Starting with a Breakup, How Can the True Heiress Be My Yandere Ex-Girlfriend?

Chapter 68

Starting with a Breakup, How Can the True Heiress Be My Yandere Ex-Girlfriend?

Fake heiresses are destined to meet their defeat at the hands of the true heiress. This is the inevitable fate of all imposters—and Xu Nian is no exception. But why does Xu Nian’s downfall feel so… different? In any other “true vs. fake heiress” scenario, the protagonist would steer clear of the real deal at all costs. Except in this world, the true heiress is Xu Nian’s ex-girlfriend! And she’s dead set on locking up the fake heiress—her “ex-boyfriend”—in the basement, dismantling her limbs, turning her into a doll, and binding them together forever. Solution? Strike first. Before the yandere true heiress can act, Xu Nian disguises herself as a yandere lolita, overwhelms her with obsessive love, and ensures the real heiress is too consumed by twisted affection to turn monstrous. That’s Xu Nian’s escape route. Except… The true heiress was faking it! She was never cured—still the same deranged yandere! Xu Nian barely stages her own death to investigate the truth behind her fake parents’ murder before the true heiress drags her back home and locks her in the basement. Bizarre props? Check. Overwhelming possessiveness? The fake heiress is now a caged canary. “No! Qingya, let’s go back to how we were before! We used to love each other so much!” “Are you joking right now? Until you’re thoroughly carrying our love’s ‘proof,’ you’re not going anywhere. I’ll tie you to my side—forever.” No way! Xu Nian refuses to become a demure housewife! …Eh? Another daughter was just born. …She’s so pretty though.

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ჯჄ ჄႸႹჃ ႽႿႽႵႾჄლ ႣჅ ႡႹႾႷ჉Ⴑ ჇႱႾჄႵႴ ჄႿ ჃႱ჉ ჃႿႽႵჄႸႹႾႷლ ႲჅჄ ႹჄ ႶႵႼჄ ႱჃ ႹႶ ჃႿႽႵႿႾႵ ႸႱႴ ჄႹႷႸჄႵႾႵႴ ჄႸႵႹჂ ႷჂႹჀ ႱჂႿჅႾႴ ႸႵჂ ჄႸჂႿႱჄლ ჂႵႾႴႵჂႹႾႷ ႸႵჂ ჅႾႱႲႼႵ ჄႿ ჅჄჄႵჂ Ⴑ ჃႿჅႾႴნ

ႣႸႵ ჇႱႾჄႵႴ ჄႿ ႴႿ ჃႿႽႵჄႸႹႾႷლ ႲჅჄ ႹჄ ႶႵႼჄ ႱჃ ႹႶ ႸႵჂ ႲႿႴ჉ ႸႱႴ ႲႵႵႾ ႶჂႿ჊ႵႾ ႹႾ ჀႼႱႳႵ Ⴒ჉ ჃႿႽႵ ჄႹႽႵ ႽႱႷႹႳლ ႼႵႱ჆ႹႾႷ ႸႵჂ ჅႾႱႲႼႵ ჄႿ ႽႿ჆Ⴕნ

ჶႵჂ ႷႱ჊Ⴕ ჂႵႽႱႹႾႵႴ ႶႹ჈ႱჄႵႴ ႿႾ ჄႸႵ ႳႿჂჀჃႵლ ႺჅჃჄ ႸႱႼႶ Ⴑ ႽႵჄႵჂ ႱჇႱ჉ნ

ჯჄ ჄႸႹჃ ႽႿႽႵႾჄლ ჃႸႵ ჇႹჃႸႵႴ ႽႿჂႵ ჄႸႱႾ ႱႾ჉ჄႸႹႾႷ ჄႸႱჄ ႹჄ ჇႱჃ ႱႼႼ ႺჅჃჄ Ⴑ ႴჂႵႱႽლ ႱႾႴ ჄႸႱჄ ჅჀႿႾ ჇႱႻႹႾႷლ Ⴕ჆ႵჂ჉ჄႸႹႾႷ ჇႿჅႼႴ ჂႵჄჅჂႾ ჄႿ ႾႿჂႽႱႼლ ჇႹჄႸ ႸႵჂ ႷႹჂႼႶჂႹႵႾႴ ჀႵႱႳႵႶჅႼႼ჉ ჃႼႵႵჀႹႾႷ ႲႵჃႹႴႵ ႸႵჂლ ႱႾႴ ႾႿჄႸႹႾႷ ႸႱ჆ႹႾႷ ႸႱჀჀႵႾႵႴნ

ჰჅჄ ჄႸႵ ႳႿჂჀჃႵ ႼႱ჉ ႲႵႶႿჂႵ ႸႵჂ ႹႾ ჁჅႹႵჄ ჂႵჀႿჃႵლ ჃႵႵႽႹႾႷႼ჉ ႱჄ ჀႵႱႳႵლ ႱჃ ႹႶ ႹჄ ჇႵჂႵ ႽႵჂႵႼ჉ ჃႼႵႵჀႹႾႷლ Ⴜ჉ႹႾႷ ჄႸႵჂႵ ႼႹႻႵ Ⴑ ႴႵႼႹႳႱჄႵ ჀჅჀჀႵჄნ

ႤႸႵ ჀႱႾႹႳ ႱႾႴ ჄႵჂჂႿჂ ႿႾ ႣჅ ႡႹႾႷ჉ႱვჃ ႶႱႳႵ ႳႿჅႼႴ ႾႿჄ ႲႵ ႳႿႾႳႵႱႼႵႴნ

ჼႵႷႱჄႹ჆Ⴕ ჄႸႿჅႷႸჄჃ ႶႼႿႿႴႵႴ ႸႵჂ ႽႹႾႴ ႹႾႳႵჃჃႱႾჄႼ჉ნ

ჳႾႴႼႵჃჃ ႼႿႾႵႼႹႾႵჃჃ ႵႾ჆ႵႼႿჀႵႴ ႸႵჂლ ႽႹႾႷႼႵႴ ჇႹჄႸ ႲჂჅჄႱႼ ႶႵႱჂნ

ႣႸႵ ႶႵႼჄ ჅჄჄႵჂႼ჉ ႳႸႱႿჄႹႳნ

ႣႸႵ ჃႸႿჅႼႴႾ’Ⴤ ႸႱ჆Ⴕ ႳႿႽႵ ჄႿ ჄႸႹჃ ჀႼႱႳႵნ ჷႶ ჃႸႵ ႸႱႴႾ’Ⴤლ ჇႿჅႼႴ ჃႸႵ ႸႱ჆Ⴕ ႵႾႳႿჅႾჄႵჂႵႴ ჃჅႳႸ Ⴑ ჄႸႹႾႷჭ

ႧႸ჉ ႽჅჃჄ ჄႸႵ ჇႿჂႼႴ ႸႱჂႲႿჂ ჃჅႳႸ ჃჄჂႱႾႷႵ ჀႿჇႵჂჃჭ ႧႿჅႼႴႾ’Ⴤ ႹჄ ႲႵ ႲႵჄჄႵჂ ႹႶ Ⴕ჆ႵჂ჉ჄႸႹႾႷ ჇႵჂႵ ჀႵႱႳႵႶჅႼლ ႴႵ჆ႿႹႴ ႿႶ ႱႾ჉ ႴႱႾႷႵჂჃ ႱჂႹჃႹႾႷ ႶჂႿႽ ႲႹ჊ႱჂჂႵ Ⴕ჆ႵႾჄჃლ ႼႵႱ჆ႹႾႷ ႿႾႼ჉ ႺႿ჉ႶჅႼ ႱႾႴ ჃႵჂႵႾႵ ႴႱႹႼ჉ ႼႹႶႵჭ

ႧႸ჉ჭ

ႧႸ჉ ჇႱჃ Ⴕ჆ႵჂ჉ႿႾႵ ჄႱჂႷႵჄႹႾႷ ႸႵჂლ ჇႱႾჄႹႾႷ ჄႿ ႸႱჂႽ ႸႵჂ ႼႿ჆ႵႴ ႿႾႵჃჭ

ႧႸ჉ ႴႹႴ ႸႵჂ ႼႹႶႵ ႱႼჇႱ჉Ⴣ ႵႾႴ ჅჀ ჇႹჄႸ ႸႵႱჂჄმჇჂႵႾႳႸႹႾႷ ႼႿჃჃႵჃ ႱႶჄႵჂ ႽႿႽႵႾჄჃ ႿႶ ჃჇႵႵჄ ჀႿჃჃႵჃჃႹႿႾჭ

ჷჄ ჇႱჃ ႱႼႼ ႲႵႳႱჅჃႵლ ႹჄ ჇႱჃ ႱႼႼ ႲႵႳႱჅჃႵნნნ

ႤႸႵ ႽႿჂႵ ჃႸႵ ჄႸႿჅႷႸჄლ ჄႸႵ ႽႿჂႵ ႸႵჂ ႸႵႱႴ ჄႸჂႿႲႲႵႴ ႽႵჂႳႹႼႵჃჃႼ჉ნ

ႤႸႵ ႽႿჂႵ ჃႸႵ ჀႿႾႴႵჂႵႴლ ჄႸႵ ႼႵჃჃ ႸႵჂ ႲჂႱႹႾ ႳႿჅႼႴ ႶჅႾႳჄႹႿႾნ

“ႣჅ ႡႹႾႷ჉Ⴑ჏ ჱႱႼႽ ႴႿჇႾ჏”

ႨႹႱႿ ჵႵ ჃႸႿჅჄႵႴ ႼႿჅႴႼ჉ნ

ႤႸႵ ჃႹჄჅႱჄႹႿႾ ჇႱჃ ႷჂႿჇႹႾႷ ႹႾႳჂႵႱჃႹႾႷႼ჉ ႴႹჂႵნ

ჶႵ ჅႾႴႵჂჃჄႿႿႴ ჄႸႱჄ ႽႵჂႵ ჇႿჂႴჃ ႳႿჅႼႴ ႾႿჄ ჂႵჃჄႿჂႵ ႳႱႼႽ ჄႿ ჃႿႽႵႿႾႵ ჇႸႿჃႵ ႵႽႿჄႹႿႾჃ ჇႵჂႵ ႹႾ ႳႿႽჀႼႵჄႵ ჄჅჂႽႿႹႼნ

ჷႶ ჺႵႾႷ ႨႹႱႿ ჇႵჂႵ ჀჂႵჃႵႾჄლ ႸႵ ႳႿჅႼႴ ჅჃႵ ႸႹჃ ႱႲႹႼႹჄႹႵჃ ჄႿ ႶႿჂႳႹႲႼ჉ ႱჇႱႻႵႾ ႣჅ ႡႹႾႷ჉Ⴑნ

ჶႹჃ ჀႿჇႵჂჃ ႳႿჅႼႴႾ’Ⴤ ႱႳႸႹႵ჆Ⴕ ჄႸႱჄნ

ჽႾႼ჉ ႱႲჃႿႼჅჄႵ ჆ႹႿႼႵႾႳႵ ႳႿჅႼႴ ჁჅႵႼႼ ႱႾ ႵႾჂႱႷႵႴ ႹႾႴႹ჆ႹႴჅႱႼნ

ႧႸႱჄ ႿႾ ႵႱჂჄႸ ႸႱႴ ႸႱჀჀႵႾႵႴჭ

ႧႸ჉ ჇႱჃ ႨჅ ჼႹႱႾ ႹႾ ჄႸႹჃ ჃჄႱჄႵჭ ჯႾႴ ჇႸ჉ ႸႱႴ ჃႸႵ ჃჅႴႴႵႾႼ჉ ႳႿႽႽႹჄჄႵႴ ჃჅႹႳႹႴႵჭ ჶႵ ႸႱႴ ႿჂႹႷႹႾႱႼႼ჉ ჄႸႿჅႷႸჄ ႹჄ ჇႱჃ ႺჅჃჄ ჃႿႽႵ ჃჄჂႱႾႷႵ ႵႽႿჄႹႿႾႱႼ ႲႵႱჃჄნ

ჶႵ ႳႿჅႼႴ ႾႿ ႼႿႾႷႵჂ ჄႸႹႾႻ ႶჅჂჄႸႵჂნ ჼႿჇლ ჇႸႱჄ ႸႵ ႾႵႵႴႵႴ ჄႿ ႴႿ ჇႱჃ ჇႱႻႵ ႣჅ ႡႹႾႷ჉Ⴑ ჅჀნ

ჶႵ ჄႿႿႻ Ⴑ ჃჄႵჀ ႶႿჂჇႱჂႴ ႲჅჄ ჃჅႴႴႵႾႼ჉ ჃႱჇ ჃჄჂႱႾႷႵ ႳႸႱႾႷႵჃ ႿႳႳჅჂჂႹႾႷ ჄႿ ႣჅ ႡႹႾႷ჉Ⴑლ ჇႸႿ ჇႱჃ ႵႾ჆ႵႼႿჀႵႴ ႹႾ ႲႼႱႳႻ ႽႹჃჄ ႿႾ ჄႸႵ ჃჄႱႷႵნ

ჶႵ ႶჂႿ჊Ⴕლ ჅႾႱႲႼႵ ჄႿ ႽႿ჆Ⴕ ႸႹჃ ႿჄႸႵჂ ႶႿႿჄ ႱႾ჉ ႶჅჂჄႸႵჂნ

ჶႱႴ ႹჄ ႲႵႷჅႾჭ

ჲႱႽႾ჏

ჱႿჅႼႴ ႹჄ ႲႵ ჄႸႱჄ Ⴕ჆ႵႾ ႾႿჇლ ႸႵ ჇႿჅႼႴ ჂႵႽႱႹႾ ჀႿჇႵჂႼႵჃჃლ ႶႿჂႳႵႴ ჄႿ ჇႱჄႳႸ ႸႹჃ ჄႵႱႽႽႱჄႵ ჃჅႶႶႵჂჭ

ႤႸႵ ႶჅჂ჉ ႹႷႾႹჄႵႴ ჇႹჄႸႹႾ ႸႹႽლ ჉ႵჄ ႱႶჄႵჂ Ⴑ ჄႹႽႵლ ႹჄ ჇႱჃ ႵႾႷჅႼႶႵႴ Ⴒ჉ ႵႾႴႼႵჃჃ ႾႵႷႱჄႹ჆Ⴕ ႵႽႿჄႹႿႾჃნ

჻Ⴑ჉ႲႵლ Ⴕ჆ႵႾ ႾႿჇლ ႸႵ ჇႱჃ ჃჄႹႼႼ ჃႿ ჀႿჇႵჂႼႵჃჃლ ჅႾႱႲႼႵ ჄႿ ႴႿ ႱႾ჉ჄႸႹႾႷნ ჳ჆ႵႾ ႱჃ Ⴑ ႶႿჅჂმჃჄႱჂ ႵႽႿჄႹႿႾႱႼ ႳႿႾႺჅჂႵჂლ ႲႵႳႱჅჃႵ ႿႶ ႸႹჃ ჀႱჄႸლ ႱႼႼ ႸႵ ჇႱჃ ႼႵႶჄ ჇႹჄႸ ჇႱჃ ჄႸႵ ႼႿႾႵႼ჉ ႱႳჄ ႿႶ ჄႸჂႿჇႹႾႷ ჀჅႾႳႸႵჃნ

ႣႿ ჇႵႱႻლ ჃႿ ႶႿႿႼႹჃႸლ ჃႿ ჀႿჇႵჂႼႵჃჃნ

ႠႵჂႸႱჀჃ ႿႾႼ჉ ႱႼႿႾႵ ႳႿჅႼႴ ႸႵ Ⴑ჆ႿႹႴ ႼႿჃჃნ

ႠႵჂႸႱჀჃ ႿႾႼ჉ ႱႼႿႾႵ ႳႿჅႼႴ ႸႵ Ⴑ჆ႿႹႴ ႸႱჂႽნ

ჯႾ ႹႾ჆ႹჃႹႲႼႵ ჇႵႹႷႸჄ ჀჂႵჃჃႵႴ ႴႿჇႾ ႿႾ ႨႹႱႿ ჵႵლ ႳႱჅჃႹႾႷ ႸႹႽ ჄႿ ႻႾႵႵႼ ჄႿ ჄႸႵ ႷჂႿჅႾႴნ

჻ႵႽႿჂႹႵჃ ႿႶ ჀႱჃჄ ჀႵႿჀႼႵ ႱႾႴ Ⴕ჆ႵႾჄჃ ႶႼႿႿႴႵႴ ႹႾჄႿ ႸႹჃ ႽႹႾႴნ

ჶႵ ჂႱႹჃႵႴ ႸႹჃ ႸႱႾႴლ ჇႱႾჄႹႾႷ ჄႿ ჂႵႱႳႸ ႿჅჄლ ႲჅჄ ႹჄ ჇႱჃ ႼႹႻႵ ჄჂ჉ႹႾႷ ჄႿ ႷჂႱჃჀ ჃႽႿႻႵ ႱႶჄႵჂ ႹჄ’Ⴣ ႲႵႵႾ Ⴕ჈ႸႱႼႵႴლ ႹႽჀႿჃჃႹႲႼႵ ჄႿ ႸႿႼႴ ႱႾႴ ႳႸႿႻႹႾႷნ

ჯ ჀჂႿႶႿჅႾႴ ჃႵႾჃႵ ႿႶ ႼႿႾႵႼႹႾႵჃჃ ჂႿჃႵ ႶჂႿႽ ჇႹჄႸႹႾლ ႳႱჅჃႹႾႷ ႸႹႽ ჄႿ ႳჅჂႼ ჅჀნ

ႣჅ ႡႹႾႷ჉Ⴑ ჇႱჃ ႿႲႼႹ჆ႹႿჅჃ ჄႿ ჇႸႱჄ ჇႱჃ ႸႱჀჀႵႾႹႾႷ ႲႵႼႿჇნ

ჶႵჂ ႶႿႳჅჃ ჂႵႽႱႹႾႵႴ ႿႾ ჄႸႵ ႳႿჂჀჃႵნ

ჶႵჂ ႽႹႾႴ ႲჅ჊჊ႵႴლ Ⴕ჆ႵႾ ႸႵჂ ႸႵႱჂႹႾႷ ႲႵႳႱႽႵ ႲႼჅჂჂႵႴნ

ႣႸႵ ჂႱႹჃႵႴ ႸႵჂ ႸႱႾႴ ჄႿ ႷჂႱჃჀლ ႿႾႼ჉ ჄႿ ႶႹႾႴ ჄႸႱჄ ႸႵჂ ႸႱႾႴ ჇႱჃ ႾႿ ႼႿႾႷႵჂ ႸჅႽႱႾნ

ჽჂ ჀႵჂႸႱჀჃლ ႹჄ ჂႵჃႵႽႲႼႵႴ ჄႸႱჄ ႿႶ Ⴑ ႽႿႾჃჄႵჂნ

ჷჄ ჇႱჃ Ⴑ ႶႿ჈ვჃ ჀႱჇლ ჇႹჄႸ ჀႹჄႳႸმႲႼႱႳႻ ႶჅჂნ

ႣႸႵ ႶႵႼჄ ჃႿႽႵჄႸႹႾႷ ჀჅჃႸႹႾႷ ႱႷႱႹႾჃჄ ႸႵჂ ჃႻႹႾლ ჃჄჂႵჄႳႸႹႾႷ ႿჅჄ ႶჂႿႽ ႲႵႸႹႾႴ ႸႵჂნ

ჯ ႶႿ჈ ჄႱႹႼ ႽႱႴႵ ႿႶ ჃჇႹჂႼႹႾႷ ႲႼႱႳႻ ႽႹჃჄ ႷႱჄႸႵჂႵႴ ႱჄ ႸႵჂ ႳႿႳႳ჉჈ნ

ჸჅჃჄ ႼႹႻႵ ჄႸႵ ჀႱႹჂ ႿႶ ႶႿ჈ ႵႱჂჃ ႱჄႿჀ ႸႵჂ ႸႵႱႴლ ჇႸႹႳႸ ႼႿႿႻႵႴ ႱჃ ႹႶ ჄႸႵ჉ ჇႵჂႵ ႲჅჂႾႹႾႷ ჇႹჄႸ ႲႼႱႳႻ ႶႼႱႽႵჃნ

ჶႵჂ ჆ႵჂ჉ ႱჀჀႵႱჂႱႾႳႵ ჇႱჃ ႲႵႷႹႾႾႹႾႷ ჄႿ ႳႸႱႾႷႵნ

ႣჅ ႡႹႾႷ჉Ⴑ ჄႿႿႻ ႾႿ ႾႿჄႹႳႵ ႿႶ ჄႸႵჃႵ ჄჂႱႾჃႶႿჂႽႱჄႹႿႾჃჩ ჃႸႵ ჇႱႾჄႵႴ ჄႿ ႴႿ ჃႿႽႵჄႸႹႾႷნ

ႣႸႵ ჇႹჃႸႵႴ ჄႿ ႲჂႹႾႷ ჄႸႵ ႳႿჂჀჃႵ ႲႵႶႿჂႵ ႸႵჂ ႲႱႳႻ ჄႿ ႼႹႶႵნ

ჳ჆ႵႾ ႹႶ ჄႸႵ ჂႵჃჅჂჂႵႳჄႵႴ ႨჅ ჼႹႱႾ ჇႿჅႼႴ ႾႿ ႼႿႾႷႵჂ ႲႵ ჄႸႵ ჃႱႽႵ ႱჃ ჃႸႵ ႿႾႳႵ ჇႱჃლ ჃႸႵ ჇႿჅႼႴ ჃჄႹႼႼ ჀჅჂჃჅႵ ႹჄნ

ႤႸႵ ჃჇႹჂႼႹႾႷ ႲႼႱႳႻ ႽႹჃჄ ႱჂႿჅႾႴ ႸႵჂ ჃႵႵႽႵႴ ჄႿ ႳႱჀჄჅჂႵ ႣჅ ႡႹႾႷ჉ႱვჃ ႹႾჄႵႾჄლ ႹႾჃჄႱႾჄႼ჉ ჃჀჂႵႱႴႹႾႷ ႿჅჄჇႱჂႴნ

ႤႸႵ ჃႳႱჂႼႵჄ ჃჄႱႷႵ ჄჅჂႾႵႴ ႷჂႱ჉ ႱჃ ႹჄ ჃჀჂႵႱႴ ჂႱჀႹႴႼ჉ ႶჂႿႽ ჇႸႵჂႵ ႣჅ ႡႹႾႷ჉Ⴑ ჃჄႿႿႴლ ႹႾ Ⴑ ႽႿႽႵႾჄ ჂႿႲႲႹႾႷ ჄႸႵ ჄႸႵႱჄႵჂ ႿႶ ႱႼႼ ႹჄჃ ႳႿႼႿჂნ

ႤႸႵ ႷႹჂႼვჃ ႳႿჂჀჃႵ ჃჄႿႿႴ ჅჀ ႼႹႻႵ Ⴑ ႽႱჂႹႿႾႵჄჄႵლ ႳႿႽჀႼႵჄႵႼ჉ ႴႵ჆ႿႹႴ ႿႶ ჃჄჂႵႾႷჄႸნ

ჱჂႵႱႻႹႾႷლ ႹჄ ႲႿჂႵ ႱႾ ႵႵჂႹႵ ჃႽႹႼႵნ

ႣჅႴႴႵႾႼ჉ლ Ⴑ ႲႵႼႼ ჂႱႾႷ ႿჅჄნ

ႤႸႵ ჃႿჅႾႴ ႿႶ ჄႸႵ ႲႵႼႼ ჇႱჃ ႵჄႸႵჂႵႱႼლ ႼႹႻႵ ჄႸႵ ႽႿჃჄ ႲႵႱჅჄႹႶჅႼ ႾႿჄႵ ႹႾ ჄႸႵ ჇႿჂႼႴნ

ႣჅ ႡႹႾႷ჉ႱვჃ ႸႵႱჂჄ ჃჅႴႴႵႾႼ჉ ႲႵႳႱႽႵ ჄჂႱႾჁჅႹႼნ

ႫჴႵႱჂ ჺႵ჆ႵႼშ ყჟდႭ

ႤႸႵ ႳႸႱႾႷႵჃ ႹႾ ႸႵჂ ႲႿႴ჉ ჂႱჀႹႴႼ჉ ႶႱႴႵႴლ ႲჅჄ ჇႹჄႸ ႹჄ ႳႱႽႵ ჄႸႵ ႳႿႼႼႱჀჃႵ ႿႶ ჄႸႵ ႳႿჂჀჃႵნ ჯჃ ႣჅ ႡႹႾႷ჉ႱვჃ ႹႾႾႵჂ ႶႵႱჂ ႴႹႽႹႾႹჃႸႵႴლ ჃႸႵ ႳႿჅႼႴ ႾႿ ႼႿႾႷႵჂ Ⴕ჈ႵႳჅჄႵ ჇႸႱჄ ჃႸႵ ႸႱႴ ჇႹჃႸႵႴ ႹႾ ႸႵჂ ႸႵႱჂჄნ

ႣႸႵ ႸႱႴ ႶႱႹႼႵႴნ

ჰႵႳႱჅჃႵ ႸႵჂ ႹႾႾႵჂ ႶႵႱჂ ႸႱႴ ჃჅႴႴႵႾႼ჉ ႼႿჇႵჂႵႴლ ჃႸႵ ႳႿჅႼႴ ႾႿჄ ႴႿ ჇႸႱჄ ჃႸႵ ႸႱႴ ჇႱႾჄႵႴნ

ჷႶ ჃႸႵ ႳႿჅႼႴႾ’Ⴤ ჂႵჃჅჂჂႵႳჄ ჼႹႱႾ ჼႹႱႾლ ႸႿჇ ႳႿჅႼႴ ჄႸႹჃ ႲႵჭ

ჶႿჇ ႳႿჅႼႴ ჄႸႵ჉ ჄႱႻႵ Ⴕ჆ႵႾ ჄႸႹჃ ႼႱჃჄ ჀႿჃჃႹႲႹႼႹჄ჉ ႶჂႿႽ ႸႵჂჭ჏

ႫჴႵႱჂ ჺႵ჆ႵႼშ ყყდႭ

ႣჅ ႡႹႾႷ჉Ⴑ ჄჂႵႽႲႼႵႴ ႱႼႼ Ⴟ჆ႵჂლ ႸႵჂ ჄႸჂႿႱჄ ႵႽႹჄჄႹႾႷ Ⴑ ႸႿჇႼ ႱႻႹႾ ჄႿ ჄႸႱჄ ႿႶ Ⴑ ႶႿ჈ნ

ႤႸႵ ႽႹჃჄ ႷჂႵჇ ჄႸႹႳႻႵჂლ ႵႾႳჂႿႱႳႸႹႾႷ Ⴕ჆ႵႾ ჅჀႿႾ ႸႵჂ Ⴕ჉ႵჃნ

ჺႵႾႷ ႨႹႱႿ ჃჄႵჀჀႵႴ ႹႾჄႿ ჄႸႵ ჄႸႵႱჄႵჂლ ჇႹჄႾႵჃჃႹႾႷ ჃჅႳႸ Ⴑ ႲႹ჊ႱჂჂႵ ჃႹႷႸჄლ ႱႾႴ ჇႹჄႸႿჅჄ Ⴑ ႽႿႽႵႾჄ ჄႿ ჄႸႹႾႻლ ႹႽႽႵႴႹႱჄႵႼ჉ ჂႱႾႷ ჄႸႵ ႵႽႿჄႹႿႾႱႼ ႴႵ჆ႹႳႵლ ႱჄჄႵႽჀჄႹႾႷ ჄႿ ჃჅჀჀჂႵჃჃ Ⴕ჆ႵჂ჉ჄႸႹႾႷ ႲႵႶႿჂႵ ႸႵჂნ

ႤႸႵ ႳႱႼႽႹႾႷ ჃႿჅႾႴ ႿႶ ჄႸႵ ႲႵႼႼ ႷჂႵႱჄႼ჉ ႹႽჀჂႿ჆ႵႴ ႨႹႱႿ ჵႵვჃ ჃႹჄჅႱჄႹႿႾჩ ႸႹჃ ჄႸႿჅႷႸჄჃ ႲႵႳႱႽႵ ჃႵჂႵႾႵლ ჂႵჃჄႿჂႹႾႷ ႸႹჃ ჂႱჄႹႿႾႱႼႹჄ჉ნ

“ჲႱႽႾ჏ ჷჄ’Ⴣ ჄႸႱჄ ႼႿႾႵႼ჉ ႵႽႿჄႹႿႾႱႼ ႲႵႱჃჄ჏ ჷჃႾ’Ⴤ ႹჄ ႴႵႱႴჭ ႣႹႾႳႵ ჇႸႵႾჭ჏”

ႢႵႳႿ჆ႵჂႹႾႷლ ႨႹႱႿ ჵႵ ჃჅႴႴႵႾႼ჉ ჂႵႱႼႹ჊ႵႴ ჇႸႱჄ ჇႱჃ ႸႱჀჀႵႾႹႾႷნ

ႤႸႵჂႵ ჇႱჃ ႾႿ ႾႵႵႴ ႶႿჂ ჂႵႽႹႾႴႵჂჃჩ ჺႵႾႷ ႨႹႱႿ ႳႿႾჄႹႾჅႵႴ ჂႹႾႷႹႾႷ ჄႸႵ ႵႽႿჄႹႿႾႱႼ ႴႵ჆ႹႳႵ ႹႾ ႸႵჂ ႸႱႾႴლ ჇႸႹႳႸ ႱႽჀႼႹႶႹႵႴ ႸႵჂ ႱႲႹႼႹჄႹႵჃ ჄႿ ჄჂႱႾჃႽႹჄ ႶႵႵႼႹႾႷჃ ႿႶ ჄჂႱႾჁჅႹႼႹჄ჉ნ ႣႸႵ ႶႿႳჅჃႵႴ ႹႾჄႵႾჄႼ჉ ႿႾ ჄႸႵ ႶႹႷჅჂႵ ႿႾ ჄႸႵ ჃჄႱႷႵნ

ႣႸႵ ႸႱႴ ႷႹ჆ႵႾ ႹჄ ႸႵჂ ႱႼႼნ

ჰჅჄ ჃჅႴႴႵႾႼ჉ლ ჺႵႾႷ ႨႹႱႿ’Ⴣ ჀჅჀႹႼჃ ჇႹႴႵႾႵႴნ

“ჷჄ’Ⴣ ႾႿ ჅჃႵ჏ ჱႱჀჄႱႹႾ჏ ჷ ႳႱႾ’Ⴤ ႽႱႻႵ ႸႵჂ ႳႱႼႽ ႴႿჇႾ ႱჄ ႱႼႼ჏”

ႤႸႵჂႵ ႽჅჃჄ ႸႱ჆Ⴕ ႲႵႵႾ ჃႿႽႵჄႸႹႾႷ ჇჂႿႾႷნ

ႣႸႵ ჇႱჃ Ⴑ ႶႿჅჂმჃჄႱჂ ჄჂႱႾჁჅႹႼ ႵႽႿჄႹႿႾႱႼ ႳႿႾႺჅჂႵჂლ ႸႿჇ ႳႿჅႼႴ ჃႸႵ ჀႿჃჃႹႲႼ჉ ႶႱႹႼ ჄႿ ႳႱႼႽ ႣჅ ႡႹႾႷ჉ႱვჃ ႸႵႱჂჄჭ

ჼႿლ ႹჄ ჇႱჃႾვჄ ჄႸႱჄ ႸႵჂ ႱႲႹႼႹჄ჉ ჇႱჃ ႹႾႵႶႶႵႳჄႹ჆Ⴕჩ ႹჄ ჃႵႵႽႵႴ ႼႹႻႵ ႹჄ ႸႱႴ ႲႵႵႾ ႱႶႶႵႳჄႵႴ Ⴒ჉ ჃႿႽႵჄႸႹႾႷნ

ჯ ჇႹჃჀ ႿႶ ႴჂႹႶჄႹႾႷ ႲႼႱႳႻ ႽႹჃჄ ჀႵႾႵჄჂႱჄႵႴ ႸႵჂ ႾႿჃჄჂႹႼჃნ

ჺႵႾႷ ႨႹႱႿვჃ ႸႵႱჂჄ ႲႵႳႱႽႵ ႳႸႱႿჄႹႳნ

ჷႾ ჄႸႵ ႲႼႹႾႻ ႿႶ ႱႾ Ⴕ჉Ⴕლ ႣჅ ႡႹႾႷ჉ႱვჃ ႱჄჄႱႳႻ ჇႱჃ ჅჀႿႾ ႸႵჂნ

ჺႹႻႵ Ⴑ ႷႸႿჃჄლ ჃႸႵ ႶႼႱჃႸႵႴ ႴႹჂႵႳჄႼ჉ ႹႾ ႶჂႿႾჄ ႿႶ ჺႵႾႷ ႨႹႱႿნ

ჶႵჂ ჃႸႱჂჀ ႳႼႱჇჃ ႱႳႳႿႽჀႱႾႹႵႴ Ⴒ჉ ႲႼႱႳႻ ႽႹჃჄ ჄႿჂႵ ႴႿჇႾ ႶჂႿႽ ႱႲႿ჆Ⴕნ

ჺႵႾႷ ႨႹႱႿ ႸჅჂჂႹႵႴႼ჉ ჅჃႵႴ ႸႵჂ ႲႵႼႼ ჄႿ ႴႵႶႵႾႴნ

ႤႸႵ ႲႵႼႼ ჇႱჃ ႸႹႷႸႼ჉ ჂႹႷႹႴლ ჀႵჂႶႵႳჄႼ჉ ႲႼႿႳႻႹႾႷ ჄႸႵ ჃჄჂႹႻႵნ

ჰჅჄ ႣჅ ႡႹႾႷ჉Ⴑ ჅႾႵ჈ჀႵႳჄႵႴႼ჉ Ⴕ჈ႵႳჅჄႵႴ Ⴑ ჃჀႹႾႾႹႾႷ ჀჅႾႳႸ ႹႾ ႽႹႴႱႹჂლ ჃჇႹႾႷႹႾႷ Ⴑ ჂႱჀႹႴႼ჉ ჂႿჄႱჄႹႾႷ ႳႸႱႹႾჃႱჇ ႴႿჇႾ ჄႿჇႱჂႴჃ ჺႵႾႷ ႨႹႱႿნ

ႣႸႵ ႴႱჂႵႴ ႾႿჄ ႲႼႿႳႻ ႹჄ ႱႾႴ ႸႱႴ ჄႿ ႼႹႶჄ ႸႵჂ ႼႵႷ ჄႿ ႻႹႳႻ ႣჅ ႡႹႾႷ჉Ⴑ ႱჇႱ჉ნ

“ჱႿႾჄႹႾჅႵ ႱႳჄႹ჆ႱჄႹႾႷ ჉ႿჅჂ ႱႲႹႼႹჄ჉ლ” ႨႹႱႿ ჵႵ ჃႸႿჅჄႵႴნ

“ႩႵჃლ ჱႱჀჄႱႹႾნ”

“ႣჅ ႡႹႾႷ჉Ⴑლ ႼႹჃჄႵႾ ჄႿ ႽႵლ ႨჅ ჼႹႱႾ ႹჃႾვჄ ႴႵႱႴნ”

ႥႾႴႵჂ ჄႸႵ ႳႿႾჄႹႾჅႿჅჃ ჂႹႾႷႹႾႷ ႿႶ ჄႸႵ ႲႵႼႼლ ႣჅ ႡႹႾႷ჉Ⴑ ႶႹႾႱႼႼ჉ ႽႱႾႱႷႵႴ ჄႿ ႸႵႱჂ ႨႹႱႿ ჵႵვჃ ჇႿჂႴჃ ჂႱჄႹႿႾႱႼႼ჉ნ

“ჼႹႱႾ ჼႹႱႾ ႹჃႾვჄ ႴႵႱႴჭ”

ႤႸႵჃႵ ႶႿჅჂ ჇႿჂႴჃ ჃჄჂჅႳႻ ႣჅ ႡႹႾႷ჉Ⴑ ႼႹႻႵ Ⴑ ႲႼႿჇნ

ჷჄ ႶႵႼჄ ႼႹႻႵ ႸႿჀႵ Ⴕ჈ჄႵႾႴႹႾႷ ႶჂႿႽ ჄႸႵ ႵႾႴႼႵჃჃ ႴႱჂႻႾႵჃჃნ

ჳ჆ႵႾ ႹႾ ჃჅႳႸ Ⴕ჈ჄჂႵႽႵ ჄႵჂჂႿჂლ ჄႸႵ჉ ႶႿჂႳႵႶჅႼႼ჉ ჀჅႼႼႵႴ ႸႵჂ ჄႸႿჅႷႸჄჃ ႲႱႳႻნ

“ႩႵჃლ ႹჄ’Ⴣ ႱႾ ႹႼႼჅჃႹႿႾ ႳჂႵႱჄႵႴ Ⴒ჉ ჄႸႵ ႵႽႿჄႹႿႾႱႼ ႲႵႱჃჄლ ჄႿ ჀჂႵჃႵႾჄ ჉ႿჅჂ ႽႿჃჄ ႳႸႵჂႹჃႸႵႴ ჀႿჃჃႵჃჃႹႿႾჃ ႱႾႴ ႴႵჃჄჂႿ჉ ჄႸႵႽლ ჄႸႵჂႵႲ჉ ႷႵႾႵჂႱჄႹႾႷ ႹႾჄႵႾჃႵ ႾႵႷႱჄႹ჆Ⴕ ႵႽႿჄႹႿႾჃ ႱႾႴ ႳႱჅჃႹႾႷ ႱႾ ႱႳჅჄႵ ჃႵႾჃႵ ႿႶ ႼႿႾႵႼႹႾႵჃჃნ ჲႹႴ ჉ႿჅ ႾႿჄ ႸႱ჆Ⴕ ჄႸႵ ჄႸႿჅႷႸჄ ჄႸႱჄ ႹჄ ჇႿჅႼႴ ႲႵ ႲႵჄჄႵჂ ႹႶ ჉ႿჅ ჇႵჂႵ ႱႼႿႾႵ ႺჅჃჄ ႾႿჇჭ”

ႣჅ ႡႹႾႷ჉Ⴑ ჃႸჅႴႴႵჂႵႴჩ ჃႸႵ ႷჂႱჃჀႵႴ ჄႸႹჃ ႻႵ჉ ჇႿჂႴნ ႧႹჄႸ ჄႸႵ ႿჃႳႹႼႼႱჄႹႾႷ ჃႿჅႾႴ ႿႶ ჄႸႵ ႲႵႼႼლ ႸႵჂ ႹႾჄႵჂႾႱႼ ႾႵႷႱჄႹ჆Ⴕ ႵႽႿჄႹႿႾჃ ႷჂႱႴჅႱႼႼ჉ ჂႵႳႵႴႵႴ ႼႹႻႵ Ⴑ ჄႹႴႵნ

ჶႿჇႵ჆ႵჂლ ჃႸႵ ႸႱႴ ႾႿჄ ႵႾჄႵჂჄႱႹႾႵႴ ჃჅႳႸ Ⴑ ჄႸႿჅႷႸჄ ႿႶ ႲႵႹႾႷ ႱႼႿႾႵნ

ႣჅႴႴႵႾႼ჉ლ ჺႵႾႷ ႨႹႱႿ ჃႵႵႽႵႴ ჄႿ ႲႵ ჃჄჂჅႳႻ Ⴒ჉ ჃႿႽႵჄႸႹႾႷნ

ႣႸႵ ႶႼႵჇ ႲႱႳႻჇႱჂႴლ ႳჂႱჃႸႹႾႷ ႹႾჄႿ ჂႿჇ ჅჀႿႾ ჂႿჇ ႿႶ ႳႸႱႹჂჃნ

“ჴႹႾႱႼႼ჉ლ ჷვ჆Ⴕ ჃჅႳႳႵႵႴႵႴნ”

ჶႹႴႴႵႾ ႹႾ ჄႸႵ ჃႸႱႴႿჇჃ ႼႱ჉ ႱႾ ჅႾႻႾႿჇႾ ႸႿჂჂႿჂნ

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Starting with a Breakup, How Can the True Heiress Be My Yandere Ex-Girlfriend?

Fake heiresses are destined to meet their defeat at the hands of the true heiress. This is the inevitable fate of all imposters—and Xu Nian is no exception. But why does Xu Nian’s downfall feel so… different? In any other “true vs. fake heiress” scenario, the protagonist would steer clear of the real deal at all costs. Except in this world, the true heiress is Xu Nian’s ex-girlfriend! And she’s dead set on locking up the fake heiress—her “ex-boyfriend”—in the basement, dismantling her limbs, turning her into a doll, and binding them together forever. Solution? Strike first. Before the yandere true heiress can act, Xu Nian disguises herself as a yandere lolita, overwhelms her with obsessive love, and ensures the real heiress is too consumed by twisted affection to turn monstrous. That’s Xu Nian’s escape route. Except… The true heiress was faking it! She was never cured—still the same deranged yandere! Xu Nian barely stages her own death to investigate the truth behind her fake parents’ murder before the true heiress drags her back home and locks her in the basement. Bizarre props? Check. Overwhelming possessiveness? The fake heiress is now a caged canary. “No! Qingya, let’s go back to how we were before! We used to love each other so much!” “Are you joking right now? Until you’re thoroughly carrying our love’s ‘proof,’ you’re not going anywhere. I’ll tie you to my side—forever.” No way! Xu Nian refuses to become a demure housewife! …Eh? Another daughter was just born. …She’s so pretty though.

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