“The only sedative I need is to get my hands around Stokes’ neck.”
Julia Hoffman follows the ghost of a young girl from the Old House to Collinwood and all the way upstairs to the mysterious playroom, where it turns out maybe don’t follow ghosts all over the place.
There, she comes face-to-face with the demonic supernatural force responsible for the destruction of everything she knows and loves; according to the credits, its name is Gerard. He’s a dark-haired scowling guy in his late 20s, plus however long it’s been since he died.
He glares at her from across the room, and takes a step forward. “Don’t come any closer,” she warns, looking around for an escape route, but she’s glued to the spot. “Stop looking at me that way!” she cries. “Please, stop!” He keeps on looking at her that way; looking at her that way is his entire strategy. She looks back, and then there she is, a wholly owned subsidiary of Gerard, LLC RIP.
Which raises the most important question of the 1995 storyline: Is Gerard hot?