Get Schooled — Chapter 114¶
Complete Detailed Panel-by-Panel Transcription¶
Scope¶
This document follows all 31 ordered reader images in Chapter 114. It preserves the scanlation’s readable English wording where quoted and describes the visual action, expressions, environments, and transitions in reading order.
Sequence 1 — A Entertainment tries to close the case¶
The chapter resumes with Min Yujung—idol name Fairy—angrily identifying Kim Eunjin as the person behind the accusation. A sharply dressed attorney introduces himself through an on-page caption:
A ENTERTAINMENT LEGAL TEAM’S LEADER — LAWYER KIM JIUK
He speaks with calculated politeness. The company has already traced the submission through several routes and is preparing a defamation action against the person who allegedly spread false information. Because the accused poster is a minor, however, the legal team offers a way out.
Kim Jiuk:
PLEASE TELL HER THAT IF SHE ADMITS HER FAULT NOW AND APOLOGIZES, WE WILL PRETEND LIKE THIS NEVER HAPPENED.
Lee Ju-bin immediately notices how the company’s language rewrites the allegations as events that “never happened.” He announces that he will investigate from this point forward and warns the attorney that he hopes none of the confident legal claims are false.
The company representatives are visibly unsettled by the arrival of the Teacher’s Rights Protection Agency, which they call barbaric. They privately worry that the incident could become unimaginably large.
Sequence 2 — Eunjin is asked for evidence¶
Lee meets Eunjin in a quiet room and asks for the truth without embellishment. She insists that events occurred exactly as she wrote them. He asks the unavoidable question:
THERE’S NO EVIDENCE?
Her online accusation is extremely detailed, making the total absence of screenshots, recordings, photographs, or witnesses difficult to understand. Lee asks whether there is even indirect material—perhaps a witness or captures of cyberbullying.
Eunjin explains that Yujung rarely attacked her openly at school. Instead, she pulled Eunjin into her clique and hurt her only in places where other people could not see.
The chapter enters a flashback. Yujung and her followers take Eunjin’s ordinary phone and hand her another device. They order her to remain available around the clock.
BE ON CALL 24/7, AND IF YOU ARE OVER 3 SECONDS LATE TO REPLY, YOU’RE DEAD, OK?
The constant messages and threats keep Eunjin from sleeping. When she tries to capture the abusive messages, the phone refuses to take screenshots. Its functions have been deliberately restricted. Later, while Yujung is absent because of her debut schedule, her followers retrieve the device.
Eunjin:
FOR SOME REASON THE PHONE YUJUNG GAVE ME… HAD NO ABILITY TO SCREENSHOT.
HER MINIONS CAME AND TOOK IT BACK, SO NOW… THERE’S NO EVIDENCE.
The flashback visually emphasizes methodical control rather than impulsive teasing: Yujung designed the abuse around the destruction of proof.
Sequence 3 — The legal disadvantage¶
Lee’s expression hardens. He says the lack of evidence means they must take a step back. A Entertainment is already preparing legal action, and entering a public fight without witnesses would put Eunjin at a severe disadvantage.
He begins to suggest an agreement. Eunjin recoils at the idea that the victim should compromise with the person who harmed her.
AN AGREEMENT?! ME, THE VICTIM?!
JUST WHAT DID I DO WRONG…?!
The chapter displays a legal explanation of defamation under Article 307 of the Criminal Code. The scanlation notes that publicly alleging facts can itself be punishable, even apart from fabricated allegations, and shows possible imprisonment and fines. The law becomes another mechanism pressing Eunjin into silence.
She thinks of the pain that made her want to die and realizes that she may not even be allowed to bring it to light.
THERE’S NO HOPE LEFT IN ME.
Lee calls after her, but she runs.
Sequence 4 — Public mockery follows the leak¶
The scene moves into public spaces and online chatter. Students and pedestrians discuss the accusations. Because the company has framed the post as false and the poster’s identity has become known, strangers ridicule Eunjin’s face and appearance rather than consider her account.
DID YOU SEE THEIR FACE?
FUCKING UGLY!
Eunjin walks alone through the noise, hollow-eyed and exhausted. Yujung’s celebrity image remains everywhere around her—screens, posters, phones, and excited fans. The visual repetition recreates the suffocation Eunjin described in Chapter 113.
Sequence 5 — Eunjin attempts suicide¶
On a crowded elevated public walkway, Eunjin moves toward the edge. Her breathing is shallow and her posture unsteady. Bystanders gradually notice that something is wrong. Before she can fall, a brightly dressed figure in pink catches and restrains her.
The rescuer is Yujung herself.
People immediately raise phones. Fans shout Fairy’s name and praise her for saving the girl. Yujung holds Eunjin in an intimate embrace and performs concern for the cameras.
ARE YOU OKAY?
Then, close enough that only Eunjin can clearly hear, Yujung reveals that the rescue was anticipated.
KEK… I KNEW YOU WERE GOING TO TRY TO KILL YOURSELF.
BUT WHO KNEW YOU WOULD ATTEMPT SUICIDE IN AN AREA THIS PUBLIC?
She thanks Eunjin because the spectacle improves her image.
THANK YOU. THANKS TO YOU MY IMAGE IMPROVED?
Yujung kisses or presses her face against Eunjin while the crowd squeals that they are jealous and asks for photographs. The “rescue” becomes another assault hidden inside a public act of kindness. Eunjin’s horrified eye is shown in extreme close-up while fans interpret the contact as affection.
Sequence 6 — Lee questions Fairy¶
Later, Lee confronts Yujung and the entertainment staff. Yujung mockingly says he seems to be struggling with a useless case. Lee states that they followed Eunjin despite claiming they had done nothing and asks what motivated that surveillance.
Yujung refuses to supply the answer.
REASON? THAT’S FOR YOU TO FIND.
THAT IS, HAHA… IF YOU CAN.
Lee reflects on the structure of school-violence investigations: victims are required to provide evidence but are often unable to share what happened publicly. As an ordinary lawyer, he could not overcome that contradiction.
He then identifies his new role.
I CAN’T DO THIS ONLY AS A LAWYER.
I’M NOW A FIELD AGENT OF THE TEACHER’S PROTECTION AGENCY…
WHICH IS VIOLENT AND BARBARIC!
The words echo the company’s insult, but Lee uses them as a declaration. The legal team has relied on ordinary evidentiary limits; the agency was created specifically to act where those limits allow abuse to remain hidden.
The chapter closes against the image of Starlight Girls’ chart-topping song, contrasting Yujung’s immaculate public success with Eunjin’s private collapse.
End-of-chapter continuity note¶
Chapter 114 establishes the case’s central evidentiary problem. Yujung used controlled devices, private locations, and loyal followers to leave Eunjin with no conventional proof. The company then weaponizes defamation law, while Yujung turns Eunjin’s suicide attempt into publicity. Lee’s final declaration sets up an investigation that will deliberately operate outside the company’s expected legal script.
Additional visual and lettering details¶
- The legal-team room is drawn with polished tables, dark suits, and carefully controlled posture; Eunjin is physically smaller and isolated, while company personnel occupy both sides of the composition.
- During the phone flashback, the device is passed between Yujung’s followers like school property rather than Eunjin’s possession. Message bubbles and countdown-like timing emphasize the three-second response rule.
- The legal explanation is presented in dense black text over a white background, visually overwhelming Eunjin in the same way the threatened lawsuit does.
- The suicide-attempt sequence uses a long vertical drop, crowd reaction shots, and phone-camera framing. Yujung’s pink styling and smile remain bright while Eunjin’s face is gray and exhausted.
- Fans interpret Yujung’s forced intimacy as kindness. Their requests for photographs continue while Eunjin is still physically restrained.
- Lee’s final panels place him in a dark suit against entertainment posters and screens. His statement that he is now a field agent is staged as a deliberate rejection of the company’s assumption that ordinary courtroom rules are the only available terrain.