Dallas Scene of the Day: ‘But It Was So Beautiful, Cliff’

Never upset this woman

Never upset this woman

In “Dallas’s” fifth-season episode “The Big Shut Down,” Cliff (Ken Kercheval) is in his office at Wentworth Tool and Die, discussing the hospitalized Pam with Rebecca and Katherine (Priscilla Pointer, Morgan Brittany), who’ve dropped by on their way to the airport.

CLIFF: You don’t need to worry about Pam. Mama and I will visit her. Although I must admit: I don’t relish bumping into a Ewing every time we go out there.

REBECCA: Cliff, the only Ewings who ever come to see Pam are Bobby and Ellie.

KATHERINE: [Smiling] I can understand why Pam fell in love with Bobby.

CLIFF: [Snickers] I’m sure you can. I must say, it wasn’t the greatest day in my life.

REBECCA: Cliff, I don’t want a replay of your problems with the Ewings. Besides, if we don’t hurry, we’re going to miss the plane. You know what the traffic’s like on the expressway in the mornings.

As Rebecca speaks, Katherine looks around the room quizzically.

KATHERINE: You know, everything in this office looks so different. I guess because I was three feet high the last time I saw it.

CLIFF: No, I don’t think so. It’s probably because I just had the whole place redecorated.

KATHERINE: Oh, I remember. [Pointing] Daddy had an antique cabinet right there. It was wood with a bold grain, probably oak or something.

CLIFF: Right, you’re right, yeah. I had it moved out because I just like kind of an openness.

KATHERINE: But it was so beautiful, Cliff.

CLIFF: It’s in the storeroom. If you want it, it’s yours.

KATHERINE: [Sighs] No, I’m just surprised you moved it. It always seemed to belong right there. [Smiles icily] Well, Mother, let’s go.

Katherine grabs her purse from a chair and she and Rebecca head for the door.

CLIFF: You all have a safe trip.

REBECCA: I’ll call you later.

After Rebecca and Katherine exit, Cliff surveys the room with raised eyebrows.

The Art of Dallas: ‘The Sweet Smell of Revenge’

Bobby (Patrick Duffy) rescues a suicidal Pam (Victoria Principal) in this 1981 publicity shot from “The Sweet Smell of Revenge,” a fifth-season “Dallas” episode.

Dallas Scene of the Day: ‘I Don’t Want to Feel This Way’

Poor Pam

Poor Pam

In “Dallas’s” fifth-season episode “The Sweet Smell of Revenge,” Pam (Victoria Principal) is sitting in her bed at Dallas Memorial Hospital when Dr. Conrad (Gretchen Wyler) enters the room.

CONRAD: Mrs. Ewing? I’m Dr. Conrad. [Sits on the bed but Pam doesn’t look up] Perhaps you can tell me how you’re feeling right now.

PAM: [Makes eye contact, then looks away] Like nothing matters. Empty. Worthless. Like I’m dying or already dead.

CONRAD: I see. Where do you suppose these feelings come from?

PAM: [Makes eye contact, speaks sharply] I thought you were supposed to tell me that.

CONRAD: They’re your feelings.

PAM: [Looking away] I don’t know.

CONRAD: How long have you been feeling this way?

PAM: For a long time.

CONRAD: Do you know when the feelings began?

PAM: No. Not really. I think in one way, I’ve been feeling like this all the way back to when I was a little baby and –

CONRAD: And? What?

PAM: And my mother left me. [Angrily] Why did she do that? Leave a little baby? What did I do to deserve that? [Deflated] I’m sorry. I don’t mean that. I love my mother and it wasn’t her fault.

CONRAD: There’s always a lot of anger underneath any depression.

PAM: [Looks up, then away] You think I’m angry?

CONRAD: Well, I’m sure that wanting to stop the world and get off doesn’t come from feelings of sweetness and light. The important question is, what happened recently to arouse all those old feelings of hopelessness and futility? You have a good marriage, a loving husband, good job. You were feeling fine until just recently. And suddenly it all seems empty and futile. Why?

PAM: [Voice breaking] I don’t know why. I have these feelings and I don’t know why but I don’t want to feel this way anymore.

CONRAD: I know. That’s why we better start to find out why you do feel this way.

PAM: How do we do that?

CONRAD: Well, we might begin by trying to find out what it is in yourself that you’re trying so hard to kill off.

Dallas Parallels: The Good Husband

The original “Dallas’s” pilot, “Digger’s Daughter,” opens with Bobby and Pam racing home to Southfork after their spur-of-the-moment elopement in New Orleans. Later, J.R. hints his younger brother doesn’t know his new wife as well as he should – a suggestion Bobby flatly rejects. As he declares in the episode’s final scene, “Pamela’s past is none of my business. She was not my wife in the past – but she is now.”

Looking back, I can’t help but think maybe J.R. had a point. Don’t get me wrong: Bobby and Pam’s love story was written in the stars, but throughout their marriage – er, marriages – Bobby seems to be constantly finding out things about Pam he didn’t know.

Examples: In Season 2, Bobby is surprised to learn she was married to another man before him. In Season 4, he’s shocked to find out she came this close to having an affair. In Season 11, Bobby is stunned when Pam, after being badly burned in a car crash, runs away to spare him the indignity of having a wife who isn’t pretty.

You have to wonder: Would these two have benefitted from a longer engagement?

History seems to be repeating itself on TNT’s “Dallas.” Bobby and third wife Ann have been married for several years when the new series opens, but it’s clear he doesn’t know her as well as he thought.

It begins in “The Enemy of My Enemy,” when Bobby finds Ann sobbing on the Southfork patio after receiving a mysterious locket from her ex-husband Harris Ryland. Bobby, ever the hothead, goes charging into Ryland’s office, grabs him by the lapels and backhands him.

This recalls the scene in the classic show’s second-season episode “Double Wedding,” when Bobby angrily confronts Pam’s first husband Ed Haynes, whose sudden return rattles her as much as the locket upsets Ann. Bobby is just as angry with Haynes as he is with Ryland, and both scenes end with Bobby jabbing a finger in the other man’s face and delivering an ultimatum (To Haynes: “I want you out of Dallas!” To Ryland: “You stay away from Ann!”).

In “Collateral Damage,” TNT’s next episode, after Ryland has Bobby arrested for assault, Bobby follows his lawyer’s advice and begrudgingly apologizes. But Ryland has a trick up his sleeve: He tells Bobby that Ann is “holding something back” and hands him an envelope. “Take a look inside,” Ryland says. “Come to your own conclusions. There’s a lot about Annie you don’t know.”

Here, we see parallels to the older show’s fourth-season episode “The New Mrs. Ewing,” when Bobby confronts Alex Ward, the magazine publisher who has been wooing Pam. Both scenes take place in the other man’s office, both suggest the other man has a sexist attitude toward his secretary (Ward calls his “hon,” Ryland refers to his as “dear”) and during both confrontations, Bobby threatens to pulverize the other man. (To Ward: “I’ll beat the hell out of you.” To Ryland: “I will beat you into next Sunday.”)

Most importantly, both scenes end with the other man turning the tables on Bobby. Just as Bobby is unsettled by Ryland’s envelope, he’s unnerved when Ward suggests Pam wanted to sleep with him because she felt neglected.

Bobby and Pam’s relationship survived her flirtation with Ward, and my guess is Bobby and Ann are going to be fine too. In the closing moments of “Collateral Damage,” Bobby shows Ann the envelope from Ryland. “I don’t need to open this,” Bobby says as he sets it aside and touches his wife’s face. “Everything I need to know about you is right here.”

The line evokes memories of Bobby’s “Digger’s Daughter” declaration that Pam’s past is “none of my business.” It also reminds us: On “Dallas,” some things never change.

Thank goodness.

 

‘She Needed Me’

Smug

In “The New Mrs. Ewing,” a fourth-season “Dallas” episode, Bobby (Patrick Duffy) bursts into the office of Alex Ward (Joel Fabiani) as Ward’s secretary is leaving.

WARD: [To the secretary] It’s all right, hon. Go out and close the door please. [To Bobby] What are you doing here?

BOBBY: I just came to tell you to stay away from my wife. You’ve been chasing her. I want you to stop it right now.

WARD: I don’t deny that I find your wife attractive. And I also admit that I tried my very best to charm her [stands up, faces Bobby]. But only because I felt she needed me. If I hadn’t felt that way, I never would have raised an eyebrow. I don’t play games I don’t feel I can win.

BOBBY: Listen you phony, my wife is not first prize in some game. Now I’m warning you: Stay away from her. This time I’m talking. Next time, I’ll beat the hell out of you.

WARD: If you’re really concerned about your wife, let me make a suggestion: Talk to her. I made my move only because I knew there was something wrong with your marriage [walks to the door, holds it open for Bobby]. After all, she’d never have even looked at me if there hadn’t been.

 

‘She’s Holding Something Back’

Smarmy

In “Collateral Damage,” TNT’s seventh “Dallas” episode, Bobby (Patrick Duffy) is seated across from Harris Ryland (Mitch Pileggi) at the desk in Ryland’s office.

RYLAND: Getting the police involved, I hate stooping to that. It’s an ugly gesture. I apologize.

BOBBY: If by “ugly” you mean “cowardly,” then yes, it was very ugly.

RYLAND: Then if you’re not here to apologize, I’m afraid it’s going to have to be a necessary gesture.

BOBBY: It’s not necessary, Harris. I apologize.

RYLAND: [Picks up the phone] Linda, call my lawyer. Tell him I want to drop all charges against Mr. Ewing. Yeah, thank you dear [hangs up the phone]. See? It was painless.

BOBBY: I want to be very clear, Harris. My apology doesn’t mean I take back what I did. You mess with my wife in any way, and I will beat you into next Sunday.

RYLAND: Not if you’re smart, you won’t.

BOBBY: I was more than ready to go to court. But I didn’t want to drag it out and cause my wife more pain – pain you are responsible for.

RYLAND: You know, I thought you might come asking. So, here you go. [He retrieves an envelope from a nearby cabinet and tries to hand it to Bobby. When Bobby doesn’t take it, Ryland drops it on the desk.] That’s why you’re here, isn’t it? To find out what kind of person your wife really is.

BOBBY: [Stands] I know what kind of person my wife really is.

RYLAND: She’s holding something back – and you wanna know what. [Slides the envelope across the desk] Here’s your what. Why don’t you go ahead and take a look inside. Come to your own conclusions. There’s a lot about Annie you don’t know.

What do you think of Bobby’s confrontations with the other men in his wives’ lives? Share your comments below and read more “Dallas Parallels.”

The Art of Dallas: ‘Little Boy Lost’

With Dusty (Jared Martin) watching, Sue Ellen (Linda Gray) attends a preliminary custody hearing for John Ross in this 1981 publicity shot from “Little Boy Lost,” a fifth-season “Dallas” episode.

Dallas Scene of the Day: ‘I Guess It’s Going to Have to Be Me’

Focus, Mama!

Focus, Mama!

In “Dallas’s” fifth-season episode “Little Boy Lost,” after the Southfork helicopter lands on the ranch’s lawn, Miss Ellie (Barbara Bel Geddes) exits and walks swiftly toward the house, followed by J.R. (Larry Hagman).

J.R.: Mama? Say, Mama? Mama, what you all upset about? [She stops and faces him.] You haven’t said a word since we left the Southern Cross ranch.

ELLIE: You used me, J.R. And my love for John Ross. You intended to fly down with me and try to get him away all along, didn’t you?

J.R.: You can’t blame me for that, Mama. Not for trying to get my boy back.

ELLIE: I blame you for using other people to achieve your aims.

J.R.: [Tips back his hat] Mama, I’d do anything to get him away from Sue Ellen. She’s not exactly the most perfect wife and mother, you know. I don’t know what he’s being exposed to down there. She’s living in sin with a cowboy. Hell, he can hardly even walk.

ELLIE: Then why would she prefer him to you?

J.R.: Because she’s crazy! That’s why I want to get the boy back.

ELLIE: You want him back without Sue Ellen?

J.R.: Yes, I’d prefer that.

ELLIE: And what would you bring him back to? Being raised by nursemaids and tutors? Seeing you five minutes a day, if he’s awake when you finally get home?

J.R.: Well, I figured that you and Daddy could –

ELLIE: Could do what? Raise him for you? No, I’m too old to raise another grandchild.

J.R.: You sound like you don’t want him back here.

ELLIE: [Slight smile] That’s not fair, J.R. You know I want him here. But only if his mother’s with him. He needs his mother more than he needs you or me or his grandfather.

J.R.: I love him just as much as Sue Ellen does.

ELLIE: I know you do, J.R. But he belongs with her. There’s nothing in this world that would make me happier than if you brought John Ross back to Southfork – but only if Sue Ellen is with him. [Begins walking away, then turns to face him] I saw a part of you I didn’t like very much today, J.R. In the past, I’ve put up with your games and tricks. I’ve even closed my eyes to some of them. But no more. As long as your daddy isn’t here, I guess it’s going to have to be me that has to keep an eye on you. [Turns and walks away]

The Art of Dallas: ‘Showdown at San Angelo’

Sue Ellen (Linda Gray) puts John Ross (Tyler Banks) to bed at the Southern Cross ranch in this 1981 publicity shot from “Showdown at San Angelo,” a fifth-season “Dallas” episode.

Dallas Scene of the Day: ‘It’s Not Our Fight’

How he met their mother

How he met their mother

In “Dallas’s” fifth-season episode “Showdown at San Angelo,” Clayton (Howard Keel) approaches Miss Ellie (Barbara Bel Geddes), who is playing with John Ross (Tyler Banks) outside the Southern Cross ranch house.

CLAYTON: Mrs. Ewing? Clayton Farlow. [They shake hands.] Not the best of circumstances to meet under.

ELLIE: That’s unfortunately true.

CLAYTON: I can understand how you and Mr. Ewing miss the boy. Since he’s been here, he’s brought a lot of joy to me.

ELLIE: My husband feels he belongs at Southfork. He’s a Ewing.

CLAYTON: [Chuckles] That he is. But what my son wants is just as important to me as what J.R. wants is to you. And he wants Sue Ellen and John Ross here. The boy belongs with his mother.

ELLIE: My husband usually gets what he wants.

CLAYTON: He’s not in Ewing country now. And what happens is between Steven and J.R. It’s not our fight.

Dallas Parallels: ‘Power’ Tips

Few moments during TNT’s first “Dallas” season made me smile as much as the scene where J.R. tells John Ross, “Real power is something you take.” This was more than a great line – it was also a tribute to one of the old show’s classic sequences.

In the fourth-season episode “Executive Wife,” Bobby storms into the Cattleman’s Club and interrupts Jock’s lunch with J.R. and a couple of their buddies. The youngest Ewing son is furious because he just discovered Jock yanked millions of dollars out of the Ewing Oil coffers without telling him, even though Bobby is supposed to be running the business while J.R. recuperates from his shooting.

“You gave me the power to run that company, and damn it, I intend to run it,” Bobby fumes.

“So I gave you power, huh?” Jock huffs. “Well, let me tell you something, boy. If I did give you power, you got nothing. Nobody gives you power. Real power is something you take!”

Flash forward three decades: In the TNT episode “The Price You Pay,” J.R. delivers the “real power” line during a clandestine meeting with John Ross at Southfork, where father and son are secretly plotting to steal the ranch from Bobby. J.R. calls it the “truest thing” his daddy ever told him. (Technically Jock told Bobby, but let’s not quibble.)

In addition to evoking Jock’s philosophy, the new scene is staged a lot like the old one. Director Michael M. Robin looks over Josh Henderson’s shoulder when he films Larry Hagman, just as Leonard Katzman shot Jim Davis while looking over Patrick Duffy’s shoulder.

But ultimately, the differences between the scenes are more revealing than the similarities. Jock delivers his “real power” line with characteristic bluntness while standing in a public space, reflecting his unapologetic, tell-it-like-it-is style. Jock was barracuda in business – and he didn’t care who knew it.

J.R. is much more cunning. He plots against his enemies behind their backs, so he shares his “real power” tip with John Ross while they are alone, shrouded in the darkness of J.R.’s bedroom. Even J.R.’s wardrobe reflects his deceptive style: He wears a cardigan sweater because he wants to give everyone the impression he’s become warm and fuzzy in old age. (Ha!)

Of course, regardless of whether the words are yelled or whispered, they still mean the same thing. Jock and J.R. are both demanding fathers who only want the best for their sons. By telling them to go out into the world and seize power for themselves, the fathers are letting the sons know they care.

It’s a tough message and it’s tough love, but it’s love nonetheless. Would the Ewings have it any other way?

 

‘Nobody Gives You Power …’

Like daddy …

In “Executive Wife,” a fourth-season “Dallas” episode, Bobby (Patrick Duffy) enters the Cattlemen’s Club and begins questioning J.R. (Larry Hagman) about Jock’s business deal, while Jock (Jim Davis) looks on.

JOCK: Now, you just hold on Bobby. J.R. don’t discuss my business with you or anybody else unless I tell him. You understand?

BOBBY: OK Daddy, then why didn’t you tell me? Didn’t you think I should know?

JOCK: I was gonna tell you tonight.

BOBBY: Tonight? I want those kind of things discussed with me before you act, not after. Your dealing behind my back is making me look like a fool.

JOCK: Now just what the hell are you talking about?

BOBBY: I called Les at the bank and asked him to transfer $12 million from the account.

JOCK: So what? We’ve got 100 times that much.

BOBBY: I’m talking liquid assets. Cash, Daddy, cash – and we don’t have that amount. And you know why? Because you took $10 million.

JOCK: [Rises from his seat, faces Bobby] You damn right I took it. It’s mine.

BOBBY: That money belongs to Ewing Oil.

JOCK: And who in the hell do you think Ewing Oil is? It’s me! Ewing Oil belongs to me and don’t you forget it, boy.

BOBBY: And you gave me Ewing Oil to run, in writing. And that makes you obliged to consult me before you do anything that concerns that company.

JOCK: Obliged? You’re telling me that I’m obliged to ask you how to spend my own money any damn way I see fit?

BOBBY: That’s right. You gave me the power to run that company, and damn it, I intend to run it.

JOCK: So I gave you power, huh? Well, let me tell you something, boy. If I did give you power, you got nothing. Nobody gives you power. Real power is something you take.

BOBBY: Well, I’m gonna remember that.

JOCK: You do that.

Bobby walks away.

 

‘… Real Power is Something You Take’

… like son

In “The Price You Pay,” TNT’s third “Dallas” episode, J.R. (Larry Hagman) shows John Ross (Josh Henderson) the leather-bound diary he uncovered in the Southfork storage barn.

J.R.: Time to get your hands dirty, son. [He hands him the diary.]

JOHN ROSS: What’s this?

J.R.: All my mama’s secrets. And you’re about to use them to get the Southfork deal moving. Your Uncle Bobby’s going to find out that you are my son, tip to tail.

JOHN ROSS: What do I have to do?

J.R.: You up for it?

JOHN ROSS: Yeah, yeah. I’m fine.

J.R.: Well, I’m going to tell you the truest thing my daddy ever told me: Nobody gives you power. Real power is something you take.

What do you think of Jock and J.R.’s philosophy on “real power?” Share your comments below and read more “Dallas Parallels.”

Dallas Scene of the Day: ‘She Was Kristin’

The survivor

The survivor

In “Dallas’s” fifth-season episode “Gone But Not Forgotten,” after the Farlow limousine parks in the Southern Cross ranch’s driveway, Sue Ellen (Linda Gray) exits and walks away, followed closely by Dusty (Jared Martin).

DUSTY: Sue Ellen?

SUE ELLEN: Kristin is dead. I knew it but it didn’t hit me until right now.

DUSTY: I know darling.

SUE ELLEN: That beautiful young girl is gone. My sister. We didn’t play together very much when we were growing up. She always made fun of my boyfriends. And then when she went to high school, she was no longer “Sue Ellen’s little sister.” She was Kristin. She had an identity. She was real smart. She could have been anything that she wanted to be.

DUSTY: What happened?

SUE ELLEN: [Pauses, faces him] Mama is what happened. Mama wanted us girls to have everything that she wanted but couldn’t get by herself. We were like little dolls, created to fulfill all the things that she wanted. She wanted wealth and position and decided that we could get it for her. Maybe that’s why Kristin turned to drugs. Because she failed to live up to the goals that Mama had created for her. Maybe that’s why I had a problem with alcohol.

DUSTY: What about your father? Didn’t he have any say in how you were brought up?

SUE ELLEN: Daddy? The only thing I remember about my daddy was the smell of liquor on his breath. He left us right after Kristin was born. And I guess it was about a year later Mama got a letter saying he was dead.

DUSTY: Well, I think I had better go to that funeral with you.

SUE ELLEN: No, John Ross and I can go to Albuquerque. I don’t think I can explain you to Mama. [Smiling] Not quite yet, anyway. [They kiss.]

DUSTY: I think you had better leave John Ross here at the ranch with me.

SUE ELLEN: No, he’ll be all right. My mama hasn’t seen him since he was a little baby anyway.

DUSTY: [Touching her face] You ready to go in now?

SUE ELLEN: Yes.

She kisses his hand and they walk toward the house.