Let the games begin

At the end of “Jock’s Will,” the Ewings gather in the Southfork living room to hear Harv Smithfield read the family patriarch’s last will and testament. Everyone is present — even Gary, who has flown in from “Knots Landing” for the occasion. The scene is tense, dramatic and historic. Besides being one of the few times we see almost all of the original cast members in the same place at the same time, this also marks the beginning of “Dallas’s” greatest storyline: J.R. and Bobby’s epic battle for control of Ewing Oil.

The scene, which lasts about seven minutes, is also a showcase for Michael Preece, one of the original “Dallas’s” most skilled directors. He begins with a wide shot of the actors positioned in front of George O. Petrie, who sits at a desk that seems to have magically appeared in the living room for this scene. (I suppose the desk is like the Ewings’ television set, which only pops up when the plot calls for someone in the family to watch it.) Only four actors here have dialogue: Barbara Bel Geddes, Larry Hagman, Patrick Duffy and Petrie, who delivers almost 700 words, far more than any of the others. Even though the rest of the cast is silent, we never question what their characters are thinking, thanks to Preece’s reaction shots. When Harv announces Gary’s inheritance comes with strings attached, we see Ted Shackelford clench his jaw. Charlene Tilton’s eyes bulge when Lucy learns she’s become a multi-millionaire. Victoria Principal’s jaw drops when Pam realizes Bobby is going to have to fight J.R. for the company.

Bel Geddes gets the most dramatic response. When Ellie hears Jock’s line that Ewing Oil can only be run by “the man that wants it the most,” she furrows her brow and whispers gravely, “Oh, Jock. No.” I wonder: What are Preece and scriptwriter David Paulsen are trying to convey here? Is Ellie afraid Jock is about to return control of the company to J.R., whom she recently ousted from the president’s chair? Or does she sense — even before Harv announces it — that Jock is about to pit their sons against each other?

(In the same spirit, the announcement of the contest forces us to reconsider the end of “Where There’s a Will,” when J.R. sneaks a peek at Jock’s will. In that scene, J.R.’s reaction — “Thank you, Daddy, thank you” — leads us to believe Jock has left him the company. In “Jock’s Will,” the audience finally catches up and learns what J.R. did: that Jock wants him to compete with Bobby for control of Ewing Oil. So why does J.R. thank his daddy? Is he so confident he’ll beat Bobby that he considers the contest a mere formality? Or could it be that J.R. simply loves a good fight, and he’s thanking Jock for giving him one?)

As far as the contest itself: Some might see Jock’s decision to not choose a successor as a copout, but I believe it fits his character perfectly. Of course the old man would want his sons to duke it out to determine, once and for all, who is the better businessman. The contest also ends up producing some of the best storytelling seen on “Dallas,” as well as “Knots Landing.” (But don’t take my word for it: Hill Place, an always-interesting TV and movie blog, recently published a thorough examination of the long-range ramifications of Jock’s will on both shows.)

There’s also quite a bit of poignancy to the end of the will-reading scene. Jock’s final words are ominous: He declares that if J.R. or Bobby die before the contest is over, the remaining son will automatically take over the company. This prompts J.R. to turn to his younger brother, raise a glass of bourbon and say, “Well, Bobby, to your good health and very long life.” Three seasons later, after Duffy’s character had been killed off, J.R.’s toast seemed prescient. Now that Hagman is gone, the line feels bittersweet. I also can’t help but note the parallels between Jock’s will, which leads to the high point in their rivalry, and the letter that Bobby reads at the end of the new “Dallas’s” second season, which effectively brings their warring to an end.

The other highlight of “Jock’s Will” is the courtroom scene where the Ewing patriarch is declared dead. As the judge announces his decision (“The judgment of this court is that John Ross Ewing Sr. died in a place unknown, in the jungles of South America”), Preece gives us a tight shot of each Ewing seated in the gallery: First Pam, then Bobby, J.R., Sue Ellen and finally Ellie. Everyone looks stricken — and none more so than Mama, whose tears flow freely — but don’t overlook Bruce Broughton’s mournful background music, which also lends this scene power.

Other good scenes in “Jock’s Will” include the sequences set in Kansas, where Ray’s struggle to connect with cocky Mickey strains his relationship with Donna. I also like J.R. and Sue Ellen’s night on the town (especially the nifty overhead shot that Preece gives us of Hagman and Linda Gray on the nightclub dance floor), as well as the scene where the couple sets the date for their second wedding. Or, to be more precise: J.R. sets the date by presenting Sue Ellen with an invitation to their first wedding, with the original date (February 15, 1970) scratched out and the new one (December 3, 1982) penciled in.

I can’t help but think there’s plenty of room on that invitation for a third wedding date. How sad that we never got to see it.

Grade: A

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Gang’s all here

‘JOCK’S WILL’

Season 6, Episode 5

Airdate: October 29, 1982

Audience: 23.6 million homes, ranking 1st in the weekly ratings

Writer: David Paulsen

Director: Michael Preece

Synopsis: The Ewings have Jock declared legally dead and learn his will sets up a yearlong contest between J.R. and Bobby for control of Ewing Oil. J.R. and Sue Ellen set a wedding date. Ray and Donna bring Mickey home with them to Southfork. Pam urges Lucy to snap out of her depression.

Cast: Robert Ackerman (Wade Luce), Tyler Banks (John Ross Ewing), Barbara Bel Geddes (Miss Ellie Ewing), Roseanna Christiansen (Teresa), George Cooper (Lee Evans), Patrick Duffy (Bobby Ewing), Phyllis Flax (Mrs. Chambers), Linda Gray (Sue Ellen Ewing), Larry Hagman (J.R. Ewing), Alice Hirson (Mavis Anderson), Peter Hobbs (Judge Karns), Susan Howard (Donna Krebbs), Steve Kanaly (Ray Krebbs), Ken Kercheval (Cliff Barnes), Kenneth Kimmins (Thornton McLeish), Audrey Landers (Afton Cooper), Timothy Patrick Murphy (Mickey Trotter), George O. Petrie (Harv Smithfield), Priscilla Pointer (Rebecca Wentworth), Victoria Principal (Pam Ewing), Kate Reid (Lil Trotter), Dale Robertson (Frank Crutcher), Ted Shackelford (Gary Ewing), Don Starr (Jordan Lee), Charlene Tilton (Lucy Cooper), Morgan Woodward (Punk Anderson)

“Jock’s Will” is available on DVD and at Amazon.com and iTunes. Watch the episode and share your comments below.