Let's Scare Jessica to Death is a 1971 American horror film co-written and directed by John Hancock in his directorial debut, and starring Zohra Lampert, Barton Heyman, Kevin O'Connor, Gretchen Corbett, and Mariclare Costello.

Initially conceived by writer Lee Kalcheim as a satirical horror film about a group of hippies preyed upon by a monster in a lake, the screenplay was significantly reworked after director Hancock signed on to the project.

Inspired by Henry James' novella The Turn of the Screw and Robert Wise's film The Haunting (1963), Hancock wanted to center the screenplay on a protagonist whose credibility interpreting events could be questioned by the audience so they could use their imagination.

Filming of Let's Scare Jessica to Death took place in various towns and villages in Connecticut, largely in Middlesex County.

Jessica has been released from a mental institution to the care of her husband, Duncan, who has given up his job as string bassist for the New York Philharmonic and purchased a rundown farmhouse outside of the city.

When Jessica, Duncan, and their hippie friend Woody arrive, they are surprised to find a mysterious drifter, Emily, squatting in the home.

Jessica finds the story fascinating, but Duncan, afraid that hearing about such things will upset his wife, cuts Dorker short.

Later, as Jessica prepares to make a headstone rubbing on Abigail Bishop's grave, she notices the blonde woman beckoning her to follow.

Some literature and film scholars have drawn comparisons between Let's Scare Jessica to Death and Irish novelist Sheridan Le Fanu's novel Carmilla (1871), which tells the story of a vampiress.

"[8] Reviewing the film for its 50th anniversary, Kenneth Lowe of Paste alternately felt that the film "uses psychological horror techniques and roots its terror in the gaslighting of a vulnerable woman," interpreting Jessica's point of view as consistent with reality: "The movie’s framing device tries to plant a seed of doubt in the viewer’s mind that what they’ve seen can be fully trusted.

[11] The hearse that Duncan and Jessica drive, which has the word "love" spray-painted on it, has been noted as a blatant reference to the death of "hippie values.

[12] Doyle elaborates that the film "isolates and illuminates the death and corruption of counterculture values" from the era, and anticipates the "festering paranoia" that occurred throughout the 1970s, with the Watergate scandal, the assassinations of Harvey Milk and George Moscone, and the Jonestown massacre.

[12] Director John Hancock, though ambivalent about whether it was consciously or subconsciously integrated into the screenplay, has conceded this interpretation, commenting: "You could already feel that negativity brewing when we were making Jessica; that things weren't working out the way some of us had hoped and dreamed they would.

"[14] Hancock agreed to direct the film only as long as he was allowed to redraft the screenplay,[13] and proceeded to rework Kalcheim's original script in both tone and thematic content, but retained certain elements at the request of the producers; the mute girl, played by Gretchen Corbett, for example, was a character from Kalcheim's original script that Moss requested Hancock retain in his redraft.

[16] Jessica was partly influenced by the governess in Henry James's novella The Turn of the Screw,[16] as well as the character of Eleanor Lance in Robert Wise's film The Haunting (1963).

[21] Hancock was specifically taken by Costello's physical features, which included bright red hair and a pale complexion, which he felt was befitting of the vampiric Emily.

We loved the area and shared our feelings with John [Hancock] and [producer Charles B. Moss Jr.] After a preliminary scout we all agree that this was where Jessica should be filmed.

[32] Let's Scare Jessica to Death was one of the first horror films to prominently feature a synthesizer in its musical score, which was composed by Orville Stoeber.

[3] The song sung by Costello's character was initially going to be dubbed by a professional singer, but Hancock and the producers decided to keep her voice as it was recorded.

[42] On July 20, 2019, Scream Factory announced at San Diego Comic-Con that they would be issuing the film on Blu-ray, marking its debut in this format.

[43] The Blu-ray was released on January 28, 2020 and includes a commentary track from director John D. Hancock and producer Phil Badalato, interviews with composer Orville Stoeber and historian Kim Newman, a documentary on the filming locations, and other bonus features.

"[46] Roger Greenspun of The New York Times also praised Lampert's performance and lauded the film, calling it a "thinking man's vampire movie, probably a secret dream for at least half the world's young filmmakers.

"[47] Kevin Thomas of the Los Angeles Times remarked the "strong sense of atmosphere" in the film in addition to the four lead performances, who are "likable, believable people," but conceded: "There's no getting around the movie's poorly resolved script.

"[51] Jack Meredith of the Windsor Star described the film as a "far-out bit of froth" that "nevertheless packs continuing suspense and a what's-going-to-happen-next element that never lets down through about 1½ hours of sustained action.

"[52] Writing for the Edmonton Journal, Barry Westgate was critical of the film, noting: "Even contrived cinema has to have its share of rhyme or reason, and this effort by John Hancock doesn't have so much as a touch of either.

"[53] Ann Guarino of the New York Daily News commented on the film's ambiguous plot, writing that it "presents the problem and leaves you to solve it...

I thought director John Hancock...  was onto something—if not a new genre, then perhaps something as arresting as the Cat People," but felt that it devolved into a "routine vampire romp," though he did praise the cinematography and visuals.

[55] Ted Mahar of The Oregonian similarly praised the cinematography and use of locations, as well as Lampert's lead performance, but ultimately felt that the screenplay "never develops.

[37] According to Steve Senski of Trailers from Hell, Twilight Zone creator Rod Serling called it "one of the most frightening films he'd ever seen in his life.

"[5] In 2006, Eric Henderson of Slant Magazine gave the film an unfavorable review, writing: "A lesbian panic melodrama in New England gothic drag, the only things separating Let's Scare Jessica to Death from its cinematic descendants are its narrative incoherence, its lack of a directorial presence (especially surprising considering the colloquial implications of the director's name), [and] its drab, douche commercial mise-en-scène.