Plot
In the beginning of the film a little boy named Tony Washington (Jesse D'Angelo) watches his father William Washington (John Fasano) play in a baseball game. On the way home Tony, William and Tony's mother Louise (Francesca Bonacorsa) see a young girl (Tracy Biddle) about to be raped by two teenagers. William saves the young girl from being raped but is killed when one of the rapists stabs him.
Years pass, and Tony (Jon Mikl Thor) is now grown up. When Tony comes back home, Louise reminds him about the groceries. Tony leaves to get groceries.
Meanwhile, a group of teenagers Bob (Allan Fisler), Amy (Tia Carrere), Jim, Peter, and Susie are at a bar. They are soon kicked out because they are underage. Bob suggests they try to find some sleazy chicks and they take off in a car, driving recklessly down the street.
Tony, now a musclebound teenage baseball player, is leaving a small grocery store where he had helped disrupt an attempted robbery. As he steps out of the store and into the road, he is run over by the gang of teenagers. Tony’s mother contacts one of her neighbors, a voodoo priestess, who happens to be the young girl who was saved by Tony's father earlier in the film when Tony was a child. She resurrects Tony as a zombie. Zombie-Tony goes on a killing spree, hunting down and killing the teenagers responsible for his death.
The police captain, played by Adam West, turns out to be corrupt, and is one of the original attackers from the attempted rape of the young voodoo priestess. He follows Tony to the cemetery where he shoots and kills the priestess and her zombie, only to be pulled down into Hell by Tony's father.
Read more about this topic: Zombie Nightmare
Famous quotes containing the word plot:
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)