Chapter 402 Woman in Painting

  The fat man and the man lie on the wall honestly, trying their best to listen with their ears.

  "But you didn't tell the truth completely last time, did you?" Jiang Cheng's tone changed suddenly, his hands wrapped around his chest and leaning on the back of the sofa, his aura changed the woman's face slightly.

  "Police Officer." Li Zumei hurriedly explained: "I don't understand what you mean. Although what I said before sounds strange, it's all true! Please believe me."

   "Lin Chen's work is really problematic!"

   Jiang Cheng pretended to record in the notebook, raised his head, and gave the woman a continuous look.

   "Repeat what you said last time." Hua Luo looked at the woman's eyes calmly, "We will compare it with the last transcript when we go back."

   "Okay, okay." The woman took out a bottle of mineral water from under the table. After unscrewing, she gurgled and poured half of the bottle, seemingly emotionally stable.

"Probably. It was about mid-July. I received Lin Chen's manuscripts. They are all strange stories. She painted really well." The woman seemed to be in a state and couldn't help but emphasize: "I do this. It’s been 10 years, and it’s the first time I have a work that scares me to go home alone at night."

   "Remember what weird talks were about?"

   "Remember." The woman nodded, "A hunchback, a wig, a shadow that cannot be seen directly, a gap, a nail in a drawer." She counted her fingers and counted them one by one.

   "Although these are good, they don't scare me. The last one scared me." The woman rolled her throat and said.

   "What is it?" Hua Luo couldn't help asking.

"It's her own story." When the woman said this, her expression became strange and fearful, but she was more confused. After a while, she continued: "I don't know how to describe it to you. In short, you .You can see it by looking at it."

"Where?"

  As soon as the voice fell, Jiang Cheng noticed the change in the eyes of the woman in front of him, "The manuscript. Wasn't it taken away by your people?" The woman asked in confusion.

   "Heh." Jiang Cheng chuckled, pulling the woman's attention back, and staring at her with a weird look, "Did you leave a backup? After all, it's such a wonderful story."

  This time it was the woman's turn to look unnatural.

  Jiangcheng leaned forward, very close to the woman, staring at the latter’s eyes, “It’s no good for you to leave those things, we are for your good, otherwise we won’t come today.”

   "I'm sorry, I'll bring it to you right away." After the woman admitted her mistake, she trot to a few bookshelves on the other side, tossed for a while, and then took out a black plastic bag.

  Opened in front of Jiang Cheng. Inside was a kraft paper bag. The woman took out some paper from the kraft paper bag.

  Pinch it in your hand, it has a considerable thickness.

   "It's all here."

The inside of    is the same as that shown by Liu Guo, but the woman’s copy is obviously a photocopy. After a brief review, Jiang Cheng picked up the last strange story.

  He didn't open it immediately, but took a deep breath.

  Unlike other strange stories, this strange story has no name.

  The woman’s explanation was that she didn’t have a name when she came, but she gave it a name called Origin.

  "Origin?" Guan Yuanning, who stood behind Jiang Cheng, looked at the woman, frowning slightly. This name gave her a very bad feeling.

  To be precise, it is anxiety.

  Opening this first draft, looking at it page by page, Jiang Cheng quickly understood why women call it origin.

  Because it is not a strange story, it tells the story of a young woman.

  The time span of the story is very large. The first one was even two years ago when a woman just came to this strange city.

  It can be seen that the painter's brushwork was still very immature.

Then, the woman met a man who treated her very well. In the painter's pen, the man is the best person in the world. He took the woman to the playground, prepared a candlelight dinner for her on her birthday, and stayed with her when she was sick. The men in the pen are meticulous, and the men and women in the pen are happy and warm.

  At this stage, the woman described by the painter is happy.

  But soon, the style of painting slowly changed, and the perspective of narration became weird. The original sunlight was gone, and the background was mostly dark night or rainy.

  The tone of the whole picture is also filled with a gloomy color.

  The man began to become more and more impatient, and he treated women very perfunctorily, coming home more and more late, and even staying out at night.

  Women become herself most of the time.

  Under the background of the lonely city, the artist cleverly used the thick change of color to shrink the single figure created by the woman in the corner of the city.

   Later, there began to appear scenes of men drinking and beating and scolding women. It can be seen that women have made up their minds to leave countless times, but they have been retained by men by various means.

  The man in the painting knows women very well, he knows that she is soft-hearted, and he knows that deep down in her heart, she actually loves herself.

  So he became more and more indulgent. In the picture, more unsightly scenes appeared, and the woman seemed to have given up.

  The young woman in the painting devotes all her energy to the work. There is a huge easel in the room. She can sit in front of the easel and paint all day, from day to night, from day to night to sunrise.

  Her painter has become more proficient, but what is faintly shocking is that her brushwork is getting sharper and the composition is getting bolder.

  The sharp brush is like a knife, cutting the life of the woman in the painting to pieces.

  Across the screen, you can feel the suppressed despair in the woman's heart.

  Until the appearance of another man.

  The portrayal of this man was very unconcerned at first, and the composition was very simple, as if he appeared out of thin air.

  This man is different from the man who appeared at the beginning. He rarely speaks, his actions are simple, and he spends more time with the woman silently.

  And women are not indifferent to him.

But as time passed, the relationship between the two became more and more intimate. The man would squat down very gentlemanly and tidy up her skirts. When she was sick and unhappy, he would silently accompany her by the bed and feed her water intimately. , Use a knife to cut the fruit for the woman.

  In the picture, there is no longer a man from the beginning, and it has almost become the daily life of a woman and this man.

  At this time, Jiang Cheng and others have already seen the weirdness. The woman in the painting is undoubtedly Lin Chen himself, and the first man to appear should be Li Maoshen.

  Now their focus is on this second man.

  Probably he is the man who appeared in Room 808 as Weng Qing said.

  It is weird that the background in the painting is in Lin Chen’s room, so how did they get along for so long before being discovered by Li Maoshen?

  And Jiang Cheng frowned. Seeing this, he clearly felt that the figures in the painting were gradually shrinking, although it was not obvious.

   Soon, he turned to the last few pages.

  At this time, a frame appeared on the edge of the painting, which was painted by Lin Chen. It was relatively detailed, and it was obviously intentional.

  The man is gone, only the woman is left.

  The next one is the last one. The woman sits quietly in front of the easel, but the man still does not appear.

What makes Jiang Cheng even more puzzled is that the style of this painting has also changed. It seems that when Lin Chen painted this painting, he was in extreme fear.

  The face of Li Zume, who was sitting opposite, changed. She stretched out her finger and pointed to the last painting tremblingly, "You guys. Look there."

  The position of her finger is the position of the easel in the painting. The woman in the painting is also painting, but when she sees the painting clearly, Jiang Cheng's pupils suddenly shrink.

  This picture-in-picture is exactly the same as the previous picture with a frame.

No.

   is basically the same one!

   just zooms out the close-up.

  The previous painting is not only Lin Chen's painting, but also Lin Chen's painting of the woman in the painting.

Jiang Cheng immediately figured out the reason. It turned out that the man who appeared was just a vision of the woman in the painting, or a vision ~lightnovelpub.net~ is a kind of psychological dependence that breeds in her heart after she despairs of reality. She imagined an almost perfect man as a substitute for that man in reality.

  And all the paintings about this man are the women in Lin Chen's paintings, or to be more precise, Lin Chen's metaphorical fantasy of himself, there is no such person in reality!

  The last one is realistic. This is what Lin Chen recorded, his true state.

  She is the only person in the room, and the man only exists in her paintings.

  A finger stretched out and pointed to the corner of the last painting. It looked like a mirror there. Lin Chen's painting was very realistic, and the reflection of the mirror was also drawn.

  In the mirror, behind Lin Chen in front of the easel, stands a man in a dark windbreaker. The man is holding Lin Chen's wrist and painting on the drawing paper.

  The only person in the painting is Lin Chen, holding a paintbrush.

   "The man came out of the painting." Li Zumei said tremblingly.

  　2700 words big chapter

  　　

  　

  (End of this chapter)