Unbeknownst to our heroine, the old man is the Devil (or some other kind of soul-stealing demonic entity). He's not as cheery as Ray Wise in Reaper , or as seductively sinister as Lucas Buck in American Gothic .
Our heroine calls in an exterminator to deal with the infestation of Starlings. Unfortunately, these creatures (or just the creators of this derivative effort) have seen The Birds .
Our Satanic friend offers to pull a few strings for a young man, and get him a promotion. Unfortunately, the man with the power to provide the promotion decides to double-cross Satan. Bad move!
A female writer creates a male serial killer. Unfortunately, her literary creation comes to life and comes after her.
The Aussie protagonist has visions of a creepy little girl who says Don't let him out. She follows them, and discovers a strange piece of luggage.
Charlie's Aussie tries to catch the petty thief who has been plaguing the building.
Her BF's boss is investigating Lucas Buck - oops, Brutal Locke.
The lady reporter is still being stalked by the imaginary Russian hitman. She can get away from him if she makes another deal with Locke. But can she escape her own conscience?
The valet hears noises coming from the mysterious suitcase.
The man from the suitcase has been there since the Wall St Crash of 1929. And he goes on a murderous rampage.
A mysterious stranger is after Brutus Locke. He makes threatening phone-calls, targets Vanessa Williams , and loots Locke's safe ...
Brutal closes in on the inside man who betrayed him. The mastermind behind the attacks is revealed. Rent-a-villain Nick Chinlund ( Chronicles of Riddick ) guest-stars.
The cops investigate what happened at the Halloween party. All the physical evidence is gone, but the building turns out to have a horrible history.
Brutal needs backup, so he hires the fictional Russian hitman. Unfortunately the man is still in prison.
The Aussie babe wants to leave the haunted hotel. The token black chick has to talk her out of it. She takes her into the basement.
The Aussie babe has been missing for several days, and everyone is out looking for her.
Nick Chinlund is in the regular basement, being worked over by the fictional Russian hitman. Presumably this has been going on for a couple of days, but he looks pretty good considering. He tries to play mindgames, but he is out of his league. However, he knows that Brutal's weak point is his wife.
The Aussie babe gets hypnotic regression from Whoopi Goldberg ( Star Trek: TNG ). She remembers that the building sent her back to 1927, where she uncovers clues to its satanic history.
Brutal tries to track down his daughter.
The Aussie babe is helped by Agent (oh, NYPD Detective) Cooper. They track down one of the men who sacrificed the woman in 1929. But can they TRUST him?
The Aussie babe's BF is pushed into politics, so Brutal can use him as a pawn. Brutal's daughter gets caught in the mix.
Brutal's daughter plays along with him. But her own agenda now comes clear. She wants to assassinate her father, using one of the daggers that was used to assassinate Julius Caesar!
Our heroine encounters a mysterious group named the Conspiriati - an unimaginatively-named Conspiracy of Illuminati. They have been around for centuries, but probably won't last to see the end of this episode.
Despite being surrounded by multiple rivals, Brutal Locke seems to have no problems. He only took a couple of eps to take care of his last problem.
Bill Sadler ( Roswell ) pops up as the heroine's estranged father.
The adulterous writer and his alcoholic wife have a problem reminiscent of the works of Edgar Allen Poe . Brutal can deal with two major threats in a single episode, so it seems evident the only reason they lasted this long was that he was playing with them.
The Aussie girl confronts her father (Bill Sadler - Roswell ) about her mother's death. Apparently she drowned in a bathtub in mysterious circumstances. But all this becomes irrelevant at the end.
Brutal's willingness to sacrifice his own daughter is explained in part by the twist ending. Because, as his equivalent in the far superior Once Upon A Time always says ... Magic comes at a price, dearie!