The Return of Count Yorga (originally titled Yorga Returns) is a 1971 American vampire horror film directed by Bob Kelljan and starring Robert Quarry, Roger Perry, Yvonne Wilder, George Macready in his final film role before his death in 1973, Rudy De Luca, Edward Walsh, and Craig T. Nelson in his feature film debut.

The story features Quarry returning as the infamous vampire Count Yorga, along with his servant Brudah, both of whom have been revived by the supernatural Santa Ana winds.

Meanwhile, orphan Tommy wanders into the nearby cemetery and hears a voice giving orders to "rise."

The next morning, Jennifer, the Nelsons' mute maid, finds the bodies along with Tommy and calls the police.

After learning of her death, David convinces Reverend Thomas and police detectives Lt. Madden and Sgt.

Reverend Thomas distracts Yorga while Baldwin, Madden and O'Connor search the manor, armed with sticks they can cross to ward off vampires.

Baldwin splits from the detectives to expand the search and discovers Jason's corpse, covered in bite marks with an IV draining his remaining blood.

Falling into a suit of armor, Baldwin grabs a metal mace and knocks Brudda out with it.

Madden tries to save him but gets lured in by a voice from the shadows (thinking that it is Baldwin) and then killed by Tommy.

Cynthia hugs Baldwin, but then sees that his skin has turned pale and bite marks are on his face.

Howard Thompson of The New York Times panned the film as "a dull, amateurish vampire brew.

"[3] Variety called it "a solid follow-up" to the original and "a handsome-looking film which rings the bell on both the shocker and satirical level.

"[4] Gene Siskel of the Chicago Tribune gave the film three-and-a-half stars out of four, calling it "extremely frightening" and adding, "Persons familiar with the original will find the sequel better photographed, better acted and containing more mayhem a minute.

"[6] David Pirie of The Monthly Film Bulletin wrote that Count Yorga had been resurrected "with considerably more enterprise and panache than before."

He praised the acting as being "of a generally high standard" and the castle set as "skilfully utilised to give the impression of a labyrinth of Borgesian proportions," though he criticized "a totally unnecessary and feeble attempt to make the Count into a sympathetic figure through such lines as, 'The most fragile emotion ever known has entered my breast.