a soft thud, where he squatted like some hideous Buddha, resting back against the cushions, one spectral yellow hand upraised, the fingers still clutching a big gold tassel.

Andrews (for so I always think of him) was seized with a violent fit of trembling, and he dropped into the chair, muttering to himself and looking down wild-eyed at his twitching fingers. Then he began to laugh, high-pitched laughter, in little short peals.

“Here!” cried the doctor sharply. “Drop that!”

Crossing to Andrews, he grasped him by the shoulders and shook him roughly.

The laughter ceased, and:

“Send for the police,” said Andrews in a queer, shaky voice. “Dinna fear but I'm ready. I'm only sorry it happened here.”

“You ought to be glad,” said Dr. Kreener.

There was a covert meaning in the words—a fact which penetrated even to the dulled intelligence of the Scotsman, for he glanced up haggardly at his friend.

“You ought to be glad,” repeated Dr. Kreener.

Turning, he walked to the laboratory door and locked it. He next lowered all