"The Crossing" is an interesting ghost story which keeps its secret right up to the end. The only problem is that the ending doesn't really fit "The Twilight Zone," so much as an episode of "One Step Beyond." Whereas the stories on the "Zone" were concerned with rewarding the good/downtrodden, punishing the wicked, or presenting comically or tragically ironic endings, "One Step Beyond" was more focused on straightforward stories of the supernatural.
In this episode, tireless local priest Ted Shackleford is in the final stages of raising enough money to build a children's hospital, but becomes distracted by visions of a fiery car crash from his past. Ralph Phillips' script sets up a neat mystery as to why the priest is having these visions, and invests the character with the depth to make us want to know more -- particularly by making it clear that the priest knows the identity of the shadowy figure in the car, and that his non-stop charitable work is an outgrowth from some hidden guilt. Shackleford's low-key performance is impressive as well, giving us the portrait of a good man who doesn't believe he's as good as he really is. Gerard Parkes also offers some good support as the kindly monsignor who tries to get Shackleford to slow down.
As I noted earlier, the episode is clearly effective on its own terms, but it's not quite a "Twilight Zone." The character flaw driving Shackleford's guilt in the script is simple -- fear in the face of incredible danger which prevented him from saving the life of the shadowy figure. That character flaw, however, is hardly a mortal sin (nor is it particularly unique), and one gets the feeling that his extensive good works since that time would have more than atoned for that single moment of weakness. Instead, the end of the episode seems to play as though he's accepting death as a form of punishment for this flaw -- something that throws the concept of "The Twilight Zone" somewhat out of balance. Even if one doesn't read it as a punishment, the character's death at an early age would appear to cut him off in the prime of his life, eliminating the possibility of him doing any further good works; the character appears more in need of rest and absolution than a premature end to his life. Indeed, a more fitting "Zone" ending might have involved the shadowy figure giving him that absolution, and allowing him to live his life (and do more good works) without the excessive guilt.
As it is, the episode is definitely worth a look, with Shackleford's performance definitely worth the time invested.
In this episode, tireless local priest Ted Shackleford is in the final stages of raising enough money to build a children's hospital, but becomes distracted by visions of a fiery car crash from his past. Ralph Phillips' script sets up a neat mystery as to why the priest is having these visions, and invests the character with the depth to make us want to know more -- particularly by making it clear that the priest knows the identity of the shadowy figure in the car, and that his non-stop charitable work is an outgrowth from some hidden guilt. Shackleford's low-key performance is impressive as well, giving us the portrait of a good man who doesn't believe he's as good as he really is. Gerard Parkes also offers some good support as the kindly monsignor who tries to get Shackleford to slow down.
As I noted earlier, the episode is clearly effective on its own terms, but it's not quite a "Twilight Zone." The character flaw driving Shackleford's guilt in the script is simple -- fear in the face of incredible danger which prevented him from saving the life of the shadowy figure. That character flaw, however, is hardly a mortal sin (nor is it particularly unique), and one gets the feeling that his extensive good works since that time would have more than atoned for that single moment of weakness. Instead, the end of the episode seems to play as though he's accepting death as a form of punishment for this flaw -- something that throws the concept of "The Twilight Zone" somewhat out of balance. Even if one doesn't read it as a punishment, the character's death at an early age would appear to cut him off in the prime of his life, eliminating the possibility of him doing any further good works; the character appears more in need of rest and absolution than a premature end to his life. Indeed, a more fitting "Zone" ending might have involved the shadowy figure giving him that absolution, and allowing him to live his life (and do more good works) without the excessive guilt.
As it is, the episode is definitely worth a look, with Shackleford's performance definitely worth the time invested.