TLWSL 116

Chapter 116

So, the reason Choi Geon-ha is making such a fuss is…

When I contacted Ruin Films, where Choi Geon-ha is the CEO, regarding writer Im Seung-chan’s matter, they set up a meeting date. I went to meet Choi Geon-ha on behalf of Im Seung-chan, who had gone down to Jeju Island.

“Are you Lawyer Cha Do-hyuk? What brings you here?”

At first, I presented my opinion politely.

“I’m here regarding Im Seung-chan’s matter. I left a message through your secretary about Money War.”

“Wait.”

Choi Geon-ha cut me off, and the polite mode ended immediately.

“I have a hunch. In the creative field, it’s not uncommon for someone else’s work to feel like your own. To give an example…”

A few days ago, a novelist and an acquaintance had an argument. The acquaintance called the novelist an orphan, and the novelist retorted, “If your parents pass away, everyone becomes an orphan. You’re an orphan too.” And that started the fight.

The novelist then wrote about it, but it flopped. Meanwhile, the acquaintance used the same material and it became a hit.

“Guess how it turned out. Do you think the failing novelist won?”

He smirked.

“You get the idea, right?”

He said, with a tone that money is really nice, that lawsuits don’t always deliver the desired verdict.

‘So the acquaintance who hit the jackpot won. But this example has nothing to do with Choi Geon-ha and Im Seung-chan’s case. What a weak example.’

Just hearing him speak, you could sense he was a little crazy.

‘You have to match the words of a lunatic like this to really get under their skin.’

I mirrored Choi Geon-ha’s posture as he lounged on the sofa and tapped the armrest.

“So that’s why I’m asking for it—the copyright. What good is it holding onto something that’s not even yours? People say greed blinds them.”

“…?”

“During the contract, he acts crazy; after termination, he goes ballistic. What wrong did the script ever do?”

“Are you out of your mind?”

“Boom. The result is obvious.”

The scriptbook in front of me toppled over at Choi Geon-ha’s gesture.

“Why should I give up my own child? Do you know what kind of work this is? I waited seven years just to make Money War.”

Look at that. If he had created it himself, he wouldn’t say “waited.” He’d say “it took time.” And seven years had already passed since Im Seung-chan created it and registered the copyright.

‘Choi Geon-ha probably doesn’t know.’

If he did, he would have set the meeting earlier than the creative camp where he met Im Seung-chan.

Keeping in mind statements that could be contested in court, I crossed my legs arrogantly.

“Show me the Money War creation notes. If you’re confident, why wouldn’t you?”

Perhaps I was implying that seeing Choi Geon-ha’s notes could make me doubt Im Seung-chan, and, unsurprisingly:

“I can’t show them to forces oppressing me. Who knows if they’ll spin another story?”

Choi Geon-ha is blunt in speech, which could cause misunderstandings, but he wasn’t entirely wrong. He seemed the type of person you’d just have to deal with.

Since Madphil’s CEO Lee Jae-min was right behind him, I could sever that chain easily.

“Lee Jae-min suggested adjusting the credits nicely. Does the production company have a different stance?”

Half of that was a lie. Madphil had agreed to the original credits but wanted it listed as co-written.

‘Plus, Choi Geon-ha had hidden the fact that he was the director from the beginning, so he must have felt uneasy.’

So it was necessary to separate the two. Suspicion increases the already high chance of winning.

“What?!”

Choi Geon-ha’s voice rose as if my suspicion had already sprouted.

“Are you saying I should hand over the work I poured my bones and flesh into?!”

He said that despite knowing the bones and flesh belonged to someone else. He was out of his mind.

“Even if you ignore the writer, there’s a limit! This is my right! How dare you covet it?!”

He shouted in a delusional, self-serving way…

“…because Jack in the Money Box and Money War are significantly similar, the scriptwriter of Jack in the Money Box, Im Seung-chan, will exercise his rights as the copyright holder.”

Choi Geon-ha yelled, “Are you trying to ruin my reputation with false claims?!”

‘I knew he was unreasonable, but I didn’t expect him to be inhuman.’

Anyway, I told him to file a lawsuit if he wanted to, and left. He should know better.

“I already drafted the complaint.”

I collected more evidence that Choi Geon-ha plagiarized.

First, I reviewed Im Seung-chan’s creative notes when writing Jack in the Money Box. From brainstorming which words matched major characters to noting scenes inspired during trips, it was all there. You could see how the protagonist’s story flowed.

“The bold actions you’ll never experience in ordinary life, combined with unpredictable developments crossing legal boundaries, make it immersive.”

Even though the protagonist is a criminal, the structure made audiences root for them, and the scenes of them defeating villains were thrilling.

Had this been made by another director under Im Seung-chan’s name, it could have been even more cathartic.

Even though Choi Geon-ha directed well, the original script would forever be tied to him as director unless remade in another country.

“Restoring Im Seung-chan’s rights is the right thing to do, but it feels like doing something mischievous.”

I finished reviewing the creation notes and started verifying how the scriptbook had been modified. Two hours passed as I cross-checked with Im Seung-chan.

Draft, Summer Youth

Choeol: Bo-reum is standing.
I Bo-reum: (turns head) What?
Choeol: (swipes arm) Pretty.
I Bo-reum: (disdainfully) What are you talking about?

Scriptbook, Jack in the Money Box

Na Mi-nyeo: (brushing hair in fierce wind) You checked the weather, right?
Lee Sa-go: (teeth chattering) I did. But it’s pretty.
Na Mi-nyeo: (in disbelief) I know it’s pretty.

“The meaning of ‘pretty’ is used differently.”

Generally, ‘pretty’ means visually attractive, but in Im Seung-chan’s context, it leaned toward ‘cold’ or ‘chilly.’

I checked the electronic dictionary. The common meanings were: suffering loss, being in a good state. Then, the less common: cold, chilly.

‘The one who said “pretty” isn’t the one interpreting ambiguously… Could it be…?’

Im Seung-chan called.

“Sorry for calling repeatedly, but… regarding Summer Youth S#21 and Jack in the Money Box S#24…”

Yes?

“‘Pretty’ was used to mean ‘cold’ or ‘chilly.’ Is this Jeju dialect? Local expression?”

Oh, yes. Not used much now, but it means “unable to move because it’s cold.”

‘Found it.’

“Choi Geon-ha’s script never uses ‘pretty’ in that sense.”

Then the context would break?

“Yes. He even edited the later parts slightly.”

Writers have unique habits; Im Seung-chan unconsciously used a Jeju dialect, which Choi Geon-ha’s script lacked.

Even if someone is from Seoul, the point is clear. Especially since Choi Geon-ha’s works are so erratic, it could suggest habitual appropriation in court.

A writer’s style is hard to hide, even if they try.

Wow. It’s impressive you noticed that without a literature or linguistics background. Did you minor in Korean literature?

I just wanted to prepare for Choi Geon-ha’s rebuttals. Of course, a lawyer should.

But then:

Cha, I just got an inspiration. I’ll hang up.

Click.

“…?”

I was surprised but decided to keep checking the scriptbook. The winter court recess in 2024 is from December 23 to January 3, so the schedule was tight.

December 9th

Early morning.

The Korean Ministry of Culture and Tourism’s Credit Dispute Mediation Committee responded, and the Korean Scenario Writers Association sent the mediation letter.

The script was sent to four mediators and one mediator consultant without revealing any personal info beyond the writer’s code name.

The results were as follows:

The process of the protagonist, a con artist, illegally acquiring a Korean company, connecting with a judge to cover up, losing everything to an accomplice, then being chased by the judiciary and police and taking revenge.

“Concept, dramatic structure, main character setup, character relationships, and themes are very similar. The original and screenplay credits must be properly indicated.”

This was the result Im Seung-chan wanted.

I called the association per the guidance email.

“Yes, this is Lawyer Cha Do-hyuk. Am I speaking to the Korean Scenario Writers Association?”

Yes, this is Na Min-young, mediator for this case.

“I just received the credit mediation document and wanted to ask about credit allocation and confirmation.”

Original authorship must be clearly indicated. The original writer’s contribution cannot be surpassed, and moral rights, including the right to be credited, cannot be transferred.
May I ask who B-writer is?

The consultant was curious but tried not to prejudge.