Chapter 403 The Woman in the Painting

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

"But you didn't tell the truth last time, didn't you?" Jiang Cheng's tone suddenly changed. He crossed his arms over his chest and leaned against the back of the sofa. The aura he displayed made the woman's face change slightly.

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

"There's something really wrong with Lin Chen's works!"

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

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

"Okay, okay." The woman casually took out a bottle of mineral water from under the table, unscrewed it, and drank half of the bottle. It seemed that her mood had stabilized.

"About mid-July, I received manuscripts from Lin Chen. They were all ghost stories. Her paintings were really good." The woman seemed to be in the mood and couldn't help but emphasize: "I do this business. It’s been 10 years, and this is the first time a work has scared me so much that I dare not walk home alone at night.”

"Remember all those weird stories?"

"Remember." The woman nodded, "The hunchback, the wig, the shadow that cannot be seen directly, the gap, the nails in the drawer." She counted her fingers, one by one.

"Although these are very good, they don't scare me. It's the last one that scares me." The woman said with her throat rolling.

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

"It's her own story." When the woman said this, her expression became strange, with fear, but more of confusion. After a while, she continued: "I don't know how to describe it to you. In short, you You will know just by looking at it.

"Where?"

As soon as Hua Luo finished speaking, Jiang Cheng noticed the change in the eyes of the woman in front of him, "Didn't your people take the manuscript away?" the woman asked doubtfully.

"Haha." Jiang Cheng chuckled, regained the woman's attention, and stared at her with a strange look, "Didn't you leave a backup? After all, it is such a wonderful story."

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

Jiang Cheng leaned forward, very close to the woman, and stared into the latter's eyes, "It's not good for you to keep those things. We are doing it for your own good, otherwise we wouldn't come today."

"I'm sorry, I'll bring it to you right away." After admitting her mistake, the woman immediately ran to several bookshelves on the other side, fiddled with it for a while, and then took out a black plastic bag.

Opening it in front of Jiang Cheng, there was a brown paper bag inside. The woman took out some paper from the brown paper bag.

Holding it in hand, it is quite thick.

"It's all here."

The inside was the same as what Liu Guo showed, but the woman's copy was obviously a copy. After briefly browsing it, Jiang Cheng picked up the last ghost story.

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

Unlike other ghost stories, this one has no name.

The woman's explanation was that she didn't have a name when she came, but she gave her a name, Origin.

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

To be precise, it's uneasiness.

Opening this first draft and flipping through page after page, Jiang Cheng quickly understood why the woman called it Origin.

Because this is not some weird story, it tells the story of a young woman.

The story spans a wide time span, and the very first scene was even from two years ago, when the woman had just arrived in this strange city.

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

Then, the woman met a man who was very kind to her. In the artist's words, the man was the best person in the world. He took the woman to the amusement park, prepared a candlelight dinner for her on her birthday, and stayed with her when she was sick. The men in the novel are meticulous and the men and women in the novel are happy and warm.

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

But soon, the painting style slowly changed, and the narrative perspective became weird. The original sunlight disappeared, and most of the background turned into a dark night or a rainy day.

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

The man began to become more and more impatient, and he was very perfunctory with women. He came home later and later, and even stayed away at night.

Women spend most of their time alone.

Against the lonely city background, the painter skillfully used the rich changes in color to create a solitary figure of the woman, huddled in the corner of the city.

Later, scenes of men drinking heavily and beating and scolding women began to appear. It was obvious that women had made up their minds to leave countless times, but the men had used various means to retain them.

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

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

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

Her painting skills are becoming more and more proficient, but what is slightly alarming is that her brushstrokes are getting sharper and her compositions are getting bolder.

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

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

Until another man appeared.

At first, the depiction of this man was not very careful, and the composition was very simple, as if he appeared out of thin air.

This man was different from the man who appeared at the beginning. He rarely spoke and his movements were simple. Most of the time, he just accompanied the woman silently.

And the woman was neither cold nor indifferent to him.

But as time passed, the relationship between the two became closer and closer. The man would squat down very gentlemanly to tidy up her skirt. When she was sick and unhappy, he would accompany her silently by the bed, feed her water attentively, and use a knife to peel fruits for the woman.

The man at the beginning no longer appeared in the picture, and it almost became the daily life of the woman and this man.

At this time, Jiang Cheng and others had already noticed something strange. The woman in the painting was undoubtedly Lin Chen herself, and the first man who appeared should be Li Maoshen.

Now their focus is on this second man.

I'm afraid he is the man who appeared in Room 808 as Weng Qing said.

But the strange thing is that the background in the painting is all in Lin Chen's room. So how did they get along for so long without being discovered by Li Maoshen?

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

Soon, he turned to the last few pages.

At this time, a frame appeared on the edge of the painting. It was drawn by Lin Chen. It was quite delicate and obviously intentional.

The man disappeared, leaving only the woman.

The next one, which was also the last one, showed a woman sitting quietly in front of the easel, and the man still did not appear.

But what made Jiang Cheng even more puzzled was that the style of this painting had also changed. It seemed that Lin Chen was in extreme fear when he painted this painting.

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

The position of her finger was the position of the easel in the painting. The woman in the painting was also painting, but when Jiang Cheng saw the painting clearly, his pupils suddenly shrank.

This painting in the painting was exactly the same as the previous one with a frame.

No.

It was the same one!

It was just zoomed out.

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

Jiang Cheng immediately figured out the reason. It turned out that the man who appeared was just the woman's idea or a vision in the painting.

It was a kind of psychological dependence that grew in her heart after she despaired of reality. She imagined an almost perfect man as a substitute for the man in reality.

And all the paintings about this man are the woman in Lin Chen's paintings, or more precisely, Lin Chen's metaphorical imagination. There is no such person in reality!

The last one is realistic, which is what Lin Chen recorded, his real state.

She was the only one in the room, and the man only existed in her painting.

A finger stretched out and pointed to the corner of the last painting, which seemed to be a mirror. Lin Chen's painting was very realistic, and the reflection of the mirror was also painted.

In the mirror, behind Lin Chen in front of the easel, stood a man in a dark windbreaker. The man held Lin Chen's wrist and painted on the drawing paper.

In the painting, there was only Lin Chen, holding a paintbrush.

“That man came out of the painting,” Li Zumei said tremblingly.