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Just For Pun cleanup.
Changed line(s) 36,37 (click to see context) from:
From the jukebox, a bluesy record plays across the dimly lit bar, whose [[JustForPun sole]] customers are a young couple in twenties attire. Behind the counter are a bearded cook and a tirelessly scrubbing waitress. The waitress greets Johnny with a knowing smile, and cryptically explains the bar, at this hour, to be staffed by the night shift.
to:
From the jukebox, a bluesy record plays across the dimly lit bar, whose [[JustForPun sole]] sole customers are a young couple in twenties attire. Behind the counter are a bearded cook and a tirelessly scrubbing waitress. The waitress greets Johnny with a knowing smile, and cryptically explains the bar, at this hour, to be staffed by the night shift.
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None
Changed line(s) 109 (click to see context) from:
* WhamShot: Two of them. Johnny wipes away the leaves covering the lower half of Donna's grave to reveal it's also ''his'' grave as well. Erika then unfolds the other half of the newspaper to reveal Donna's picture ''and'' his own.
to:
* WhamShot: Two of them. Johnny wipes away the leaves covering the lower half of Donna's grave to reveal it's also ''his'' grave as well. Erika then unfolds the other half of the newspaper to reveal Donna's picture ''and'' his own.own.
* WholePlotReference: The whole plot is based on the song, "Teen Angel." Johnny's name, John Angelli, seems to be a shout-out to the song "Johnny Angel."[[note]] Although nothing in the song suggests Johnny was dead.[[/note]]
* WholePlotReference: The whole plot is based on the song, "Teen Angel." Johnny's name, John Angelli, seems to be a shout-out to the song "Johnny Angel."[[note]] Although nothing in the song suggests Johnny was dead.[[/note]]
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None
Added DiffLines:
* DeathByAdaptation: The story of Donna's death is the story told in Mark Dinning's 1959 song "Teen Angel." In this version, her boyfriend died with her despite surviving in the original song, which is sung from his point of view.
Added DiffLines:
* NamedByTheAdaptation: Neither the boy nor girl were named in Dinning's "Teen Angel."
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Changed line(s) 81 (click to see context) from:
* DeadAllAlong: A [[Film/TheSixthSense famously influential]] example: Johnny came home from the car accident, seemingly unaware of it having happened, and, with some capacity for solid interaction with his environment, but sensed only by Erica, he carries on as normal.
to:
* DeadAllAlong: A reputedly [[Film/TheSixthSense famously influential]] example: Johnny came home from the car accident, seemingly unaware of it having happened, and, with some capacity for solid interaction with his environment, but sensed only by Erica, he carries on as normal.
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Changed line(s) 74 (click to see context) from:
* BenevolentBoss: The manager seems a jolly, easy-going sort. Although dialogue implies he acted as a BadBoss to Johnny, especially when he's elated saving on hired help since Johnny's death.
to:
* BenevolentBoss: The manager seems a jolly, easy-going sort. Although dialogue implies he acted as a BadBoss to Johnny, especially when he's elated saving on hired help since Johnny's death. He backtracked when he saw it made Erica upset.
Changed line(s) 80 (click to see context) from:
* DarkReprise: Johnny’s winsomely corny note of Erica to be his favourite sister, with her laughing observation of being his only sister, repeated when he prepares to approach the afterlife, takes on a poignant profundity.
to:
* DarkReprise: Johnny’s Johnny's winsomely corny note of Erica to be his favourite sister, with her laughing observation of being his only sister, repeated when he prepares to approach the afterlife, takes on a poignant profundity.
Changed line(s) 90 (click to see context) from:
* LittleNo: On recalling the car accident, Johnny murmurs a staggered “no.”
to:
* LittleNo: On recalling the car accident, Johnny murmurs a staggered “no.”"no."
Changed line(s) 99 (click to see context) from:
* SadClown: Initially, Erica makes light of Johnny’s mysterious dreams, seemingly to delay the inevitability of her brother’s detachment from the mortal realm.
to:
* SadClown: Initially, Erica makes light of Johnny’s mysterious dreams, seemingly to delay the inevitability of her brother’s brother's detachment from the mortal realm.
-->'''Johnny:''' No wonder mom's so bummed out all the time.
* ThereAreNoCoincidences: After Erica startled Johnny, he tripped and luckily found Donna's grave in front of him. Erica believes that deep down Johnny knew it would be there, since it's his grave too.
* ThereAreNoCoincidences: After Erica startled Johnny, he tripped and luckily found Donna's grave in front of him. Erica believes that deep down Johnny knew it would be there, since it's his grave too.
Changed line(s) 102 (click to see context) from:
* WhamLine: "Then what happened?" "I turned around. I tried to push her out of the way, but it was too late."
to:
* WhamLine: WhamLine:
** When Johnny returned to tell Erica he was with Donna, Erica revealed the newspaper clipping of her death.
** "Then what happened?" "I turned around. I tried to push her out of the way, but it was too late."
** When Johnny returned to tell Erica he was with Donna, Erica revealed the newspaper clipping of her death.
** "Then what happened?" "I turned around. I tried to push her out of the way, but it was too late."
Is there an issue? Send a MessageReason:
Shortening my recaps.
Changed line(s) 4,10 (click to see context) from:
To avenge being called a runt by Kiki, Tucker challenges her to an arm wrestle. The arrival of Betty Anne and Sam distracts Tucker into sudden defeat. Up tonight is Sam, with a tale of a horror which could strike anyone at any time: true love. Kiki giggles sceptically. Sam presses the point: love offers pain like no other. It drives life, and, in her story, in a way, death. Submitted for the approval of the Midnight Society, she calls this story “The Tale of the Dream Girl.”
Brother and sister Johnny and Erica Angelli, both very close, work at the Bowl-a-rama Lanes, respectively in maintenance and as a waitress.
One evening, as the two prepare to head home, Johnny finds, in his locker, a silver ring, set with a blue stone. He absently slips it onto his finger.
Erica notes the mystery item to be femininely styled. To her amusement, Johnny finds himself unable to remove it.
Brother and sister Johnny and Erica Angelli, both very close, work at the Bowl-a-rama Lanes, respectively in maintenance and as a waitress.
One evening, as the two prepare to head home, Johnny finds, in his locker, a silver ring, set with a blue stone. He absently slips it onto his finger.
Erica notes the mystery item to be femininely styled. To her amusement, Johnny finds himself unable to remove it.
to:
To avenge being called a runt by Kiki, Tucker challenges her to an arm wrestle. The arrival of Betty Anne and Sam distracts Tucker into sudden defeat. Up tonight is Sam, with a tale of a horror which could strike anyone at any time: time - true love. Kiki giggles sceptically. Sam presses the point: love offers pain like no other. It drives life, and, in her story, in a way, death. Submitted for the approval of the Midnight Society, she calls this story “The "The Tale of the Dream Girl.”
"
----
Brother and sister Johnny and Erica Angelli, both very close, work at the Bowl-a-rama Lanes, respectively in maintenance and as a waitress. \n\n One evening, as the two prepare to head home, Johnny finds, in his locker, a silver ring, set with a blue stone. He absently slips it onto his finger. \n\n Erica notes the mystery item to be femininely styled. To her amusement, Johnny finds himself unable to remove it.
----
Brother and sister Johnny and Erica Angelli, both very close, work at the Bowl-a-rama Lanes, respectively in maintenance and as a waitress.
Changed line(s) 14,21 (click to see context) from:
From the hallway, their mother directs Erica to bed, and heads upstairs herself. Johnny bids her goodnight - but she seems not to hear.
Stung, he wonders what’s up. Erica puts it down to exhaustion. As she goes up to bed, Johnny stays for some late night channel surfing.
In the darkened living room, lit by television static, Johnny dozes on the floor, head propped against the couch. A soft, female voice, while near, echoes, as if from a distance. It calls in search of Johnny.
Into the room before the dozing Johnny steps a mysterious young woman. She peers down at him in calm adoration. As she leans to kiss his cheek, a distant scream of abject terror becomes faintly audible.
Stung, he wonders what’s up. Erica puts it down to exhaustion. As she goes up to bed, Johnny stays for some late night channel surfing.
In the darkened living room, lit by television static, Johnny dozes on the floor, head propped against the couch. A soft, female voice, while near, echoes, as if from a distance. It calls in search of Johnny.
Into the room before the dozing Johnny steps a mysterious young woman. She peers down at him in calm adoration. As she leans to kiss his cheek, a distant scream of abject terror becomes faintly audible.
to:
From the hallway, their mother directs Erica to bed, and heads upstairs herself.off to bed. Johnny bids her goodnight - but she seems not to hear. \n\n Stung, he wonders what’s what's up. Erica puts it down to exhaustion. As she goes up to bed, Johnny stays for some late night channel surfing.
In the darkened living room, lit by television static, Johnnydozes on the floor, head propped against the couch.dozes. A soft, female voice, while near, echoes, as if from a distance. It calls in search of Johnny.
Into the room before the dozing Johnny steps a mysterious young woman. She peers down at him in calm adoration. As she leans to kiss his cheek, a distant scream of abject terror becomes faintly audible.
In the darkened living room, lit by television static, Johnny
Changed line(s) 24,28 (click to see context) from:
Next day, at the counter of the Bowl-a-rama snack bar, the manager orders a cola. Since maintenance is running consistently smoothly, he says happily, saving on hired help is proving good for business.
As he leaves, Johnny sinks indignantly onto the vacant seat, and laments lack of recognition from his boss. Shocked by Johnny’s arrival, Erica quickly explains that the manager won’t take kindly to grease stains. Johnny, however, would welcome any kind of recognition of his efforts.
He looks around, and takes the opportunity to confide his troubling dreams about a girl who, while he seems not to recognise, can’t stop thinking about. Erica laughs off any worrying implications. Johnny points out, at the shoe outlet, a girl whose jacket and hairstyle resemble those of his nightly visitor.
As he leaves, Johnny sinks indignantly onto the vacant seat, and laments lack of recognition from his boss. Shocked by Johnny’s arrival, Erica quickly explains that the manager won’t take kindly to grease stains. Johnny, however, would welcome any kind of recognition of his efforts.
He looks around, and takes the opportunity to confide his troubling dreams about a girl who, while he seems not to recognise, can’t stop thinking about. Erica laughs off any worrying implications. Johnny points out, at the shoe outlet, a girl whose jacket and hairstyle resemble those of his nightly visitor.
to:
Next day, at the counter of the Bowl-a-rama snack bar, the manager orders a cola. Since maintenance is running consistently running smoothly, he says happily, saving on hired help is proving good for business.
As he leaves, Johnny sinks indignantly onto the vacant seat, and laments lack ofrecognition from his boss. Shocked by Johnny’s arrival, Erica quickly explains that the manager won’t take kindly to grease stains. Johnny, however, would welcome any kind of recognition of his efforts.
He looks around, and takes the opportunity to confiderecognition. To Erica, he confides his troubling dreams about a girl who, while he seems not to recognise, can’t stop thinking about. Erica laughs off any worrying implications. Johnny points out, He spots, at the shoe outlet, a girl whose jacket and hairstyle resemble those of his nightly visitor.
As he leaves, Johnny sinks indignantly onto the vacant seat, and laments lack of
He looks around, and takes the opportunity to confide
Changed line(s) 30,47 (click to see context) from:
Against Erica’s advice, Johnny decides to investigate. While Cheryl Lightheart and friends impudently return a wrongly sized pair of bowling shoes, Johnny approaches her from behind.
With a dismissive frown, Cheryl turns around, then laughingly asks her friends if they heard someone address her. With more giggles, they head off.
The manager wearily mocks their brash sneers. Johnny turns to him in agreement - but as he speaks, the manager has already turned away. Back at the snack bar, Erica watches sadly.
In the maintenance office, a vexed Johnny opens his locker, and is dumbfounded to find it empty. From afar, the girl from his dreams, clearly but with a soft echo, calls his name, and identifies as Donna.
In search of her, Johnny peers down a corridor. At the end, from the bowling alley, the girl from his dreams steps into view, and calls to him. Johnny tells her not to move, and runs off.
In the bowling alley, hastily Johnny looks around for Erica. The voice of Donna, now sans echo, once more calls him. In the doorway of the next alley, she steps into view, beckons with a smile, and walks on.
Into the next alley, Johnny pursues. With no sign of Donna, he retreats. What sounds like the distant chime of a train signal is followed by a distant scream of abject terror. In horror, Johnny holds his hands to his ears. He whirls around - and the unearthly scream of terror is replaced by an earthly scream of glee, as a girl celebrates a strike.
Mrs Angelli inspects a stack of bills. Johnny, lying on the couch, greets her - but she walks upstairs, with no indication of having heard him. Johnny looks after her, and sees, lying on the floor, a stray envelope - addressed simply to him.
He opens it, and hastens to show it to Erica, who reads it aloud. It pledges a handwritten devotion in verse, signed by Donna Maitland, and asks Johnny to meet her tonight, midnight, at the Bowl-a-rama snack bar. Johnny confides having a really weird feeling about this, but, entranced by his curiously familiar visitor, he resolves to learn her identity.
With a dismissive frown, Cheryl turns around, then laughingly asks her friends if they heard someone address her. With more giggles, they head off.
The manager wearily mocks their brash sneers. Johnny turns to him in agreement - but as he speaks, the manager has already turned away. Back at the snack bar, Erica watches sadly.
In the maintenance office, a vexed Johnny opens his locker, and is dumbfounded to find it empty. From afar, the girl from his dreams, clearly but with a soft echo, calls his name, and identifies as Donna.
In search of her, Johnny peers down a corridor. At the end, from the bowling alley, the girl from his dreams steps into view, and calls to him. Johnny tells her not to move, and runs off.
In the bowling alley, hastily Johnny looks around for Erica. The voice of Donna, now sans echo, once more calls him. In the doorway of the next alley, she steps into view, beckons with a smile, and walks on.
Into the next alley, Johnny pursues. With no sign of Donna, he retreats. What sounds like the distant chime of a train signal is followed by a distant scream of abject terror. In horror, Johnny holds his hands to his ears. He whirls around - and the unearthly scream of terror is replaced by an earthly scream of glee, as a girl celebrates a strike.
Mrs Angelli inspects a stack of bills. Johnny, lying on the couch, greets her - but she walks upstairs, with no indication of having heard him. Johnny looks after her, and sees, lying on the floor, a stray envelope - addressed simply to him.
He opens it, and hastens to show it to Erica, who reads it aloud. It pledges a handwritten devotion in verse, signed by Donna Maitland, and asks Johnny to meet her tonight, midnight, at the Bowl-a-rama snack bar. Johnny confides having a really weird feeling about this, but, entranced by his curiously familiar visitor, he resolves to learn her identity.
to:
The manager wearily mocks their brash sneers. Johnny turns to him in agreement - but as he speaks, the manager has already turned away. Back at the snack bar, Erica watches sadly.
In search of her, Johnny peers down a corridor.
In the bowling alley,
Into the next alley, Johnny pursues. With no sign of Donna, he retreats.
...
Mrs Angelli inspects a stack of bills. Johnny, lying on the couch, greets her - but she walks upstairs, with no indication of having heard him. Johnny looks after her, and sees, lying on the floor,
He opens it, and hastens to show it to Erica, who reads it aloud. It pledges a handwritten devotion in verse, signed by Donna Maitland, and asks Johnny to meet her tonight, midnight, at the Bowl-a-rama snack bar.
Changed line(s) 50,67 (click to see context) from:
From the jukebox, a bluesy record plays across the dimly lit bar, whose [[JustForPun sole]] customers are a young couple in twenties attire.
Behind the counter are a bearded cook and a tirelessly scrubbing waitress. The waitress greets Johnny with a knowing smile, and cryptically explains the bar, at this hour, to be staffed by the night shift.
Bemused, Johnny glances at the couple opposite, who uneasily return his gaze. With a small smile, the man tips his hat. In return, Johnny gives an uncertain wave.
On the wall, a neon clock announces midnight. Just then, the waitress brightly presents Johnny with hot apple pie a la moon with a two cola chaser - his favourite. How did she know? She smiles cryptically, and walks off.
Half an hour later, as the twenties couple waltz to the bluesy music, Johnny, having finished his dessert, wonders where Donna could be. Dismayed, he lays some money. The waitress, back to scrubbing the counter, amusedly asks his hurry.
With a soft chime, the neon clock once more reads midnight. On the floor behind Johnny arrives Donna, who approaches, and earnestly allays Johnny’s fears that she might not have turned up. Anyway, she can’t leave - he’s wearing her ring. She subverts his queries with entreaty for a dance.
To the tender melody of a synthesised saxophone, the two waltz. The waitress looks fondly on. To the none-the-wiser Johnny, Donna announces a nearing moment of departure, and urges Johnny’s accompaniment. On the clock, the second hand nears twelve thirty. In despair, Donna announces that it’s too late. She hurries off, with a promise to wait for Johnny. As he makes to run after her, he knocks over a table. He straightens - and finds the bar to have been instantaneously deserted.
Johnny hurries home. In the kitchen, to Erica, he agitatedly begins to recount his adventure. She interrupts by holding up a neatly folded newspaper page. It holds a black and white shot of Donna. Johnny confirms this to be his inscrutable acquaintance. Erica unfolds the top of the paper, and reveals the article to be an obituary: she’s dead.
Erica recounts a car accident, wherein the car occupied by Donna and her boyfriend stalled on the railway. Once they’d left the car, Donna returned for the ring given her by her boyfriend - then the train came.
Behind the counter are a bearded cook and a tirelessly scrubbing waitress. The waitress greets Johnny with a knowing smile, and cryptically explains the bar, at this hour, to be staffed by the night shift.
Bemused, Johnny glances at the couple opposite, who uneasily return his gaze. With a small smile, the man tips his hat. In return, Johnny gives an uncertain wave.
On the wall, a neon clock announces midnight. Just then, the waitress brightly presents Johnny with hot apple pie a la moon with a two cola chaser - his favourite. How did she know? She smiles cryptically, and walks off.
Half an hour later, as the twenties couple waltz to the bluesy music, Johnny, having finished his dessert, wonders where Donna could be. Dismayed, he lays some money. The waitress, back to scrubbing the counter, amusedly asks his hurry.
With a soft chime, the neon clock once more reads midnight. On the floor behind Johnny arrives Donna, who approaches, and earnestly allays Johnny’s fears that she might not have turned up. Anyway, she can’t leave - he’s wearing her ring. She subverts his queries with entreaty for a dance.
To the tender melody of a synthesised saxophone, the two waltz. The waitress looks fondly on. To the none-the-wiser Johnny, Donna announces a nearing moment of departure, and urges Johnny’s accompaniment. On the clock, the second hand nears twelve thirty. In despair, Donna announces that it’s too late. She hurries off, with a promise to wait for Johnny. As he makes to run after her, he knocks over a table. He straightens - and finds the bar to have been instantaneously deserted.
Johnny hurries home. In the kitchen, to Erica, he agitatedly begins to recount his adventure. She interrupts by holding up a neatly folded newspaper page. It holds a black and white shot of Donna. Johnny confirms this to be his inscrutable acquaintance. Erica unfolds the top of the paper, and reveals the article to be an obituary: she’s dead.
Erica recounts a car accident, wherein the car occupied by Donna and her boyfriend stalled on the railway. Once they’d left the car, Donna returned for the ring given her by her boyfriend - then the train came.
to:
From the jukebox, a bluesy record plays across the dimly lit bar, whose [[JustForPun sole]] customers are a young couple in twenties attire.
attire. Behind the counter are a bearded cook and a tirelessly scrubbing waitress. The waitress greets Johnny with a knowing smile, and cryptically explains the bar, at this hour, to be staffed by the night shift.
Bemused, Johnny glances at the couple opposite, who uneasily return his gaze. With a small smile, the man tips his hat. In return, Johnny gives an uncertain wave.
On the wall, a neon clock announces midnight. Just then, the waitress brightly presents Johnny with hot apple pie a la moon with a two cola chaser - his favourite. How did she know? She smiles cryptically, and walks off.
Half an hour later, as the twenties couple waltz to the bluesy music, Johnny, having finished his dessert, wonders where Donna could be. Dismayed, he lays some money. The waitress, back to scrubbing the counter, amusedly asks his hurry.
With a soft chime, the neon clock once more reads midnight. On the floor behind Johnny arrives Donna, who approaches, and earnestly allays Johnny’s fears that she might not have turned up. Anyway, she can’t leave - he’s wearing her ring.Donna. She subverts his queries with entreaty for a dance.
To the tender melody of a synthesised saxophone, the two waltz. The waitress looks fondly on. To the none-the-wiser Johnny, Donna announces a nearing moment of departure, and urges Johnny’s accompaniment. On the clock, the second hand nears twelve thirty. In despair, Donna announces that it’s too late. She hurries off, with a promise to wait for Johnny. As he makes to run after her, he knocks over a table. He straightens - and finds the bar to have been instantaneously deserted.
Johnny hurries home. In the kitchen, to Erica, heagitatedly begins starts to recount his adventure. She interrupts by holding up a neatly folded newspaper page. It holds a black and white shot of Donna. Johnny confirms this to be his inscrutable acquaintance. Erica unfolds the top of the paper, and reveals the article to be an obituary: she’s dead.
she's dead. Erica recounts a car accident, wherein the car occupied by Donna and her boyfriend stalled on the railway. Once they’d left the car, Donna returned for the ring given her by her boyfriend - then the train came.
On the wall, a neon clock announces midnight. Just then, the waitress brightly presents Johnny with hot apple pie a la moon with a two cola chaser - his favourite. How did she know? She smiles cryptically, and walks off.
Half an hour later, as the twenties couple waltz to the bluesy music, Johnny, having finished his dessert, wonders where Donna could be. Dismayed, he lays some money. The waitress, back to scrubbing the counter, amusedly asks his hurry.
To the tender melody of a synthesised saxophone, the two waltz.
Johnny hurries home. In the kitchen, to Erica, he
Changed line(s) 70,81 (click to see context) from:
By his locker, Johnny smears his ringed finger with chilli sauce, to no avail. He wipes his hands, and closes the locker door - behind which, inches from his face, is Donna. Startled, he yelps. She soothingly urges him not to run.
Disturbed, he demands she take back her ring. With mild exasperation, she says it’s him she wants - he must know that by now. With a tender stare, she beseeches his accompaniment. He closes his eyes, and yells in fearful protest.
While Erica runs to the scene, Johnny opens his eyes to find Donna to have instantaneously vanished.
Back home, as Erica has dinner, Johnny paces fretfully. With more reserved agitation, Erica suggests that maybe the ring isn’t to blame for all this. On the table, the phone rings, and she answers - it’s Donna.
Fraught with nerves, Johnny takes the receiver, and angrily demands for an end to this bizarre joke, and to be left in peace. Donna sadly agrees to bother him no more.
The ring slips from his finger, and falls to the floor. In the stunned silence, Erica asks if he still thinks this is all a joke. Swayed by this new evidence, Johnny resolves to find Donna. Erica wonders how he aims to do that, since he told her to leave him alone. If Donna is a ghost, Johnny has an idea of where to start looking…
Disturbed, he demands she take back her ring. With mild exasperation, she says it’s him she wants - he must know that by now. With a tender stare, she beseeches his accompaniment. He closes his eyes, and yells in fearful protest.
While Erica runs to the scene, Johnny opens his eyes to find Donna to have instantaneously vanished.
Back home, as Erica has dinner, Johnny paces fretfully. With more reserved agitation, Erica suggests that maybe the ring isn’t to blame for all this. On the table, the phone rings, and she answers - it’s Donna.
Fraught with nerves, Johnny takes the receiver, and angrily demands for an end to this bizarre joke, and to be left in peace. Donna sadly agrees to bother him no more.
The ring slips from his finger, and falls to the floor. In the stunned silence, Erica asks if he still thinks this is all a joke. Swayed by this new evidence, Johnny resolves to find Donna. Erica wonders how he aims to do that, since he told her to leave him alone. If Donna is a ghost, Johnny has an idea of where to start looking…
to:
By his locker, Johnny smears his ringed finger with chilli sauce, to no avail. He wipes his hands, and closes the locker door - behind which, inches from his face, is Donna. Startled, he yelps. She soothingly urges him not to run.
Disturbed, he demands she take back her ring. With mild exasperation, she says it’s him she wants - he must know that by now.ring. With a tender stare, she beseeches his accompaniment. He closes his eyes, and yells in fearful protest.
protest. While Erica runs to the scene, Johnny opens his eyes to find Donna to have instantaneously vanished.
Back home,as Erica has dinner, Johnny paces fretfully. With more reserved agitation, Erica suggests that maybe the ring isn’t to blame for all this. On the table, the phone rings, and she Erica answers - it’s Donna.
Donna. Fraught with nerves, Johnny takes the receiver, and angrily demands for an end to this bizarre joke, and to be left in peace. Donna sadly agrees to bother him no more.
more. The ring slips from his finger, and falls to the floor. In the stunned silence, Erica asks if he still thinks this is all a joke.floor. Swayed by this new evidence, Johnny resolves to find Donna. Erica wonders how he aims to do that, since he told her to leave him alone. If Donna is a ghost, Johnny has an idea of where to start looking…\n
Back home,
Changed line(s) 84,91 (click to see context) from:
Erica rhetorically asks how he knew where to find it - he didn’t simply happen upon it, he knew where Donna was buried. Had he perhaps been here before? Erica agitatedly probes Johnny’s blocked memory: she recounts the car accident. Johnny, stunned, begins to remember. He recalls the rumble of the train, the terrible scream, and involuntarily yells Donna’s name.
He kneels by the grave, and softly recalls his attempt to push her out of the way - but it was too late. From the gravestone, he brushes more leaves, and finds the epitaph: "Donna Maitland and John Angelli… 'together eternally'".
He realises the second name to refer to himself. Erica tearfully confirms. She unfolds the newspaper, to reveal the full headline: “TRAIN TRAGEDY: TWO KILLED”, beneath which, by the photo of Donna, lies a shot of Johnny.
In mortal frustration, he asks why she didn’t tell him. Because he didn’t remember - he just came back from the accident as if nothing had happened, and for some really weird reason, recalled nothing of it - not even his own death.
He kneels by the grave, and softly recalls his attempt to push her out of the way - but it was too late. From the gravestone, he brushes more leaves, and finds the epitaph: "Donna Maitland and John Angelli… 'together eternally'".
He realises the second name to refer to himself. Erica tearfully confirms. She unfolds the newspaper, to reveal the full headline: “TRAIN TRAGEDY: TWO KILLED”, beneath which, by the photo of Donna, lies a shot of Johnny.
In mortal frustration, he asks why she didn’t tell him. Because he didn’t remember - he just came back from the accident as if nothing had happened, and for some really weird reason, recalled nothing of it - not even his own death.
to:
He realises the second name to refer to himself. Erica tearfully confirms. She unfolds the newspaper, to reveal the full headline:
Changed line(s) 94,99 (click to see context) from:
Through the distant mist approaches Donna. At a distance, she entreatingly welcomes Johnny back to her.
To Erica, Johnny softly confesses his inability to stay. She stays her sobs with an encouraging smile, and urges Johnny after Donna.
Brother and sister share a long, final hug, and tearfully affirm their love. As they part, Erica collapses into sobs. Johnny hesitates, produces the ring, and looks to Donna for permission. She smiles and nods.
To Erica, Johnny softly confesses his inability to stay. She stays her sobs with an encouraging smile, and urges Johnny after Donna.
Brother and sister share a long, final hug, and tearfully affirm their love. As they part, Erica collapses into sobs. Johnny hesitates, produces the ring, and looks to Donna for permission. She smiles and nods.
to:
Through the distant mist approaches Donna. At a distance, she entreatingly welcomes Johnny back to her.
To Erica, Johnny softly confesses his inability to stay. She stays her sobs with an encouraging smile, and urges Johnny after Donna. \n\n Brother and sister share a long, final hug, and tearfully affirm their love. As they part, Erica collapses into sobs. Johnny hesitates, produces the ring, and looks to Donna for permission. She smiles and nods.
Changed line(s) 102,103 (click to see context) from:
As Erica watches, the two spirits kiss, and walk into the mist. Johnny gives his sister a final look. She peers at her keepsake, and begins to walk home.
to:
As Erica watches, the two spirits kiss, and walk into the mist. Johnny gives his sister a final look. She peers at her keepsake, and begins starts to walk home.
home.
----
----
Deleted line(s) 105 (click to see context) :
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Recap/ pages are Spoilers Off, and trope entries go in alphabetical order by trope name.
Deleted line(s) 107 (click to see context) :
Changed line(s) 110,113 (click to see context) from:
* AnguishedDeclarationOfLove: Of a platonic variety, between Johnny and Erica, [[spoiler: as Johnny prepares to leave with Donna.]]
* AscendToAHigherPlaneOfExistence: Through the graveyard, [[spoiler: Johnny and Donna]] walk to an obscuring mist. Implicitly, such entry to the afterlife can only be reached at certain times.
* BenevolentBoss: The manager seems a jolly, easy-going sort. Although dialogue implies he acted as a BadBoss to Johnny, especially when he's elated saving on hired help [[spoiler:since Johnny's death.]]
* BittersweetEnding: Johnny realises [[spoiler: himself to be dead, and that he can no longer linger. While Erica grieves at his passing]], she takes comfort in knowing him [[spoiler: to have found happiness with Donna]].
* AscendToAHigherPlaneOfExistence: Through the graveyard, [[spoiler: Johnny and Donna]] walk to an obscuring mist. Implicitly, such entry to the afterlife can only be reached at certain times.
* BenevolentBoss: The manager seems a jolly, easy-going sort. Although dialogue implies he acted as a BadBoss to Johnny, especially when he's elated saving on hired help [[spoiler:since Johnny's death.]]
* BittersweetEnding: Johnny realises [[spoiler: himself to be dead, and that he can no longer linger. While Erica grieves at his passing]], she takes comfort in knowing him [[spoiler: to have found happiness with Donna]].
to:
* AnguishedDeclarationOfLove: Of a platonic variety, between Johnny and Erica, [[spoiler: as Johnny prepares to leave with Donna.]]
Donna.
* AscendToAHigherPlaneOfExistence: Through the graveyard,[[spoiler: Johnny and Donna]] Donna walk to an obscuring mist. Implicitly, such entry to the afterlife can only be reached at certain times.
* BenevolentBoss: The manager seems a jolly, easy-going sort. Although dialogue implies he acted as a BadBoss to Johnny, especially when he's elated saving on hired help[[spoiler:since since Johnny's death.]]
death.
* BittersweetEnding: Johnny realises[[spoiler: himself to be dead, and that he can no longer linger. While Erica grieves at his passing]], passing, she takes comfort in knowing him [[spoiler: to have found happiness with Donna]]. Donna.
* AscendToAHigherPlaneOfExistence: Through the graveyard,
* BenevolentBoss: The manager seems a jolly, easy-going sort. Although dialogue implies he acted as a BadBoss to Johnny, especially when he's elated saving on hired help
* BittersweetEnding: Johnny realises
Changed line(s) 118,119 (click to see context) from:
* DarkReprise: Johnny’s winsomely corny note of Erica to be his favourite sister, with her laughing observation of being his only sister, repeated when he [[spoiler: prepares to approach the afterlife,]] takes on a poignant profundity.
* DeadAllAlong: A [[Film/TheSixthSense famously influential]] example: [[spoiler: Johnny]] came home from the car accident, seemingly unaware of it having happened, and, with some capacity for solid interaction with his environment, but sensed only by [[spoiler: Erica]], he carries on as normal.
* DeadAllAlong: A [[Film/TheSixthSense famously influential]] example: [[spoiler: Johnny]] came home from the car accident, seemingly unaware of it having happened, and, with some capacity for solid interaction with his environment, but sensed only by [[spoiler: Erica]], he carries on as normal.
to:
* DarkReprise: Johnny’s winsomely corny note of Erica to be his favourite sister, with her laughing observation of being his only sister, repeated when he [[spoiler: prepares to approach the afterlife,]] afterlife, takes on a poignant profundity.
* DeadAllAlong: A [[Film/TheSixthSense famously influential]] example:[[spoiler: Johnny]] Johnny came home from the car accident, seemingly unaware of it having happened, and, with some capacity for solid interaction with his environment, but sensed only by [[spoiler: Erica]], Erica, he carries on as normal.
* DeadAllAlong: A [[Film/TheSixthSense famously influential]] example:
Changed line(s) 121,122 (click to see context) from:
* {{Foreshadowing}}: At one point, Johnny hallucinates the sound of a train coming, accompanied by a woman screaming. [[spoiler: It's later revealed that Johnny not only witnessed Donna's death, but was also a victim of the accident too.]]
* FreezeFrameBonus: [[spoiler: The text of the newspaper article produced by Erica gives away the fact that Johnny's as dead as Donna.]]
* FreezeFrameBonus: [[spoiler: The text of the newspaper article produced by Erica gives away the fact that Johnny's as dead as Donna.]]
to:
* {{Foreshadowing}}: At one point, Johnny hallucinates the sound of a train coming, accompanied by a woman screaming. [[spoiler: It's later revealed that Johnny not only witnessed Donna's death, but was also a victim of the accident too.]]
accident.
* FreezeFrameBonus:[[spoiler: The text of the newspaper article produced by Erica gives away the fact that Johnny's as dead as Donna.]]
* FreezeFrameBonus:
Changed line(s) 124 (click to see context) from:
* GhostAmnesia: On return from the car accident, [[spoiler: Johnny]] somehow excludes memory of both the deaths of [[spoiler: himself]] and Donna.
to:
* GhostAmnesia: On return from the car accident, [[spoiler: Johnny]] Johnny somehow excludes memory of both the deaths of [[spoiler: himself]] himself and Donna.
* ISeeDeadPeople: Erica, implicitly because of their closeness, is the only one to sense Johnny’s presence.
Changed line(s) 127,128 (click to see context) from:
* LittleNo: On recalling the car accident, [[spoiler: Johnny]] murmurs a staggered “no.”
* LongLastLook: Unable to deny Donna’s escort to the afterlife, [[spoiler: Johnny bids a tender farewell to Erica]].
* LongLastLook: Unable to deny Donna’s escort to the afterlife, [[spoiler: Johnny bids a tender farewell to Erica]].
to:
* LittleNo: On recalling the car accident, [[spoiler: Johnny]] Johnny murmurs a staggered “no.”
* LongLastLook: Unable to deny Donna’s escort to the afterlife,[[spoiler: Johnny bids a tender farewell to Erica]]. Erica.
* LongLastLook: Unable to deny Donna’s escort to the afterlife,
Changed line(s) 132,140 (click to see context) from:
* PoorCommunicationKills: [[spoiler: Donna keeps insisting that Johnny comes with her, giving the latter an unnerved impression that the former intends to forcibly steal him away to the afterlife, whether he's ready to go or not. If only she had bothered to bring him up to speed that they were going steady in life and they were both dead, it might've cleared the air that she didn't mean him any harm to begin with. Though she expressed confusion by Johnny's reluctance, believing he should have remembered their love.]]
** In [[spoiler: resumption of his earthly life]], Johnny seems to have [[spoiler: forgotten everything pertaining to the railway accident]], including his [[spoiler: relationship with Donna]]; it may be that he, through [[spoiler: [[CameBackWrong posthumous disorientation]], continues to repress his memory of her]].
* RedHerring: Johnny noticed Cheryl Lightheart resembles the dream girl. Believing it's some sign, he tries to talk to her, but just dismisses her. [[spoiler:Since it's revealed that Johnny's dead, Cheryl can somehow hear him but to can't see him to her confusion.]]
* SadClown: Initially, Erica makes light of Johnny’s mysterious dreams, [[spoiler: seemingly to delay the inevitability of her brother’s detachment from the mortal realm]].
* SourOutsideSadInside: Erica and Johnny's mother either treats her kids rather coldly or doesn't even acknowledge Johnny. [[spoiler: In reality, she doesn't know Johnny is there as he is a ghost, coupled with the fact that her alleged coldness is a result of her grieving for her late son.]]
* ISeeDeadPeople: [[spoiler: Erica]], implicitly because of [[spoiler: their closeness, is the only one to sense Johnny’s presence]].
* TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and observed by Erica
* WhamLine: "Then what happened?" "[[spoiler: I turned around. I tried to push her out of the way, but it was too late.]]"
* WhamShot: Two of them. [[spoiler: Johnny wipes away the leaves covering the lower half of Donna's grave to reveal it's also ''his'' grave as well. Erika then unfolds the other half of the newspaper to reveal Donna's picture ''and'' his own.]]
** In [[spoiler: resumption of his earthly life]], Johnny seems to have [[spoiler: forgotten everything pertaining to the railway accident]], including his [[spoiler: relationship with Donna]]; it may be that he, through [[spoiler: [[CameBackWrong posthumous disorientation]], continues to repress his memory of her]].
* RedHerring: Johnny noticed Cheryl Lightheart resembles the dream girl. Believing it's some sign, he tries to talk to her, but just dismisses her. [[spoiler:Since it's revealed that Johnny's dead, Cheryl can somehow hear him but to can't see him to her confusion.]]
* SadClown: Initially, Erica makes light of Johnny’s mysterious dreams, [[spoiler: seemingly to delay the inevitability of her brother’s detachment from the mortal realm]].
* SourOutsideSadInside: Erica and Johnny's mother either treats her kids rather coldly or doesn't even acknowledge Johnny. [[spoiler: In reality, she doesn't know Johnny is there as he is a ghost, coupled with the fact that her alleged coldness is a result of her grieving for her late son.]]
* ISeeDeadPeople: [[spoiler: Erica]], implicitly because of [[spoiler: their closeness, is the only one to sense Johnny’s presence]].
* TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and observed by Erica
* WhamLine: "Then what happened?" "[[spoiler: I turned around. I tried to push her out of the way, but it was too late.]]"
* WhamShot: Two of them. [[spoiler: Johnny wipes away the leaves covering the lower half of Donna's grave to reveal it's also ''his'' grave as well. Erika then unfolds the other half of the newspaper to reveal Donna's picture ''and'' his own.]]
to:
* PoorCommunicationKills: [[spoiler: PoorCommunicationKills:
** Donna keeps insisting that Johnny comes with her, giving the latter an unnerved impression that the former intends to forcibly steal him away to the afterlife, whether he's ready to go or not. If only she had bothered to bring him up to speed that they were going steady in life and they were both dead, it might've cleared the air that she didn't mean him any harm to begin with. Though she expressed confusion by Johnny's reluctance, believing he should have remembered theirlove.]]
love.
** In[[spoiler: resumption of his earthly life]], life, Johnny seems to have [[spoiler: forgotten everything pertaining to the railway accident]], accident, including his [[spoiler: relationship with Donna]]; Donna; it may be that he, through [[spoiler: [[CameBackWrong posthumous disorientation]], continues to repress his memory of her]].
her.
* RedHerring: Johnny noticed Cheryl Lightheart resembles the dream girl. Believing it's some sign, he tries to talk to her, but just dismisses her.[[spoiler:Since Since it's revealed that Johnny's dead, Cheryl can somehow hear him but to can't see him to her confusion.]]
confusion.
* SadClown: Initially, Erica makes light of Johnny’s mysterious dreams,[[spoiler: seemingly to delay the inevitability of her brother’s detachment from the mortal realm]].
realm.
* SourOutsideSadInside: Erica and Johnny's mother either treats her kids rather coldly or doesn't even acknowledge Johnny.[[spoiler: In reality, she doesn't know Johnny is there as he is a ghost, coupled with the fact that her alleged coldness is a result of her grieving for her late son.]]
* ISeeDeadPeople: [[spoiler: Erica]], implicitly because of [[spoiler: their closeness, is the only one to sense Johnny’s presence]].
son.
* TogetherInDeath:[[spoiler: Johnny and Donna]], Donna, as noted by their gravestone, and observed by Erica
Erica.
* WhamLine: "Then what happened?""[[spoiler: I "I turned around. I tried to push her out of the way, but it was too late.]]"
"
* WhamShot: Two of them.[[spoiler: Johnny wipes away the leaves covering the lower half of Donna's grave to reveal it's also ''his'' grave as well. Erika then unfolds the other half of the newspaper to reveal Donna's picture ''and'' his own.]]
** Donna keeps insisting that Johnny comes with her, giving the latter an unnerved impression that the former intends to forcibly steal him away to the afterlife, whether he's ready to go or not. If only she had bothered to bring him up to speed that they were going steady in life and they were both dead, it might've cleared the air that she didn't mean him any harm to begin with. Though she expressed confusion by Johnny's reluctance, believing he should have remembered their
** In
* RedHerring: Johnny noticed Cheryl Lightheart resembles the dream girl. Believing it's some sign, he tries to talk to her, but just dismisses her.
* SadClown: Initially, Erica makes light of Johnny’s mysterious dreams,
* SourOutsideSadInside: Erica and Johnny's mother either treats her kids rather coldly or doesn't even acknowledge Johnny.
* ISeeDeadPeople: [[spoiler: Erica]], implicitly because of [[spoiler: their closeness, is the only one to sense Johnny’s presence]].
* TogetherInDeath:
* WhamLine: "Then what happened?"
* WhamShot: Two of them.
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* FreezeFrameBonus: [[spoiler: The text of the newspaper article produced by Erica gives away the fact that Johnny's as dead as Donna.]]
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Changed line(s) 110 (click to see context) from:
* AnguishedDeclarationOfLove: Of a plutonic variety, between Johnny and Erica, [[spoiler: as Johnny prepares to leave with Donna.]]
to:
* AnguishedDeclarationOfLove: Of a plutonic platonic variety, between Johnny and Erica, [[spoiler: as Johnny prepares to leave with Donna.]]
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Changed line(s) 111 (click to see context) from:
* BenevolentBoss: The manager seems a jolly, easy-going sort.
to:
* BenevolentBoss: The manager seems a jolly, easy-going sort. Although dialogue implies he acted as a BadBoss to Johnny, especially when he's elated saving on hired help [[spoiler:since Johnny's death.]]
* CursedItem: The dream girl seems to be haunting Johnny after putting on the ring.
-->'''Erica:''' [[{{Foreshadowing}} Are you sure it's the ring that's causing all this?]]\\
'''Johnny:''' What do you mean?
-->'''Erica:''' [[{{Foreshadowing}} Are you sure it's the ring that's causing all this?]]\\
'''Johnny:''' What do you mean?
Changed line(s) 127 (click to see context) from:
* PoorCommunicationKills: [[spoiler: Donna keeps insisting that Johnny comes with her, giving the latter an unnerved impression that the former intends to forcibly steal him away to the afterlife, whether he's ready to go or not. If only she had bothered to bring him up to speed that they were going steady in life and they were both dead, it might've cleared the air that she didn't mean him any harm to begin with.]]
to:
* PoorCommunicationKills: [[spoiler: Donna keeps insisting that Johnny comes with her, giving the latter an unnerved impression that the former intends to forcibly steal him away to the afterlife, whether he's ready to go or not. If only she had bothered to bring him up to speed that they were going steady in life and they were both dead, it might've cleared the air that she didn't mean him any harm to begin with.]] Though she expressed confusion by Johnny's reluctance, believing he should have remembered their love.]]
Added DiffLines:
* RedHerring: Johnny noticed Cheryl Lightheart resembles the dream girl. Believing it's some sign, he tries to talk to her, but just dismisses her. [[spoiler:Since it's revealed that Johnny's dead, Cheryl can somehow hear him but to can't see him to her confusion.]]
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Added DiffLines:
** In [[spoiler: resumption of his earthly life]], Johnny seems to have [[spoiler: forgotten everything pertaining to the railway accident]], including his [[spoiler: relationship with Donna]]; it may be that he, through [[spoiler: [[CameBackWrong posthumous disorientation]], continues to repress his memory of her]].
Is there an issue? Send a MessageReason:
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Changed line(s) 113 (click to see context) from:
* CameBackWrong: [[DownplayedTrope Very slightly]]; while Donna is recognisably her old self, her mysterious detachment from the world around her, and oblique entreaties for Johnny to accompany her somewhere, at times have him severely unnerved.
to:
* CameBackWrong: [[DownplayedTrope Very slightly]]; while Donna is recognisably recognizably her old self, her mysterious detachment from the world around her, and oblique entreaties for Johnny to accompany her somewhere, at times have him severely unnerved.
* {{Foreshadowing}}: At one point, Johnny hallucinates the sound of a train coming, accompanied by a woman screaming. [[spoiler: It's later revealed that Johnny not only witnessed Donna's death, but was also a victim of the accident too.]]
* PoorCommunicationKills: [[spoiler: Donna keeps insisting that Johnny comes with her, giving the latter an unnerved impression that the former intends to forcibly steal him away to the afterlife, whether he's ready to go or not. If only she had bothered to bring him up to speed that they were going steady in life and they were both dead, it might've cleared the air that she didn't mean him any harm to begin with.]]
* SourOutsideSadInside: Erica and Johnny's mother either treats her kids rather coldly or doesn't even acknowledge Johnny. [[spoiler: In reality, she doesn't know Johnny is there as he is a ghost, coupled with the fact that her alleged coldness is a result of her grieving for her late son.]]
Changed line(s) 128 (click to see context) from:
* TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and observed by Erica
to:
* TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and observed by EricaErica
* WhamLine: "Then what happened?" "[[spoiler: I turned around. I tried to push her out of the way, but it was too late.]]"
* WhamShot: Two of them. [[spoiler: Johnny wipes away the leaves covering the lower half of Donna's grave to reveal it's also ''his'' grave as well. Erika then unfolds the other half of the newspaper to reveal Donna's picture ''and'' his own.]]
* WhamLine: "Then what happened?" "[[spoiler: I turned around. I tried to push her out of the way, but it was too late.]]"
* WhamShot: Two of them. [[spoiler: Johnny wipes away the leaves covering the lower half of Donna's grave to reveal it's also ''his'' grave as well. Erika then unfolds the other half of the newspaper to reveal Donna's picture ''and'' his own.]]
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Changed line(s) 111 (click to see context) from:
* BenevolentBoss: The manager seems a jolly, easygoing sort.
to:
* BenevolentBoss: The manager seems a jolly, easygoing easy-going sort.
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Changed line(s) 103,104 (click to see context) from:
Erica would always miss Johnny, closes Sam, but found solace in the thought of his happiness with Donna. Tucker muses on the thought-provoking premise of being a ghost without realising it. With apparent sincerity, Kiki concurs - with Tucker off guard, insults him once again. She runs. Back on the warpath, Tucker gives chase. Gary quickly douses the fire.
to:
Erica would always miss Johnny, closes Sam, but found solace in the thought of his happiness with Donna. Tucker muses on the thought-provoking premise of being a ghost without realising it. With apparent sincerity, Kiki concurs - and with Tucker off guard, insults him once again. She runs. Back on the warpath, Tucker gives chase. Gary quickly douses the fire.
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Changed line(s) 62,63 (click to see context) from:
To the tender melody of a synthesised saxophone, the two waltz. The waitress looks fondly on. To the none-the-wiser Johnny, Donna announces a nearing moment of departure, and entreats Johnny’s accompaniment. On the clock, the second hand nears twelve thirty. In despair, Donna announces that it’s too late. She hurries off, with a promise to wait for Johnny. As he makes to run after her, he knocks over a table. He straightens - and finds the bar to have been instantaneously deserted.
to:
To the tender melody of a synthesised saxophone, the two waltz. The waitress looks fondly on. To the none-the-wiser Johnny, Donna announces a nearing moment of departure, and entreats urges Johnny’s accompaniment. On the clock, the second hand nears twelve thirty. In despair, Donna announces that it’s too late. She hurries off, with a promise to wait for Johnny. As he makes to run after her, he knocks over a table. He straightens - and finds the bar to have been instantaneously deserted.
Changed line(s) 72,73 (click to see context) from:
Disturbed, he demands she take back her ring. With mild exasperation, she says it’s him she wants - he must know that by now. With a tender stare, she entreats his accompaniment. He closes his eyes, and yells in fearful protest.
to:
Disturbed, he demands she take back her ring. With mild exasperation, she says it’s him she wants - he must know that by now. With a tender stare, she entreats beseeches his accompaniment. He closes his eyes, and yells in fearful protest.
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Changed line(s) 128 (click to see context) from:
* TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and seen by Erica
to:
* TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and seen observed by Erica
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Changed line(s) 103,104 (click to see context) from:
Erica would always miss Johnny, closes Sam, but found solace in the thought of his happiness with Donna. Tucker muses on the thought-provoking premise of being a ghost without realising it. With apparent sincerity, Kiki concurs - and with Tucker off guard, insults him once again, and runs. Back on the warpath, he gives chase. Gary quickly douses the fire.
to:
Erica would always miss Johnny, closes Sam, but found solace in the thought of his happiness with Donna. Tucker muses on the thought-provoking premise of being a ghost without realising it. With apparent sincerity, Kiki concurs - and with Tucker off guard, insults him once again, and again. She runs. Back on the warpath, he Tucker gives chase. Gary quickly douses the fire.
Is there an issue? Send a MessageReason:
None
Changed line(s) 128 (click to see context) from:
* TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and observed by Erica
to:
* TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and observed seen by Erica
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Added DiffLines:
[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/screenshot_2020_06_17_at_073621.png]]
[[caption-width-right:350:"I’ll wait for you, Johnny."]]
To avenge being called a runt by Kiki, Tucker challenges her to an arm wrestle. The arrival of Betty Anne and Sam distracts Tucker into sudden defeat. Up tonight is Sam, with a tale of a horror which could strike anyone at any time: true love. Kiki giggles sceptically. Sam presses the point: love offers pain like no other. It drives life, and, in her story, in a way, death. Submitted for the approval of the Midnight Society, she calls this story “The Tale of the Dream Girl.”
Brother and sister Johnny and Erica Angelli, both very close, work at the Bowl-a-rama Lanes, respectively in maintenance and as a waitress.
One evening, as the two prepare to head home, Johnny finds, in his locker, a silver ring, set with a blue stone. He absently slips it onto his finger.
Erica notes the mystery item to be femininely styled. To her amusement, Johnny finds himself unable to remove it.
In the living room, as Erica does homework on the couch, Johnny broods over the irremovable ring.
From the hallway, their mother directs Erica to bed, and heads upstairs herself. Johnny bids her goodnight - but she seems not to hear.
Stung, he wonders what’s up. Erica puts it down to exhaustion. As she goes up to bed, Johnny stays for some late night channel surfing.
In the darkened living room, lit by television static, Johnny dozes on the floor, head propped against the couch. A soft, female voice, while near, echoes, as if from a distance. It calls in search of Johnny.
Into the room before the dozing Johnny steps a mysterious young woman. She peers down at him in calm adoration. As she leans to kiss his cheek, a distant scream of abject terror becomes faintly audible.
Johnny jerks awake, shaken, and fumbles with the stuck ring.
Next day, at the counter of the Bowl-a-rama snack bar, the manager orders a cola. Since maintenance is running consistently smoothly, he says happily, saving on hired help is proving good for business.
As he leaves, Johnny sinks indignantly onto the vacant seat, and laments lack of recognition from his boss. Shocked by Johnny’s arrival, Erica quickly explains that the manager won’t take kindly to grease stains. Johnny, however, would welcome any kind of recognition of his efforts.
He looks around, and takes the opportunity to confide his troubling dreams about a girl who, while he seems not to recognise, can’t stop thinking about. Erica laughs off any worrying implications. Johnny points out, at the shoe outlet, a girl whose jacket and hairstyle resemble those of his nightly visitor.
Against Erica’s advice, Johnny decides to investigate. While Cheryl Lightheart and friends impudently return a wrongly sized pair of bowling shoes, Johnny approaches her from behind.
With a dismissive frown, Cheryl turns around, then laughingly asks her friends if they heard someone address her. With more giggles, they head off.
The manager wearily mocks their brash sneers. Johnny turns to him in agreement - but as he speaks, the manager has already turned away. Back at the snack bar, Erica watches sadly.
In the maintenance office, a vexed Johnny opens his locker, and is dumbfounded to find it empty. From afar, the girl from his dreams, clearly but with a soft echo, calls his name, and identifies as Donna.
In search of her, Johnny peers down a corridor. At the end, from the bowling alley, the girl from his dreams steps into view, and calls to him. Johnny tells her not to move, and runs off.
In the bowling alley, hastily Johnny looks around for Erica. The voice of Donna, now sans echo, once more calls him. In the doorway of the next alley, she steps into view, beckons with a smile, and walks on.
Into the next alley, Johnny pursues. With no sign of Donna, he retreats. What sounds like the distant chime of a train signal is followed by a distant scream of abject terror. In horror, Johnny holds his hands to his ears. He whirls around - and the unearthly scream of terror is replaced by an earthly scream of glee, as a girl celebrates a strike.
Mrs Angelli inspects a stack of bills. Johnny, lying on the couch, greets her - but she walks upstairs, with no indication of having heard him. Johnny looks after her, and sees, lying on the floor, a stray envelope - addressed simply to him.
He opens it, and hastens to show it to Erica, who reads it aloud. It pledges a handwritten devotion in verse, signed by Donna Maitland, and asks Johnny to meet her tonight, midnight, at the Bowl-a-rama snack bar. Johnny confides having a really weird feeling about this, but, entranced by his curiously familiar visitor, he resolves to learn her identity.
At eleven fifty-five, well after closing time, Johnny, having donned a smart blue shirt, checks his reflection in his locker mirror, and strides into the snack bar.
From the jukebox, a bluesy record plays across the dimly lit bar, whose [[JustForPun sole]] customers are a young couple in twenties attire.
Behind the counter are a bearded cook and a tirelessly scrubbing waitress. The waitress greets Johnny with a knowing smile, and cryptically explains the bar, at this hour, to be staffed by the night shift.
Bemused, Johnny glances at the couple opposite, who uneasily return his gaze. With a small smile, the man tips his hat. In return, Johnny gives an uncertain wave.
On the wall, a neon clock announces midnight. Just then, the waitress brightly presents Johnny with hot apple pie a la moon with a two cola chaser - his favourite. How did she know? She smiles cryptically, and walks off.
Half an hour later, as the twenties couple waltz to the bluesy music, Johnny, having finished his dessert, wonders where Donna could be. Dismayed, he lays some money. The waitress, back to scrubbing the counter, amusedly asks his hurry.
With a soft chime, the neon clock once more reads midnight. On the floor behind Johnny arrives Donna, who approaches, and earnestly allays Johnny’s fears that she might not have turned up. Anyway, she can’t leave - he’s wearing her ring. She subverts his queries with entreaty for a dance.
To the tender melody of a synthesised saxophone, the two waltz. The waitress looks fondly on. To the none-the-wiser Johnny, Donna announces a nearing moment of departure, and entreats Johnny’s accompaniment. On the clock, the second hand nears twelve thirty. In despair, Donna announces that it’s too late. She hurries off, with a promise to wait for Johnny. As he makes to run after her, he knocks over a table. He straightens - and finds the bar to have been instantaneously deserted.
Johnny hurries home. In the kitchen, to Erica, he agitatedly begins to recount his adventure. She interrupts by holding up a neatly folded newspaper page. It holds a black and white shot of Donna. Johnny confirms this to be his inscrutable acquaintance. Erica unfolds the top of the paper, and reveals the article to be an obituary: she’s dead.
Erica recounts a car accident, wherein the car occupied by Donna and her boyfriend stalled on the railway. Once they’d left the car, Donna returned for the ring given her by her boyfriend - then the train came.
Badly shaken, Johnny realises his undeniable acquaintance with a ghost - who wants him to go with her, apparently because of the irremovable ring.
By his locker, Johnny smears his ringed finger with chilli sauce, to no avail. He wipes his hands, and closes the locker door - behind which, inches from his face, is Donna. Startled, he yelps. She soothingly urges him not to run.
Disturbed, he demands she take back her ring. With mild exasperation, she says it’s him she wants - he must know that by now. With a tender stare, she entreats his accompaniment. He closes his eyes, and yells in fearful protest.
While Erica runs to the scene, Johnny opens his eyes to find Donna to have instantaneously vanished.
Back home, as Erica has dinner, Johnny paces fretfully. With more reserved agitation, Erica suggests that maybe the ring isn’t to blame for all this. On the table, the phone rings, and she answers - it’s Donna.
Fraught with nerves, Johnny takes the receiver, and angrily demands for an end to this bizarre joke, and to be left in peace. Donna sadly agrees to bother him no more.
The ring slips from his finger, and falls to the floor. In the stunned silence, Erica asks if he still thinks this is all a joke. Swayed by this new evidence, Johnny resolves to find Donna. Erica wonders how he aims to do that, since he told her to leave him alone. If Donna is a ghost, Johnny has an idea of where to start looking…
That night, Johnny and Erica search the cemetery. Johnny wanders alone. As Erica catches up, he jumps, and falls over a leaf-covered gravestone. From the top, he brushes some leaves, and finds the name Donna Maitland.
Erica rhetorically asks how he knew where to find it - he didn’t simply happen upon it, he knew where Donna was buried. Had he perhaps been here before? Erica agitatedly probes Johnny’s blocked memory: she recounts the car accident. Johnny, stunned, begins to remember. He recalls the rumble of the train, the terrible scream, and involuntarily yells Donna’s name.
He kneels by the grave, and softly recalls his attempt to push her out of the way - but it was too late. From the gravestone, he brushes more leaves, and finds the epitaph: "Donna Maitland and John Angelli… 'together eternally'".
He realises the second name to refer to himself. Erica tearfully confirms. She unfolds the newspaper, to reveal the full headline: “TRAIN TRAGEDY: TWO KILLED”, beneath which, by the photo of Donna, lies a shot of Johnny.
In mortal frustration, he asks why she didn’t tell him. Because he didn’t remember - he just came back from the accident as if nothing had happened, and for some really weird reason, recalled nothing of it - not even his own death.
He wryly realises the reason for their mother seeming to ignore him. Erica gives a tearful laugh. Now that he knows, life can go on as normal...
Through the distant mist approaches Donna. At a distance, she entreatingly welcomes Johnny back to her.
To Erica, Johnny softly confesses his inability to stay. She stays her sobs with an encouraging smile, and urges Johnny after Donna.
Brother and sister share a long, final hug, and tearfully affirm their love. As they part, Erica collapses into sobs. Johnny hesitates, produces the ring, and looks to Donna for permission. She smiles and nods.
Johnny places the ring in Erica’s hand, kisses her cheek, and walks to Donna.
As Erica watches, the two spirits kiss, and walk into the mist. Johnny gives his sister a final look. She peers at her keepsake, and begins to walk home.
Erica would always miss Johnny, closes Sam, but found solace in the thought of his happiness with Donna. Tucker muses on the thought-provoking premise of being a ghost without realising it. With apparent sincerity, Kiki concurs - and with Tucker off guard, insults him once again, and runs. Back on the warpath, he gives chase. Gary quickly douses the fire.
!!This episode provides examples of:
*AfterlifeAntechamber: The Bowl-a-rama snack bar, after hours, serves as a meeting place for discarnate spirits.
*AngerBornOfWorry: As Johnny frets over his spectral predicament, both he and Erica become somewhat irate.
*AnguishedDeclarationOfLove: Of a plutonic variety, between Johnny and Erica, [[spoiler: as Johnny prepares to leave with Donna.]]
*AscendToAHigherPlaneOfExistence: Through the graveyard, [[spoiler: Johnny and Donna]] walk to an obscuring mist. Implicitly, such entry to the afterlife can only be reached at certain times.
*BenevolentBoss: The manager seems a jolly, easygoing sort.
*BittersweetEnding: Johnny realises [[spoiler: himself to be dead, and that he can no longer linger. While Erica grieves at his passing]], she takes comfort in knowing him [[spoiler: to have found happiness with Donna]].
*CameBackWrong: [[DownplayedTrope Very slightly]]; while Donna is recognisably her old self, her mysterious detachment from the world around her, and oblique entreaties for Johnny to accompany her somewhere, at times have him severely unnerved.
*DarkReprise: Johnny’s winsomely corny note of Erica to be his favourite sister, with her laughing observation of being his only sister, repeated when he [[spoiler: prepares to approach the afterlife,]] takes on a poignant profundity.
*DeadAllAlong: A [[Film/TheSixthSense famously influential]] example: [[spoiler: Johnny]] came home from the car accident, seemingly unaware of it having happened, and, with some capacity for solid interaction with his environment, but sensed only by [[spoiler: Erica]], he carries on as normal.
*FamilyUnfriendlyDeath: As described in the [[FreezeFrameBonus briefly visible]] newspaper article, the car accident resulted in shattered limbs scattered across half a mile.
*GenkiGirl: The waitress is quite jolly.
*GhostAmnesia: On return from the car accident, [[spoiler: Johnny]] somehow excludes memory of both the deaths of [[spoiler: himself]] and Donna.
*HauntedFetter: Unable to remove Donna’s ring from his finger, Johnny supposes it to bind her to the mortal realm. He seems right, to some extent, but when he initially tells her to leave him alone, it falls off.
*JacobMarleyApparel: Donna consistently wears the same outfit. At the night shift of the Bowl-a-rama snack bar, a young couple wear twenties attire.
*LittleNo: On recalling the car accident, [[spoiler: Johnny]] murmurs a staggered “no.”
*LongLastLook: Unable to deny Donna’s escort to the afterlife, [[spoiler: Johnny bids a tender farewell to Erica]].
*MyGodWhatHaveIDone: Johnny quickly regrets his confused, frightened demand for Donna to leave him alone.
*OffscreenTeleportation: Donna initially follows Johnny by instantaneous reappearance across improbable distance.
*PleaseDontLeaveMe: Donna plaintively entreats Johnny to go with her.
*SadClown: Initially, Erica makes light of Johnny’s mysterious dreams, [[spoiler: seemingly to delay the inevitability of her brother’s detachment from the mortal realm]].
*ISeeDeadPeople: [[spoiler: Erica]], implicitly because of [[spoiler: their closeness, is the only one to sense Johnny’s presence]].
*TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and observed by Erica
[[caption-width-right:350:"I’ll wait for you, Johnny."]]
To avenge being called a runt by Kiki, Tucker challenges her to an arm wrestle. The arrival of Betty Anne and Sam distracts Tucker into sudden defeat. Up tonight is Sam, with a tale of a horror which could strike anyone at any time: true love. Kiki giggles sceptically. Sam presses the point: love offers pain like no other. It drives life, and, in her story, in a way, death. Submitted for the approval of the Midnight Society, she calls this story “The Tale of the Dream Girl.”
Brother and sister Johnny and Erica Angelli, both very close, work at the Bowl-a-rama Lanes, respectively in maintenance and as a waitress.
One evening, as the two prepare to head home, Johnny finds, in his locker, a silver ring, set with a blue stone. He absently slips it onto his finger.
Erica notes the mystery item to be femininely styled. To her amusement, Johnny finds himself unable to remove it.
In the living room, as Erica does homework on the couch, Johnny broods over the irremovable ring.
From the hallway, their mother directs Erica to bed, and heads upstairs herself. Johnny bids her goodnight - but she seems not to hear.
Stung, he wonders what’s up. Erica puts it down to exhaustion. As she goes up to bed, Johnny stays for some late night channel surfing.
In the darkened living room, lit by television static, Johnny dozes on the floor, head propped against the couch. A soft, female voice, while near, echoes, as if from a distance. It calls in search of Johnny.
Into the room before the dozing Johnny steps a mysterious young woman. She peers down at him in calm adoration. As she leans to kiss his cheek, a distant scream of abject terror becomes faintly audible.
Johnny jerks awake, shaken, and fumbles with the stuck ring.
Next day, at the counter of the Bowl-a-rama snack bar, the manager orders a cola. Since maintenance is running consistently smoothly, he says happily, saving on hired help is proving good for business.
As he leaves, Johnny sinks indignantly onto the vacant seat, and laments lack of recognition from his boss. Shocked by Johnny’s arrival, Erica quickly explains that the manager won’t take kindly to grease stains. Johnny, however, would welcome any kind of recognition of his efforts.
He looks around, and takes the opportunity to confide his troubling dreams about a girl who, while he seems not to recognise, can’t stop thinking about. Erica laughs off any worrying implications. Johnny points out, at the shoe outlet, a girl whose jacket and hairstyle resemble those of his nightly visitor.
Against Erica’s advice, Johnny decides to investigate. While Cheryl Lightheart and friends impudently return a wrongly sized pair of bowling shoes, Johnny approaches her from behind.
With a dismissive frown, Cheryl turns around, then laughingly asks her friends if they heard someone address her. With more giggles, they head off.
The manager wearily mocks their brash sneers. Johnny turns to him in agreement - but as he speaks, the manager has already turned away. Back at the snack bar, Erica watches sadly.
In the maintenance office, a vexed Johnny opens his locker, and is dumbfounded to find it empty. From afar, the girl from his dreams, clearly but with a soft echo, calls his name, and identifies as Donna.
In search of her, Johnny peers down a corridor. At the end, from the bowling alley, the girl from his dreams steps into view, and calls to him. Johnny tells her not to move, and runs off.
In the bowling alley, hastily Johnny looks around for Erica. The voice of Donna, now sans echo, once more calls him. In the doorway of the next alley, she steps into view, beckons with a smile, and walks on.
Into the next alley, Johnny pursues. With no sign of Donna, he retreats. What sounds like the distant chime of a train signal is followed by a distant scream of abject terror. In horror, Johnny holds his hands to his ears. He whirls around - and the unearthly scream of terror is replaced by an earthly scream of glee, as a girl celebrates a strike.
Mrs Angelli inspects a stack of bills. Johnny, lying on the couch, greets her - but she walks upstairs, with no indication of having heard him. Johnny looks after her, and sees, lying on the floor, a stray envelope - addressed simply to him.
He opens it, and hastens to show it to Erica, who reads it aloud. It pledges a handwritten devotion in verse, signed by Donna Maitland, and asks Johnny to meet her tonight, midnight, at the Bowl-a-rama snack bar. Johnny confides having a really weird feeling about this, but, entranced by his curiously familiar visitor, he resolves to learn her identity.
At eleven fifty-five, well after closing time, Johnny, having donned a smart blue shirt, checks his reflection in his locker mirror, and strides into the snack bar.
From the jukebox, a bluesy record plays across the dimly lit bar, whose [[JustForPun sole]] customers are a young couple in twenties attire.
Behind the counter are a bearded cook and a tirelessly scrubbing waitress. The waitress greets Johnny with a knowing smile, and cryptically explains the bar, at this hour, to be staffed by the night shift.
Bemused, Johnny glances at the couple opposite, who uneasily return his gaze. With a small smile, the man tips his hat. In return, Johnny gives an uncertain wave.
On the wall, a neon clock announces midnight. Just then, the waitress brightly presents Johnny with hot apple pie a la moon with a two cola chaser - his favourite. How did she know? She smiles cryptically, and walks off.
Half an hour later, as the twenties couple waltz to the bluesy music, Johnny, having finished his dessert, wonders where Donna could be. Dismayed, he lays some money. The waitress, back to scrubbing the counter, amusedly asks his hurry.
With a soft chime, the neon clock once more reads midnight. On the floor behind Johnny arrives Donna, who approaches, and earnestly allays Johnny’s fears that she might not have turned up. Anyway, she can’t leave - he’s wearing her ring. She subverts his queries with entreaty for a dance.
To the tender melody of a synthesised saxophone, the two waltz. The waitress looks fondly on. To the none-the-wiser Johnny, Donna announces a nearing moment of departure, and entreats Johnny’s accompaniment. On the clock, the second hand nears twelve thirty. In despair, Donna announces that it’s too late. She hurries off, with a promise to wait for Johnny. As he makes to run after her, he knocks over a table. He straightens - and finds the bar to have been instantaneously deserted.
Johnny hurries home. In the kitchen, to Erica, he agitatedly begins to recount his adventure. She interrupts by holding up a neatly folded newspaper page. It holds a black and white shot of Donna. Johnny confirms this to be his inscrutable acquaintance. Erica unfolds the top of the paper, and reveals the article to be an obituary: she’s dead.
Erica recounts a car accident, wherein the car occupied by Donna and her boyfriend stalled on the railway. Once they’d left the car, Donna returned for the ring given her by her boyfriend - then the train came.
Badly shaken, Johnny realises his undeniable acquaintance with a ghost - who wants him to go with her, apparently because of the irremovable ring.
By his locker, Johnny smears his ringed finger with chilli sauce, to no avail. He wipes his hands, and closes the locker door - behind which, inches from his face, is Donna. Startled, he yelps. She soothingly urges him not to run.
Disturbed, he demands she take back her ring. With mild exasperation, she says it’s him she wants - he must know that by now. With a tender stare, she entreats his accompaniment. He closes his eyes, and yells in fearful protest.
While Erica runs to the scene, Johnny opens his eyes to find Donna to have instantaneously vanished.
Back home, as Erica has dinner, Johnny paces fretfully. With more reserved agitation, Erica suggests that maybe the ring isn’t to blame for all this. On the table, the phone rings, and she answers - it’s Donna.
Fraught with nerves, Johnny takes the receiver, and angrily demands for an end to this bizarre joke, and to be left in peace. Donna sadly agrees to bother him no more.
The ring slips from his finger, and falls to the floor. In the stunned silence, Erica asks if he still thinks this is all a joke. Swayed by this new evidence, Johnny resolves to find Donna. Erica wonders how he aims to do that, since he told her to leave him alone. If Donna is a ghost, Johnny has an idea of where to start looking…
That night, Johnny and Erica search the cemetery. Johnny wanders alone. As Erica catches up, he jumps, and falls over a leaf-covered gravestone. From the top, he brushes some leaves, and finds the name Donna Maitland.
Erica rhetorically asks how he knew where to find it - he didn’t simply happen upon it, he knew where Donna was buried. Had he perhaps been here before? Erica agitatedly probes Johnny’s blocked memory: she recounts the car accident. Johnny, stunned, begins to remember. He recalls the rumble of the train, the terrible scream, and involuntarily yells Donna’s name.
He kneels by the grave, and softly recalls his attempt to push her out of the way - but it was too late. From the gravestone, he brushes more leaves, and finds the epitaph: "Donna Maitland and John Angelli… 'together eternally'".
He realises the second name to refer to himself. Erica tearfully confirms. She unfolds the newspaper, to reveal the full headline: “TRAIN TRAGEDY: TWO KILLED”, beneath which, by the photo of Donna, lies a shot of Johnny.
In mortal frustration, he asks why she didn’t tell him. Because he didn’t remember - he just came back from the accident as if nothing had happened, and for some really weird reason, recalled nothing of it - not even his own death.
He wryly realises the reason for their mother seeming to ignore him. Erica gives a tearful laugh. Now that he knows, life can go on as normal...
Through the distant mist approaches Donna. At a distance, she entreatingly welcomes Johnny back to her.
To Erica, Johnny softly confesses his inability to stay. She stays her sobs with an encouraging smile, and urges Johnny after Donna.
Brother and sister share a long, final hug, and tearfully affirm their love. As they part, Erica collapses into sobs. Johnny hesitates, produces the ring, and looks to Donna for permission. She smiles and nods.
Johnny places the ring in Erica’s hand, kisses her cheek, and walks to Donna.
As Erica watches, the two spirits kiss, and walk into the mist. Johnny gives his sister a final look. She peers at her keepsake, and begins to walk home.
Erica would always miss Johnny, closes Sam, but found solace in the thought of his happiness with Donna. Tucker muses on the thought-provoking premise of being a ghost without realising it. With apparent sincerity, Kiki concurs - and with Tucker off guard, insults him once again, and runs. Back on the warpath, he gives chase. Gary quickly douses the fire.
!!This episode provides examples of:
*AfterlifeAntechamber: The Bowl-a-rama snack bar, after hours, serves as a meeting place for discarnate spirits.
*AngerBornOfWorry: As Johnny frets over his spectral predicament, both he and Erica become somewhat irate.
*AnguishedDeclarationOfLove: Of a plutonic variety, between Johnny and Erica, [[spoiler: as Johnny prepares to leave with Donna.]]
*AscendToAHigherPlaneOfExistence: Through the graveyard, [[spoiler: Johnny and Donna]] walk to an obscuring mist. Implicitly, such entry to the afterlife can only be reached at certain times.
*BenevolentBoss: The manager seems a jolly, easygoing sort.
*BittersweetEnding: Johnny realises [[spoiler: himself to be dead, and that he can no longer linger. While Erica grieves at his passing]], she takes comfort in knowing him [[spoiler: to have found happiness with Donna]].
*CameBackWrong: [[DownplayedTrope Very slightly]]; while Donna is recognisably her old self, her mysterious detachment from the world around her, and oblique entreaties for Johnny to accompany her somewhere, at times have him severely unnerved.
*DarkReprise: Johnny’s winsomely corny note of Erica to be his favourite sister, with her laughing observation of being his only sister, repeated when he [[spoiler: prepares to approach the afterlife,]] takes on a poignant profundity.
*DeadAllAlong: A [[Film/TheSixthSense famously influential]] example: [[spoiler: Johnny]] came home from the car accident, seemingly unaware of it having happened, and, with some capacity for solid interaction with his environment, but sensed only by [[spoiler: Erica]], he carries on as normal.
*FamilyUnfriendlyDeath: As described in the [[FreezeFrameBonus briefly visible]] newspaper article, the car accident resulted in shattered limbs scattered across half a mile.
*GenkiGirl: The waitress is quite jolly.
*GhostAmnesia: On return from the car accident, [[spoiler: Johnny]] somehow excludes memory of both the deaths of [[spoiler: himself]] and Donna.
*HauntedFetter: Unable to remove Donna’s ring from his finger, Johnny supposes it to bind her to the mortal realm. He seems right, to some extent, but when he initially tells her to leave him alone, it falls off.
*JacobMarleyApparel: Donna consistently wears the same outfit. At the night shift of the Bowl-a-rama snack bar, a young couple wear twenties attire.
*LittleNo: On recalling the car accident, [[spoiler: Johnny]] murmurs a staggered “no.”
*LongLastLook: Unable to deny Donna’s escort to the afterlife, [[spoiler: Johnny bids a tender farewell to Erica]].
*MyGodWhatHaveIDone: Johnny quickly regrets his confused, frightened demand for Donna to leave him alone.
*OffscreenTeleportation: Donna initially follows Johnny by instantaneous reappearance across improbable distance.
*PleaseDontLeaveMe: Donna plaintively entreats Johnny to go with her.
*SadClown: Initially, Erica makes light of Johnny’s mysterious dreams, [[spoiler: seemingly to delay the inevitability of her brother’s detachment from the mortal realm]].
*ISeeDeadPeople: [[spoiler: Erica]], implicitly because of [[spoiler: their closeness, is the only one to sense Johnny’s presence]].
*TogetherInDeath: [[spoiler: Johnny and Donna]], as noted by their gravestone, and observed by Erica
