Television history is littered with ghosts, but rarely do those ghosts sit up in their own coffins and ask for a drink of water. That is basically the premise of The Last Rites of Jeff Myrtlebank, a Season 3 standout of The Twilight Zone that doesn’t get nearly enough credit. Usually, when people talk about Rod Serling’s masterpiece, they’re obsessing over "To Serve Man" or "Nightmare at 20,000 Feet." Those are great. Iconic, even. But Jeff Myrtlebank? He’s different. He’s human in a way that’s almost uncomfortable.
The episode aired in 1962. It stars a young James Best—long before he was Sheriff Rosco P. Coltrane on The Dukes of Hazzard—and it’s a masterclass in folk-horror comedy. It isn't just about a guy coming back from the dead. It’s about how a small town handles the impossible. It’s about paranoia, regional superstition, and that weird, itchy feeling you get when you realize your neighbor might not be who he says he is.
The Resurrection in the Parlor
The story kicks off in a humid, backwoods town where Jeff Myrtlebank has died of "the fever." His family is gathered around the casket. The preacher is mid-eulogy. Then, Jeff starts twitching. He wakes up. Naturally, everyone loses their minds.
It’s a terrifying concept played for subtle, rural humor. Unlike other episodes where the "monster" is a gremlin on a wing or a three-eyed Martian, the "monster" here is just Jeff. Or is it? That’s the genius of the script by Montgomery Pittman. Jeff claims he was just in a deep sleep. The town thinks he’s possessed by a demon.
There’s this specific tension in the air during the wake scene. You’ve got the local doctor, Doc Beaumont, played by the legendary Edgar Buchanan, trying to rationalize it. He’s the voice of science in a room full of superstition. But even Doc is spooked. James Best plays Jeff with this unsettlingly calm demeanor. He’s hungry. He’s energetic. He’s suddenly very good at things he used to be bad at—like hard labor and fighting.
The episode uses the Southern Gothic setting to its advantage. It feels dusty. You can almost smell the old wood and the flowers in the parlor. This isn't the slick, urban Twilight Zone we often see. It’s primal.
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Why People Misunderstand Jeff's "Change"
Most viewers watch The Last Rites of Jeff Myrtlebank and wonder if he’s actually a demon. They look for the "twist." But the real twist isn't supernatural; it’s sociological. Before he "died," Jeff was a bit of a shiftless loafer. He was a nice enough guy, but he wasn't exactly the town's MVP.
When he comes back, he’s different. He’s assertive. He stands up to the local bully. He works like a horse. The townspeople—his "friends"—can't handle the fact that he's improved himself. They need him to be a demon because if he’s just a man who decided to change, it makes them look bad. It's a biting commentary on how communities enforce mediocrity.
Wait. There is that one scene at the end. Jeff is out by the gate with his girlfriend, Comfort Gatewood. He tries to light a pipe. He doesn't use a match. He just... flicks his finger, and it lights.
Or did he?
The camera angle is clever. It’s a classic Serling move. Was it a trick of the light? Or did a demon actually take over Jeff’s body and decide that life as a hardworking farmer was actually a pretty sweet gig? Honestly, that’s the more frightening thought. A demon that just wants to live a quiet life and marry a nice girl is way more interesting than one that wants to eat souls.
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The Montgomery Pittman Connection
You can't talk about this episode without talking about Montgomery Pittman. He wrote and directed it. Pittman was a "triple threat" in early television who unfortunately died young. He had a specific affinity for the American South.
He didn't treat the characters like caricatures. In many 1960s shows, rural characters were played as "hicks." Pittman gave them dignity. They are scared, yes, but they are also practical. They have a trial. They confront Jeff. They don't just run away screaming; they try to figure out the "rules" of his return.
Pittman’s daughter, Sherry Jackson, actually plays Comfort Gatewood in the episode. That father-daughter collaboration adds a layer of sincerity to the romance. You actually want Jeff and Comfort to end up together, even if Jeff might be a literal hellspawn.
The Sound of Silence and Crickets
The technical aspects of The Last Rites of Jeff Myrtlebank are understated. There aren't many special effects. The "scares" come from reaction shots. It’s all about the faces. The wide-eyed terror of the townspeople contrasted with Jeff’s smug, knowing smile.
The sound design is mostly ambient. You hear the crickets. You hear the creaking of the porch swings. This groundedness makes the final "is he or isn't he" moment hit harder. If the episode were full of flashy lightning bolts and spooky music, we wouldn't care. Because it feels real, the ambiguity lingers.
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Is Jeff Myrtlebank Actually Evil?
Let's look at the evidence.
- He woke up at his own funeral. (Super weird, but medically possible in 1962).
- He has a sudden burst of strength. (Adrenaline? Or demonic energy?)
- He’s suddenly very smart. (Maybe he just had a "come to Jesus" moment while he was "dead"?)
- The pipe incident. (The smoking gun... literally).
In the world of The Twilight Zone, the answer is usually "yes and no." Rod Serling loved the gray area. If Jeff is a demon, he’s the most productive, law-abiding demon in history. He’s basically using his dark powers to be a better citizen. If he’s just Jeff, then the town’s prejudice is the real monster.
There's a scene where the town confronts him, led by the mid-wife and the preacher. They want him to leave. Jeff doesn't cower. He basically threatens them with his "demonic" reputation to make them leave him alone. It’s brilliant. He uses their own fear against them to secure his privacy.
Practical Takeaways for Fans
If you are going to revisit this episode, or watch it for the first time, look past the black-and-white grain. There are a few things that make it a perfect study in storytelling.
- Watch the background actors. The way the townspeople slowly back away from Jeff in every scene tells the story better than the dialogue does.
- Pay attention to the doctor. He represents the failure of logic. He can't explain it, so he eventually just gives up and goes along with the crowd. It’s a cynical look at expertise.
- Compare it to "The Monsters Are Due on Maple Street." Both episodes deal with mob mentality, but while "Maple Street" ends in tragedy, "Jeff Myrtlebank" ends with a weird, uneasy peace. It’s the "happy" version of a lynching mob.
To truly appreciate the nuance of this episode, start by comparing the portrayal of Jeff to other "returned" characters in 60s media. You'll find he's far more complex than the average "zombie." Then, look for the subtle ways James Best uses his eyes to suggest there's something else behind them. Finally, consider the social implications of a man who has to pretend to be a monster just to be treated with respect by his peers. It's a haunting thought that sticks with you long after the credits roll.