Dallas Scene of the Day: ‘You’re a Parasite!’

Cliff Barnes, Dallas, Ken Kercheval, Linda Gray, Mother of the Year, Sue Ellen Ewing

The biggest users

In “Mother of the Year,” a third-season “Dallas” episode, Sue Ellen (Linda Gray) visits Cliff (Ken Kercheval) at his apartment, where he asks about baby John’s wellbeing.

CLIFF: Look, Sue Ellen, please tell me what’s going on.

SUE ELLEN: [Gets up from her chair, walks away from Cliff] I’m fine, the baby is fine – and neither of us can get you to Washington, so you can stop wasting time your precious time worrying about either one of us.

CLIFF: You have no right to say that.

SUE ELLEN: [Turns toward him] If I don’t, who does? You used me like you used everybody else to get ahead and to destroy J.R. Ewing – and to hell with anybody else.

CLIFF: I loved you, Sue Ellen.

SUE ELLEN: You made love to me. You never loved anybody but yourself. You never cared about me. You used me to get at J.R., and when I wanted you and needed you, you left me.

CLIFF: So I used you?

SUE ELLEN: Yes, that’s what I think. I think men are users.

CLIFF: No, Sue Ellen. You are the user. You used J.R. to get position and wealth. And when that started to go sour, then you used me to get back at J.R. because you knew that I was the one person that could do that – and then you got your hooks into me.

She begins walking away. He grabs her arm.

SUE ELLEN: Let go of me.

CLIFF: No, you’re not going anywhere, Mrs. Ewing. You’re going to listen to me, because it concerns my son. Because what you are really doing now is using the baby as a weapon so you can keep the Ewing name, which you care about. Because you’re a parasite! You’re incapable of loving. Even your son!

She slaps him, walks toward the door and opens it.

SUE ELLEN: You are wrong. I love my son.

CLIFF: You can’t love anyone. All you can do is use.

She leaves.

Dallas Styles: Jock’s Bathrobe

‘Ellie Saves the Day’

Is it a coincidence Jim Davis wears a bathrobe during some of Jock’s most vulnerable moments on “Dallas?”

In “Survival,” Jock is clad in a beige terrycloth robe when he overhears Miss Ellie’s confrontation with a Dallas Press reporter and learns the plane carrying J.R. and Bobby has crashed. The usually rock-like Jock crumbles upon hearing the news. “Damn it, Ellie,” he says with wet eyes. “Both of them. Why?”

In “Ellie Saves the Day,” Jock is wearing a different robe – this one appears to be dark blue with white dots – when he learns J.R.’s risky Asian oil deal has brought the Ewing empire to the brink of collapse. It’s a moment of reckoning for Jock. At one point, he buries his face in his giant hand and tells Bobby, “I trained J.R. and taught him everything he knows. Gave him the fever for big business. But I never taught him when to stop.”

The bathrobes are crucial props in both scenes. Davis cuts such an imposing figure, it’s hard to forget he was almost 70 when “Dallas” began. The robes help the actor humanize his character, reminding us Jock is in his twilight, even if he doesn’t look or act like it.

Appropriately, the bathrobe also helps Ellie – and “Dallas” viewers – come to terms with Jock’s loss. In the fifth-season episode “Acceptance,” Ellie finally stops denying Jock’s death and walks into his closet, where she tenderly touches his clothes. Hanging among them: that blue-and-white-dotted robe, reminding us once again that Jock really was mortal.

Dallas Scene of the Day: ‘This Feels Like the End’

Dallas, Ellie Saves the Day, Jim Davis, Jock Ewing

Not enough time

In “Ellie Saves the Day,” a third-season “Dallas” episode, Bobby (Patrick Duffy) finds Jock (Jim Davis) sitting alone on the Southfork patio at night.

BOBBY: Daddy?

JOCK: Bobby.

BOBBY: It’s not good for you to be out here like this all night.

JOCK: You’re a fine one to talk.

They stare into the distance and are silent for several seconds. Bobby turns back to face his father.

BOBBY: Look, families have suffered setbacks before. We start over again, that’s all. And you can do it, Daddy. You’re a respected man. You’re trusted.

JOCK: Not enough time left for me to do that.

BOBBY: Well, I’m here to help you.

JOCK: I appreciate that, Bobby. It’s not the oil business that I’m worried about. There’s just no way that you can build another Southfork. Not in six lifetimes.

BOBBY: Mama said something, huh?

JOCK: Not a word. But she hurts and she hurts bad. I was just beginning to get things patched up between us, and all this had to happen.

BOBBY: Daddy, there has to be a way out of this. We can get an extension on the loans. We can buy more time.

JOCK: We’ll try, Bobby. We’ll try. But this feels like the end of 40 years of sweat and hopes and dreams.

Jock sighs, and Bobby turns again to face the distance.

Dallas Scene of the Day: ‘Our Little Secret’

Charlene Tilton, Dallas, Heiress, Lucy Ewing

User friendly

In “The Heiress,” a third-season “Dallas” episode, Lucy and Alan (Charlene Tilton, Randolph Powell) chat at a piano bar.

LUCY: And when I didn’t get married, I thought I was gonna die. But instead, I went to college. I saw more of a future in that. [They laugh.]

ALAN: You’re a delight, you know that?

LUCY: I’ve been talking all evening. I haven’t let you get one word in edgewise.

ALAN: I’ve enjoyed every moment.

LUCY: Have you really?

ALAN: [Takes her hand] Can’t you tell?

LUCY: Wouldn’t J.R. have a stroke if he could see us right now? [Laughs]

ALAN: Sometimes I get the feeling my main attraction for you is J.R.’s dislike.

LUCY: Oh, no. I just happen to be with the one man who has guts enough to stand up to him – and that’s pretty rare in this town.

ALAN: I’ve never been afraid of him because he’s never had anything I wanted. Until now. But I don’t want you ever to get hurt because of me. If you think you’ll get in trouble with your family and you’d rather not see me anymore, I’ll understand.

LUCY: No. They don’t have to know, do they?

ALAN: No one has to know.

LUCY: Be our little secret.

ALAN: That’s my girl. [Smiles, then looks serious] You’re so beautiful.

LUCY: Alan?

ALAN: Let’s go home.

The Art of Dallas: ‘Mastectomy, Part 2’

After her cancer surgery, Miss Ellie (Barbara Bel Geddes) is comforted by Jock (Jim Davis) in this 1979 publicity shot from “Mastectomy, Part 2,” a third-season “Dallas” episode.

Dallas Scene of the Day: ‘Jock, I’m Deformed’

Barbara Bel Geddes, Dallas, Mastectomy Part 2, Miss Ellie Ewing

First, you cry

In “Mastectomy, Part 2,” a third-season “Dallas” episode, Jock (Jim Davis) enters his bedroom to find Miss Ellie (Barbara Bel Geddes) on the floor, crying.

JOCK: My God, Ellie. What’s wrong?

ELLIE: Go away, Jock.

JOCK: I wanna help. I can’t leave you like this.

ELLIE: Nothing, nothing fits.

JOCK: I’m telling you, it’ll be all right. It doesn’t matter.

ELLIE: Why doesn’t it matter? Because I’m not young anymore? Don’t you think I care the way I look? Don’t you care?

JOCK: I care for you, Ellie. You. I’m just so happy that you’re alive. Nothing else matters. Nothing at all.

ELLIE: Doesn’t it? Jock, I’m deformed. Doesn’t that matter?

JOCK: You are not deformed, Ellie. If you lost an arm or a leg, I’d suffer that loss with you, too. But it wouldn’t change anything between us.

ELLIE: I’m not talking about an arm or a leg. I’m talking about my breasts. What do you know about that?

The Art of Dallas: ‘Mastectomy, Part 1’

Miss Ellie (Barbara Bel Geddes) lies in a hospital bed after having a breast removed in this 1979 publicity shot from “Mastectomy, Part 1,” a third-season “Dallas” episode.

Dallas Scene of the Day: ‘He’ll Turn Away From Me’

Barbara Bel Geddes, Dallas, Mastectomy Part 1, Miss Ellie Ewing

The face of fear

In “Mastectomy, Part 1,” a third-season “Dallas” episode, Pam and Miss Ellie (Victoria Principal, Barbara Bel Geddes) discuss Ellie’s medical problem over lunch at a restaurant.

PAM: What do you do now?

ELLIE: Keep going back for regular checkups.

PAM: Well, that doesn’t sound too difficult.

ELLIE: I don’t wanna tell Jock.

PAM: Miss Ellie, why not?

ELLIE: He gets better looking as he gets older. Tall and lean. There’s not an ounce of fat on him. I admire his beauty. I know he still has an eye for a good-looking woman. How can I tell him that, that I may need a mastectomy? [Begins crying]

PAM: It’ll be all right.

ELLIE: He’ll turn away from me. I know he will.

PAM: No, he won’t.

ELLIE: I just don’t think he’ll ever be able to accept me again. And I don’t know if I’ll be able to, to face the possibility of that.

PAM: You once told me that your marriage to Jock was based on honesty. Now more than ever, you’ve got to trust your love for each other – and that honesty.

ELLIE: Well, I, I guess that’s what I wanted to do all along. [Smiles, wipes away tears] I’ll try to tell him tonight.

Dallas Styles: Sue Ellen’s Jeans

Forever in blue jeans

Sue Ellen is “Dallas’s” classiest dresser, so when she wears jeans in “Rodeo,” it’s worth noting. Yes, there are practical reasons for this particular wardrobe choice – what else would one wear to a rodeo? – but the denim carries symbolic value, too.

Jeans have signified defiance since James Dean popularized them in “Rebel Without a Cause,” and rebellion is what Sue Ellen seems to have on her mind at the Ewing Rodeo. She spends the afternoon flirting with dashing cowboy Dusty Farlow, which drives J.R. nuts.

But Sue Ellen isn’t just trying to annoy her husband. She’s finally recovering from her disastrous affair with Cliff and considering letting down her guard with Dusty – which is the message the rest of her “Rodeo” outfit sends.

Sue Ellen’s tan vest and knee-high boots match her complexion, making them an extension of the character’s flesh. Metaphorically, Sue Ellen is baring herself.

The whole look is timeless, and Linda Gray has never looked better. If she wore this same outfit on TNT’s new “Dallas,” she’d be just as fashionable as she was when “Rodeo” aired in 1979.

If only her relationship with Dusty proved as durable.

The Art of Dallas: ‘Rodeo’

Lucy (Charlene Tilton) is seen in this 1979 publicity shot from “Rodeo,” a third-season “Dallas” episode.