The original screenplay ended with Willie Brown dying aboard a Greyhound bus, a grim conclusion that would have left Eugene Martone to carry the old musician's blues legacy alone. Director Walter Hill found the sequence especially difficult because his own father had died shortly before production began. Rather than force himself to film only the fatal ending, Hill shot an alternate, more hopeful conclusion in which Willie and Eugene survive their supernatural ordeal and continue toward Chicago together. Both versions were shown to test audiences, and Columbia ultimately selected the happier ending. The decision subtly changed the film's emotional meaning: instead of ending with the extinction of an older blues generation, Crossroads closes on a mentor passing knowledge to a younger musician. The abandoned death ending remains one of the production's most revealing examples of personal grief altering a film's structure and tone.
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