Chapter 16
Renshaw rounds up his new group of people to take to see John. He tells the crowd that there is no more room for people until a man pays him money to see him. John is having a great time imagining the life he has created for himself until it is ruined by Renshaw. He and the crowd of people torture John for a long time. After they leave, John decides that he should get some sleep but he is visited by Bytes who steals him back. Treves comes in the next moring and he cannot find John and the porter tells him that he did not see him being taken away. He quickly goes and finds Renshaw but he also tells Treves that he does not know where he is. Mothershead then tells Renshaw that he is fired and Treves tells Carr-Gomm of John's disappearance.
At this point, I really hate Renshaw because he treats John like he is nothing.
I also hate how Bytes thinks he can just steal John back.
At this point, I really hate Renshaw because he treats John like he is nothing.
I also hate how Bytes thinks he can just steal John back.
you wrote moring
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ReplyDeletePerhaps no Hollywood actor continually stirs up more of a gleeful admixture of feelings in his viewers than Danny DeVito. Singlehandedly portraying characters with mile-long, obnoxious jerk streaks that are nonetheless somehow loveable, DeVito -- with his diminutive stature, balding head, and broad Jersey accent -- made an art form out of playing endearingly loathsome little men.Born November 17, 1944, in Neptune, NJ, Daniel Michael DeVito Jr. survived a Catholic school upbringing and started his career from the ground up, laboring as a cosmetician in his sister's beauty parlor. Working under the name "Mr. Danny," DeVito decided to enter New York's American Academy of Dramatic Arts for the purpose of acquiring additional makeup expertise. However, he soon discovered his true theatrical calling and made his screen debut with a small part in the 1968 drama Dreams of Glass. After a few discouraging experiences within the film industry, DeVito decided to concentrate on stage work. During this time, he met actress Rhea Perlman, whom he later married in 1982. In 1972, the actor made his way back into films with a role in Lady Liberty, a comedy starring Sophia Loren. His first notable film part came three years later, when he reprised his stage role of Martini, a sweet-natured mental patient, in Milos Forman's screen version of One Flew Over the Cuckoo's Nest. Produced by DeVito's old friend Michael Douglas and co-scripted by Lawrence Hauben and Bo Goldman, the film won wide acclaim and nine Oscar nominations, eventually gleaning five statuettes (including Best Picture). Despite the adulation surrounding the film, DeVito's screen career remained lackluster, but he skyrocketed to fame three years later with his role as the obnoxious dispatcher Louie on the long-running television sitcom Taxi. From there, DeVito's career swung upward and he spent the next decade playing similarly repugnant characters with enormous success. He reunited with Douglas for Romancing the Stone (1984) and its 1985 sequel, Jewel of the Nile, teamed up with co-star Joe Piscopo and director Brian De Palma (as a scam artist on the run) in Wise Guys (1986), and signed with Disney's R-rated offshoot, Touchstone, for two comedies, the 1986 Ruthless People, and the 1987 Barry Levinson-directed Tin Men.Throw Momma from the Train (1987) marked DeVito's premier directorial outing. A madcap farce directed from a script by Benson and Soap scribe Stu Silver, Momma cast DeVito as Owen, a dim-bulb student living under the thumb of his loudmouthed mother, who is enrolled in a writing course taught by failing novelist Larry Donner (Billy Crystal). Stumbling into a repertory screening of Strangers on a Train one night, Owen has the not-so-bright idea of emulating the film, by bumping off Larry's conniving ex-wife in exchange for having Larry rub out his momma -- without asking Larry first.Throw Momma from the Train opened during the Christmas season of December 1987 and received mixed reviews. The picture nonetheless became a massive hit, grossing upwards of 57 million dollars, and thus paving the way for future DeVito-directed efforts. The War of the Roses (1989) recast DeVito with his Romancing the Stone and Jewel of the Nile co-stars, Michael Douglas and Kathleen Turner, but could not have been any more different in terms of theme, content, tone, or intended audience. Co-adapted by Warren Adler and Michael Leeson (from Adler's novel), this acerbic, black-as-coal comedy tells the story of Oliver and Barbara Rose, a seemingly happy and well-adjusted married couple whose nuptials descend into a violent hell when Barbara announces that she wants a divorce -- and Oliver refuses to give her one. DeVito plays the cherubic lawyer who relays their story to another client, and famously reflects, "If love is blind, then marriage must be like having a stroke." The picture instantly grossed dollar one, garnered legions of fans, and delighted critics across the board.Ida Random produced M
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