Director Ryan Coogler has a strong talent for filmmaking and storytelling, and he’s now stepping into the realm of supernatural horror.
At a recent press event for his upcoming horror film Sinners, Coogler shared the influences behind the project. Among them is a “deep-cut” episode from his favorite TV show of all time, Rod Serling’s The Twilight Zone.
Coogler named the episode “The Last Rites of Jeff Myrtlebank” and said it is his favorite episode from the classic show.
Sinners is a vampire horror film starring Michael B. Jordan in a dual role as twin brothers. The official synopsis reads: “Trying to leave their troubled lives behind, twin brothers return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.”
Coogler’s connection to “The Last Rites of Jeff Myrtlebank” makes perfect sense given the themes of small-town paranoia, mysterious resurrections, and questions about the nature of evil.
First airing in 1962, “The Last Rites of Jeff Myrtlebank” was written and directed by Twilight Zone veteran Montgomery Pittman and stands as a unique entry in the show’s run.
While it doesn’t have the widespread recognition of other episodes in the same season it was released such as “It’s a Good Life,” “To Serve Man,” “The Midnight Sun,” “Kick the Can,” and more, its unsettling small-town atmosphere and eerie story obviously left an impression on Coogler.
The episode opens with a funeral in a rural Midwest town that is interrupted when the deceased, Jeff Myrtlebank, suddenly wakes up. As the oppening narrator states:
“Time, the mid-twenties. Place, the Midwest, the southernmost section of the Midwest. We were just witnessing a funeral, a funeral that didn’t come off exactly as planned, due to a slight fallout – from the Twilight Zone.”
In the mid-1920s, in a small rural town nestled in the “southernmost section of the Midwest,” the quiet normalcy of life is shattered when Jeff Myrtlebank, presumed dead from a bout of influenza, inexplicably awakens during his own funeral.
As Jeff sits upright in his coffin, the mourners, grieving moments earlier, scatter in terror, convinced that something unnatural is at play.
Though the town doctor tries to calm the panic, explaining that Jeff’s apparent death was likely a rare medical condition mimicking the signs of death, the locals remain uneasy.
The doctor points out that Jeff’s heart had stopped completely, he didn’t respond to a pinprick, and his breath failed to fog a mirror, which are signs that made his death seem certain.
But despite Jeff’s seemingly miraculous return to life, the townspeople can’t shake their suspicion that he’s been possessed by a haint, which is a ghost or demon in Southern folklore.
At first, Jeff appears to be his usual self, yet unsettling changes in his behavior begin to emerge. He becomes an unusually hard worker, showing a strength and energy he never had before.
Strangely, he also starts eating less, adding to the mounting rumors that he’s no longer entirely human. Whispers of fear ripple through the small community, as they wonder what happened during the days Jeff was “dead” and what kind of man—or creature—he truly is now.
When Jeff visits his girlfriend, Comfort, in an attempt to resume their relationship, his oddness becomes harder to ignore. He brings her a bouquet of roses, only for them to inexplicably wither and die in his hands before he gives them to her.
The sight terrifies Comfort, and she recoils from his touch. Her brother, protective and equally spooked, confronts Jeff and warns him to leave and never return. When Jeff refuses, a fight breaks out.
Despite having always been on the losing end of past fights, Jeff easily overpowers Comfort’s brother with a single blow. The display of strength softens Comfort’s fear, sparking sympathy for him and reigniting her love.
Meanwhile, the townspeople’s paranoia intensifies. A group gathers to discuss what they see as the growing threat Jeff poses. They believe that whatever came back from the grave isn’t the same man they once knew and decide they must take action to rid the town of this perceived evil.
Comfort, overhearing their plans, rushes to warn Jeff. In a moment of courage, she declares her unwavering love for him despite the doubts clouding her mind. Jeff, emboldened by her loyalty, proposes to her on the spot. Before she can respond, the angry mob arrives, demanding that Jeff leave town immediately.
Standing his ground, Jeff insists that Comfort answer his proposal first. She agrees to marry him, vowing to follow him wherever he goes. With his fiancée at his side, Jeff delivers a sly yet chilling speech to the townsfolk.
He assures them they are wrong to fear him, but then suggests that if they are right, they should reconsider treating him as their enemy. His words unnerve the crowd, and they reluctantly agree to leave him alone, even promising to attend his wedding.
As the mob disperses, Comfort nervously asks Jeff if he truly meant the threats he made. With a laugh, Jeff dismisses her concerns, insisting he was only bluffing. Yet, as he pulls out a pipe and lights a match, something strange happens… the match ignites on its own.
Comfort notices and asks how he managed it. Jeff grins, deflecting with a playful quip, “You must be imagining things.”
As they walk together toward Comfort’s house, Jeff wraps his arm around her shoulders, and the two seem to embrace their future. Behind them, the gate to the yard swings shut on its own, leaving a lingering sense of unease in the air.
The question of who or what Jeff Myrtlebank truly is remains unanswered, a haunting mystery lingering in the minds of everyone who has crossed his path.
It will be interesting to see how this episode and its dynamic translates into Coogler’s film. One thing we know for sure judging fro the trailers, is that it will be a mix of psychological tension and supernatural horror.
While The Twilight Zone has dozens of iconic episodes, this is a great episode that is often overlooked. The story explores the unknown and societal judgment, and it still resonates today with audiences.
