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Offering to negotiate compensation with Einhorn

Jonathan wrote to Edward Einhorn on October 21

Then in response to Einhorn's sabotage letter, Jonathan wrote

We had been waiting throughout rehearsals for Einhorn to sign his contract. He told us he would have his brother the lawyer look at it, and said something about intellectual property. We thought at that time that he wanted to include some kind of clause stating that he owned the idea of using black lights and we couldn't use them in future productions of TAM LIN. We expected he would drop that when his brother the intellectual property lawyer explained to him that he couldn't claim ownership of the idea of using black lights.

By the time we exchanged emails above, I began to suspect that not signing the contract was a deliberate choice on the part of the Einhorn brothers, and I began to suspect that Einhorn's intellectual properties ambitions went beyond black lights.

Judge Kaplan agreed with us, that Einhorn did not deserve to be paid the full amount, awarding Einhorn $800. We had discussed paying him $500. So Einhorn's claimed reason for dragging us through federal court was over no more than a difference of $300. "Ever heard of small claims court?" is what Judge Kaplan asked Edward Einhorn during the trial.

Of course he had, and his brother the Anderson Kill lawyer had. But in their arrogance they thought they could use their extremely flimsy "directing and choreography script" to establish a director's copyright. Edward Einhorn's essay promoting the idea of a director's copyright, posted on his website after the trial, shows how devoted he is to the cause.