Summary of "혼자 사는 뇌성마비 장애인 집에 몰래 들어간 생양아치(결말포함)"

Engaging recap (main plot + highlights)

Jeong-do, released from prison for a hit-and-run, returns to discover that his target household has moved, and even their phone numbers have changed—suggesting the incident has been effectively covered up. Struggling with his past, he keeps spotting possible “openings” through the family’s connections and the disabled community system.
Jeong-do meets Han Gong-ju, a woman with a disability who often struggles to communicate normally, coping instead through imagination in the face of fear and loneliness. Their relationship rapidly shifts from “romance” to obsession and manipulation.
Gong-ju lives in a tightly guarded, isolated routine (doors locked, patterns rigid), but Jeong-do repeatedly finds ways to show up—sometimes uninvited, sometimes by using keys—creating a tense blend of romance, stalking, and dread.

Jokes / notable comedic beats

Delivery-job banter: Jong-du reframes Gong-ju’s worldview through her surroundings with a blunt, punchy work lecture—basically the rule that “you can’t wait until tomorrow,” delivered confrontationally.
Bickering within the household: Neighbors/relatives trade frustration toward “uncle”-type figures, creating recurring family resentment rather than sympathy.
Disability-access hypocrisy moments: Disabled life is repeatedly treated as grounds to deny services (such as being turned away from a restaurant), portrayed as infuriatingly unfair.
The “tree shadow” fear gag: Gong-ju is terrified of shadows cast by a tree onto a painting—shadows she imagines as “the characters.” The film escalates her fear into increasingly tense comedic set-pieces.

Relationship escalation + turning point

Jeong-do initially courts Gong-ju with a sweet, flirtatious pitch—promising “dating,” sharing a phone number, and mentioning his brother’s shop contact. But the charm quickly becomes disturbing as Jeong-do loses control, leading into the film’s darker legal consequences.
Gong-ju bonds with Princess, a comedic-romantic imagination partner that frames couple life through fantasy. Small “romance” moments (food, outings, ordinary couple experiences she was denied) build into larger hopes.
Jeong-do tries repeatedly to “make her happy” (birthday party attempt, outings), but his criminal history and entitlement tangle every effort—his “care” never feels safe or genuinely respectful.

Major reactions / dramatic payoff (including the ending)

At Mom’s birthday party, Jeong-do’s true past catches up to him. He’s confronted emotionally, and his brother reinforces the crime’s burden—Jeong-do even describes going to prison instead of someone else, claiming it was “for the family,” which doesn’t absolve anything.
The plot turns sharply when Jeong-do’s actions culminate in a rape arrest scenario: he’s taken in caught on the spot, with the “victim over there” framing underscoring the film’s harsh condemnation.

Final sequences

Gong-ju (protected through Princess’s imagined lens) is framed again through her fear and loss as the tree shadow shakes violently.
Jeong-do makes a final gesture by cutting the tree for her. The film highlights how much she needs to feel safe—she even turns the radio louder to “announce” herself.
The situation collapses into tragedy: Gong-ju falls and is “captured” again, emphasizing a cycle of danger and enforcement pulling her back under.

Closing farewell

The ending is completed with a letter/voice-type farewell: Gong-ju (missing her mother) reflects on food choices (beans vs. rice), loneliness, and promises of reunion—tying the emotional theme of longing to the consequences of violence and deception.

Main personalities appearing

Jeong-do: Released hit-and-run offender; becomes the central threat and perpetrator.
Jong-du: Jeong-do’s brother; delivery/repair-shop context; moral-conflict figure.
Han Gong-ju: Disabled woman; imaginative, fearful, vulnerable—emotional core of the story.
Princess: A romantic/fantasy-linked persona used as a narrative device for Gong-ju’s imagined couple life.
Jin-su: Sister-in-law figure; appears in connection to the police/legal framing.
The older brother / law enforcement / pastor family group: Appears in police-station and religious-support scenes.

Summary: A dark romance/stalker-like setup that escalates into violent crime and legal capture, with Gong-ju’s imagination and fear (tree shadows, longing for ordinary love) serving as the emotional centerpiece amid deception, resentment, and a harsh final outcome.