Dallas Decoder

Snow job

Is “Trust Me” the most audacious episode in “Dallas” history? It’s hard to think of another one that shocked me more. Judith Ryland seals a deal with a Mexican drug lord by snorting a few lines of coke, Harris Ryland is revealed as a CIA informant — these are not the kinds of things we’re used to seeing on this show. Some fans are upset with the producers for taking our beloved franchise in such wild directions, but you’ll hear no complaints from me. “Dallas” measures its longevity in decades; at this point, I’d be disappointed if the people in charge weren’t exploring fresh storytelling terrain.

Besides, it’s not like the twists and turns come from out of nowhere. Both scenes fit with the theme of “Trust Me,” which shows how the characters deal with the people who doubt them — and how they deal with their doubts about themselves. The word “trust” pops up repeatedly: Harris tells Judith that Emma can’t be trusted. Elena and Nicolas each tell Carmen to trust their choice to work against the Ewings. Elena tells Christopher to trust her ability to handle Nicolas. Bobby wonders if the old Southfork seismographs can be trusted. Even when “trust” isn’t used, it’s implied: Witness the scene where John Ross stands in front of Pamela, raises his right hand and swears he isn’t cheating with his new secretary. Talk about splitting hairs.

And then there’s Judith’s coke-snorting scene. It’s inexplicably staged in some kind of dirt-floored equestrian arena, where the Mexican drug lord Luis is surrounded by an entourage that includes a young man holding a golden box of cocaine, several thugs toting big guns and two costumed rodeo performers who stand on horses, twirling lassos. A setting like this wouldn’t feel out of place in a Tarantino film. Judith and Harris arrive to meet with Luis, and before you know it, she’s putting Luis’s hands all over her body and talking about the importance of trust in business relationships. Judith implies the point of her self-directed pat down is to prove she’s not wearing a wire, but does anyone doubt she’s also seeking cheap thrills? For that matter, isn’t she also telegraphing a message about her mettle to Harris, who stands next to her, his mouth agape?

The scene continues with Judith shrewdly explaining how she’s going to use shell companies, wastewater trucks and unmapped roads to smuggle Luis’s drugs into Texas — and then we get to the moment that sent “Dallas” fans into a tweeting frenzy on the night “Trust Me” debuted. Judith leans into Luis’s cocaine box, snorts, throws back her head and delivers her hashtag-ready exclamation: “Hot damn! Mama like.” She even rubs a little coke on her gums for good measure. I suppose this is another way for Judith to prove her trustworthiness to the cartel, but let’s not kid ourselves: “Dallas” is trying to shock us — not that there’s anything wrong with that. I love this show’s insistence on being unpredictable. If this scene does nothing else, it demonstrates how eager the people who make “Dallas” are to entertain us. How can you not appreciate that?

As much as I admire Judith Light’s fearlessness in this scene, I have to hand it to Mitch Pileggi, whose reaction shots are priceless. (Director Millicent Shelton, who also helmed last season’s Harris-centric “Let Me In,” is smart enough to keep cutting back to him throughout Judith’s antics in the arena.) I also love how Light and Pileggi play off each other in their other scene in “Trust Me,” when Judith returns to the Ryland roost and announces she’s taking charge of the family trucking — er, transportation — business. Bruce Rasmussen’s script gives Light one delicious line after another, including an allegory that could have rolled off the silver tongue of J.R. Ewing: “Money and morality are like two cars on a one-lane road. When they meet, morality’s going to end up in the ditch.” Light savors every syllable, and once again, Pileggi holds his own. I think it’s telling that after I saw “Trust Me,” I spent more time quoting one of Harris’s lines (“You think you know what you’re getting into, but you don’t”) than any of Judith’s. I don’t know what I love more: Pileggi’s Texas accent, or the way he snarls his dialogue.

It’s also worth noting how much “Trust Me” humanizes Harris Ryland. In the scene where Judith negotiates the new deal with the cartel, notice how Harris doesn’t say a word until Luis implies he’ll hurt Emma if the Rylands don’t hold up their end of the bargain. “My daughter has nothing to do with this!” he says. For that matter, notice how Harris keeps a framed photograph of Ann with baby Emma in his office. This is a man who cares about the women in his life, even if he sometimes calls them names. (Pileggi’s other great line in this episode describes Emma: “She’s a little monster who put me in jail.”)

This also explains why I welcome the episode-ending revelation about Harris’s connection to the CIA, which requires more than a little trust on Bobby and Ann’s behalf. Like Larry Hagman, Pileggi is such a charismatic actor you can’t help but root for his character, no matter how wicked he becomes. I was having a hard time cheering for Harris, though, knowing that he was a drug trafficker. Now I’m glad I can cast those concerns aside. (I can cast them aside, right “Dallas”?) I don’t think there’s any danger of Harris turning into a white knight, but I’m glad to know there are lines he won’t cross.

Of course, as much as the Rylands fascinate me, I would be remiss if I didn’t point out how good the rest of “Trust Me” is. The Southfork barbecue scenes evoke the spirit — if not the down-home grandeur — of Ewing shindigs from days gone by. It’s fun to see John Ross rankle all the women in his life — mother, wife, mistress — by chatting up the other pretty ladies. (One is played by “Survivor” contestant Andrea Boehlke, who is Josh Henderson’s girlfriend in real life.) The only thing I enjoy more is Pamela’s hot dance with the ever-intriguing Nicolas Treviño — not just because it’s good to see Pamela give her flirtatious husband a taste of his own medicine, but also because it demonstrates why the magnetic Juan Pablo Di Pace is such a smart addition to this show. Di Pace enlivens every scene he appears in; as one of my fellow fans pointed out on Twitter the other night, he has chemistry with everyone, including Jesse Metcalfe’s Christopher, whose tête-à-tête with Nicolas over a couple of Miller Lites is another barbecue highlight.

Rasmussen’s script allows “Dallas’s” supporting performers to shine too. No one impresses me more than Kevin Page, whose character Bum has become the conscience of this show. Besides Judith Light’s dialogue, Page has the episode’s most memorable line when he shows John Ross the pictures he took of him and Emma and says, “Grow into your father’s greatness, not his weakness.” Bum’s mysterious-but-strong connection to J.R. makes him the only character on this show who can get away with putting John Ross in his place; he could become an even more effective surrogate father than Uncle Bobby. It’s tempting to chastise Bum for deceiving Sue Ellen about John Ross’s adultery, except there’s no doubt he’s only trying to spare her heartache. And am I the only one who wants to see more scenes between Page and Linda Gray?

This episode’s other M.V.P.: Marlene Forte, who has two great scenes. In the first, Carmen is aghast to learn Elena is working against the family to whom Carmen has pledged her loyalty; in the second, Carmen comes face to face with Nicolas, a boy she helped raise who is now Elena’s partner in crime. I love when Carmen touches the medal around Nicolas’s neck and tells him, “If even for a moment I sense that you are leading either of my children into the darkness, not even St. Christopher will be able to save you.” I’ve always believed Carmen has the potential to become one of this show’s moral centers, and now it looks like that might be happening.

It’s true that Nicolas’s backstory with the Ramoses is a little odd: I suppose we’re meant to believe Carmen and her husband raised him in Mexico but left him behind when they moved to Texas with their biological children, which is why Nicolas isn’t familiar to the Ewings. It’s another example of how the details on this show are sometimes fuzzy, although I’ve learned it’s not worth sweating the small stuff because the new “Dallas” almost always gets the big picture right. Will I still feel that way at the end of this season? Who knows? I have no idea where this series is headed next, but after watching its first 27 hours, I have faith in the people who make it. They’ve earned my respect — and my trust.

Grade: A

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Independent lens

‘TRUST ME’

Season 3, Episode 2

Telecast: March 3, 2014

Audience: 1.9 million viewers on March 3

Writer: Bruce Rasmussen

Director: Millicent Shelton

Synopsis: At Sue Ellen’s request, Bum follows John Ross, but Bum lies and tells her there’s no evidence her son is cheating on Pamela. At the Ewing Barbecue, Christopher and Heather grow closer and Pamela arouses John Ross’s jealousy by dancing with Nicolas. Elena snoops around Bobby’s laptop and discovers an email that connects him and Carlos to Rhonda. Judith takes over Harris’s drug trafficking operation and negotiates a new deal with the cartel. When Bobby and Ann begin investigating Harris’s release from jail, Harris reveals the truth to them: He’s secretly working with the CIA to bring down the cartel.

Cast: John Athas (U.S. Attorney Ellis Larsen), Emma Bell (Emma Ryland), Andrea Boehlke (barbecue guest), Jordana Brewster (Elena Ramos), Christian Clemenson (Howard Rieder), Candace (Jude Demorest), Juan Pablo Di Pace (Nicolas Treviño), Akai Draco (Sherriff Derrick), Patrick Duffy (Bobby Ewing), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Antonio Jaramillo (Luis), Judith Light (Judith Ryland), AnnaLynne McCord (Heather), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Gino Anthony Pesi (George Tatangelo), Mitch Pileggi (Harris Ryland), Brenda Strong (Ann Ewing)

“Trust Me” is available at DallasTNT.com, Amazon.com and iTunes. Watch the episode and share your comments below.