Different how?

In “Dead Reckoning,” a third-season “Dallas” episode, John Ross (Josh Henderson) enters the hospital room, where Pamela (Julie Gonzalo) sits in bed, waiting for him.

JOHN ROSS: I don’t want to be like this anymore. I don’t want to be the guy that … I don’t want to be the guy that could have done this to you. I know it’s going to be hard for me to convince you of that right now. All I can do is try to prove it to you, every single day of my life. [Sits on the bed] Pamela, I’m so sorry. For everything.

PAMELA: I didn’t call you in here so you can try to fix us, John Ross. I called you in here to tell you to stop sitting out there, because it’s over.

JOHN ROSS: Pamela, don’t say that.

PAMELA: Look, I spent my entire childhood trying to get my father to love me. And all I’ve done in my adult life was continue that pattern by falling for a man who would put greed and ambition before me. And just like with my father, I was willing to do anything to get you to love me, John Ross. But I see now: Our marriage was just an excuse to get my shares of Ewing Global. You didn’t put your mother away to get her help, but to push the IPO through. I see now that there will never enough success, enough money, to fill that hole where your heart should be.

JOHN ROSS: Pamela, please. Look, I love you, okay? I swear, from now on it’s going to be different, okay? [Voice cracks] I will be different. I will. I will be different for you. I’ll be different. I promise.

PAMELA: You ask me what I want. I want you to leave because our marriage is over.

“Dallas” delivers the most delicious dialogue on television. Here are the best sound bites from “Dead Reckoning,” this week’s episode.

What are your favorite lines from “Dead Reckoning”? Share them in the comments section below and read more editions of “Say What?!”

What now?

Here are the questions we’re pondering as we await tonight’s telecast of “Hurt,” TNT’s latest “Dallas” episode:

What will Elena do? In “Dead Reckoning,” the previous episode, Nicolas (Juan Pablo Di Pace) made Drew’s death look like a suicide, then stood by and watched as Carmen and Elena (Marlene Forte, Jordana Brewster) received the news that Drew killed himself. Later, when an arson investigation revealed Drew set the Southfork fire, Elena told Carmen about J.R.’s swindle, as well as her scheme with Nicolas to get justice for their family. After Carmen told Elena that John Ross (Josh Henderson) is carrying around a mysterious letter from J.R., Elena seduced John Ross, snuck into his wallet and found the note that outlines the Ewings’ plan to frame Cliff (Ken Kercheval). Now that Elena has the evidence she needs to nail the Ewings, what will she do with it?

How will the Ewing women react? If the truth about J.R.’s masterpiece finally comes out, what will the women of Southfork say? How will the newly sober Sue Ellen (Linda Gray) respond to the news that J.R. was dying of cancer and staged his own death? Will Ann (Brenda Strong) be angry at Bobby (Patrick Duffy) for keeping secrets from her? Perhaps most importantly: What will Pamela (Julie Gonzalo) do when she learns her estranged husband John Ross, her ex-husband Christopher (Jesse Metcalfe) and Bobby conspired to frame Cliff for J.R.’s “murder”?

What will happen to the Ewing men? The Ewing men are having a pretty rough go of it lately. Bobby and Ann are separated, Pamela told John Ross their marriage is over and selfless Christopher said a bittersweet goodbye to Heather (AnnaLynne McCord), who plans to take Michael (Dallas Clark) and leave Dallas to join Bo (Donny Boaz) in Israel, where he’ll have surgery to repair his spinal cord — paid for by Christopher. If Elena spills the beans on J.R.’s masterpiece, will things go from bad to worse for Bobby, John Ross and Christopher?

Who’ll wind up with control of Ewing Global? Pamela told Sue Ellen she won’t divorce John Ross because she doesn’t want him to wind up with her shares of Ewing Global. Meanwhile, Nicolas continued to plot with Luis (Antonio Jaramillo) to take over the company, and Emma (Emma Bell) did some scheming of her own. She blamed Harris (Mitch Pileggi) for getting Drew mixed up with the rig explosion, then met with Luis and told him to get her father tossed back in jail. Should Harris be worried?

What “Dallas Burning Questions” are on your mind? Share your thoughts in the comments section below and watch TNT’s “Dallas” tonight at 9, Eastern, Mountain and Pacific times, and 8, Central time.

His empire of dirt

Bobby Ewing is the steward of Southfork, but Patrick Duffy is the steward of Bobby Ewing. In “Hurt,” Duffy steps behind the camera and directs his first “Dallas” episode in more than two decades, demonstrating how well he knows both his character and the mythology that defines this franchise. This is an hour rooted in “Dallas” history, with references to Jock, Miss Ellie, the Barnes/Ewing feud and of course J.R., whose presence here is as strong as it was in last year’s funeral episode. Just as importantly, “Hurt” reveals Duffy’s knack for the conventions of modern “Dallas” storytelling, including cinematic, made-for-HD shots of Southfork and a musical montage that’s destined to be remembered as one of this show’s most moving.

Between the two of them, Duffy and scriptwriter Aaron Allen transform “Hurt” into a showcase for the “Dallas” ensemble, beginning with the riveting post-credits showdown, when Elena gathers the Ewings together and exposes the plot to frame Cliff. The staging evokes memories of the original cast standing around the living room, knocking back drinks and trading quips, although it also plays like a parlor scene out of a Miss Marple mystery. (One difference: On “Dallas,” everyone is guilty of something.) Next, Josh Henderson and Julie Gonzalo’s estranged spouses, John Ross and Pamela, have a nicely measured confrontation on the Southfork lawn, followed by a long-awaited moment of catharsis for Brenda Strong’s Ann, who finally gets to say what every fan’s been thinking lately: Isn’t Bobby being a hypocrite when he accuses his wife of keeping secrets from him?

Duffy also elicits a strong performance from Jordana Brewster, who brings the right mix of determination and doubt to Elena’s scenes, as well as another moving turn from Marlene Forte and a fun-but-too-brief appearance by Ken Kercheval, who gives us a glimpse of old-school Cliff Barnes giddiness when the character learns he’ll be getting out of jail. Of course, no one delivers for Duffy quite like his longtime friend and co-star, Linda Gray. In one of “Hurt’s” most powerful scenes, she confronts Bobby about not telling her the truth about J.R.’s death, allowing Gray to go from anger to disbelief to bitter disappointment. Her parting shot — “Miss Ellie would be ashamed of you” — is one for the ages. I can’t imagine any words that would hurt Bobby more, can you? (Also: Shades of Barbara Bel Geddes’ memorable “You both sicken me!” line to Jim Davis and Larry Hagman in “The New Mrs. Ewing,” the first of 29 episodes Duffy helmed during the original show’s run.)

Bobby and Sue Ellen’s scene also allows “Dallas” to address a mystery has puzzled fans since her eulogy in “J.R.’s Masterpiece”: Why did J.R. invite his ex-wife to dinner if he knew he was never going to make it back to Dallas in the first place? I’ve always thought of J.R.’s invitation as a metaphor — he wasn’t asking Sue Ellen on a date, he was asking her to forgive him — which seems to be the subtext of Gray’s next great scene, when Sue Ellen visits Bum’s humble home in her quest for answers. The conversation ends with Bum asking Sue Ellen to forgive him. Her haunting response: “You’re not the one I need to forgive.” (In a lovely nod to Kevin Page, the wonderful actor and artist who makes Bum so sweetly charming, we also learn the character is the painter behind the J.R. portrait hanging at Ewing Global.)

Of course, Duffy is smart enough to give himself several good scenes too. If Bobby has gotten a little off course this season — always yelling at Ann and John Ross — “Hurt” might be remembered as the episode that puts him back on track, or at least the segment that makes him sympathetic again. In “Hurt’s” most poignant moment, Bobby enters Southfork, which stands empty after the rest of the Ewings have walked out on him. For an instant, he’s become J.R. at the end of the original series, wandering around that big house after he’s driven away everyone else. Then, with Johnny Cash’s “Hurt” playing in the background, Bobby demolishes his study in a flash of rage. The song might have been written about the horrors of drug addiction, but with its references to a “crown of thorns” and an “empire of dirt,” is it not also the perfect song for our favorite martyr-like rancher?

I also have to appreciate how expertly this sequence is edited, especially when Cash sings “my sweetest friend” and J.R.’s face, smiling from behind the framed glass, fills the screen. Indeed, “Hurt” can be seen as a kind of companion piece to the elegiac “J.R.’s Masterpiece.” It’s fitting that our hero’s final scheme falls apart here, given how many of his schemes backfired during the original series. Allen’s script seems to acknowledge this when Elena delivers her comments about how the Ewings “rushed to sentimentalize” J.R. after his death. She might as well be talking about the “Dallas” audience — although for the record, I believe J.R. did change in old age. Of course, I’m also the first to admit that I’ve always worshipped at the altar of J.R. Ewing, even before he was redeemed.

Elena’s comments are an example of how Allen’s “Dallas” scripts always contain dialogue that sticks with you. Another example is Henderson and Gonzalo’s conversation on the lawn in “Hurt.” John Ross: “If you give me the chance, Pamela, I’ll fix everything.” Pamela: “I don’t want you to fix things. I want you to stop breaking them.” I also love this episode’s sharper exchanges, beginning with John Ross’s farewell to Elena and Nicolas, which Henderson delivers with perfect acidity (“Y’all can both go to hell”), as well as Bobby’s description of his family’s longest-running conflict and Elena’s non-role in it: “The Barnes/Ewing feud is a whole other beast. And it doesn’t involve you. You want to take that dog for a walk? Fine. But if it bites somebody, it’s because you let it.” This sounds like the sort of thing a Texan would say, does it not?

I also like how “Hurt” gives the “Dallas” women the upper hand in several scenes. It’s good to see Sue Ellen figure out Bum shot J.R., and I appreciate how Elena puts the power to pardon Cliff in Pamela’s hands, although I’m not sure what to make of Elena giving Pamela land that Jock “stole” from Digger. Then again, the origins of the Barnes/Ewing war have always been kind of murky. In that spirit, I even like Ann’s common-sense prescription to resolving the conflict — “You end a blood feud by walking away from it” — although I sure as hell hope no one on this show ever follows that advice.

I even like “Hurt” because of what it doesn’t contain: Duffy and Allen give us no whiplash-inducing plot twists, choosing instead to offer character-driven surprises like the revelation about Bum’s artistic skills. Yes, this episode’s drug cartel sequences get in the way of the real drama involving the Ewings, but at least one of those scenes features Emma Bell’s Emma Ryland, who is always a kick. Her conversation with Luis about the Beach Boys is kind of kooky, but it’s also an example of another Allen signature: Recall Carlos Bernard’s monologue about dancing in “Collateral Damage” and Mitch Pileggi’s speech about Komodo dragons in “Let Me In.” Sometimes it’s clearer than others what the characters are really saying in these scenes, but for me at least, figuring it out is part of the fun.

Ultimately, any complaints about the cartel scenes are quibbles, because no matter how you slice it, this is a terrific hour of “Dallas.” It’s an achievement for everyone involved, but most of all Duffy, whose turn in the director’s chair marks the first time someone who had a hand in shaping the storytelling on the original series does something similar for the sequel. We’ve known for a while that Duffy is still capable of dazzling us when he steps in front of the “Dallas” cameras, and now we know the same is also true when he works behind the scenes.

Grade: A

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Hurts so good

‘HURT’

Season 3, Episode 11

Telecast: September 1, 2014

Writer: Aaron Allen

Director: Patrick Duffy

Synopsis: Elena tells the Ewings how J.R. swindled her father and also exposes Bobby, John Ross and Christopher’s conspiracy to frame Cliff for J.R.’s “murder.” Bobby is chastised by Ann, Pamela and Sue Ellen, who later confronts Bum. Bobby agrees to give Elena restitution and land and arranges for Cliff to be pardoned, but Elena gives both the parcel and the clemency paperwork to Pamela, telling her she should decide if her father gets out of prison. John Ross learns Nicolas sent the video to Pamela and retaliates by telling Nicolas that Elena slept with him to get her hands on J.R.’s letter. Nicolas forgives Elena and leaves town with her, but not before consulting the mysterious Victor Des Lauriers about Ewing Global’s looming initial public offering. Christopher realizes Nicolas is Elena’s childhood friend, Joaquin. Harris tells Emma about his work with the CIA after he learns she’s been meeting with the cartel.

Cast: Emma Bell (Emma Ryland), Jordana Brewster (Elena Ramos), Juan Pablo Di Pace (Nicolas Treviño), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Antonio Jaramillo (Luis), Ken Kercheval (Cliff Barnes), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Gino Anthony Pesi (George Tatangelo), Mitch Pileggi (Harris Ryland), Max Ryan (Victor Des Lauriers), Brenda Strong (Ann Ewing)

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

Mama’s here

Here are the questions we’re pondering as we await tonight’s telecast of “Victims of Love,” TNT’s latest “Dallas” episode:

Will Pamela pardon Cliff? In the previous episode, “Hurt,” Elena (Jordana Brewster) told the Ewings about Bobby’s scheme to frame Cliff (Ken Kercheval) for J.R.’s “murder,” as well as J.R.’s swindle against her father years earlier. In exchange for keeping quiet about the frame-up, Elena asked Bobby for financial restitution and a piece of Southfork land; she also requested he pull strings in Mexico to get Cliff pardoned from prison. Bobby reluctantly gave Elena everything she wanted, but she turned over the land to Pamela (Julie Gonzalo), as well as the clemency paperwork, telling Pamela she should be the one to decide if her father goes free. What will Pamela do?

Will the Ewing women forgive Bobby? Sue Ellen (Linda Gray) was furious at Bobby (Patrick Duffy) for not telling her the truth about J.R.’s death and and told him Miss Ellie would be “ashamed” of him. She also confronted Bum (Kevin Page), who told Sue Ellen that her ex-husband met death with courage. Pamela was also angry at Bobby and so was Ann (Brenda Strong), who accused him of being a hypocrite for lashing out at her so often over her secrets. Will Sue Ellen, Ann and Pamela forgive Bobby? And will Sue Ellen forgive J.R. for not telling her that he was dying of cancer?

Who will control Ewing Global? John Ross (Josh Henderson) retaliated against Elena by telling Nicolas (Juan Pablo Di Pace) that she slept with him to get her hands on J.R.’s letter. Nicolas forgave Elena and agreed to take her away, but not before he spoke to the mysterious Victor Des Lauriers (Max Ryan), who assured him that everything is set for Ewing Global’s initial public offering, when much of the company’s stock will be up for grabs. Meanwhile, Christopher (Jesse Metcalfe) wondered if Nicolas is actually Elena’s childhood friend Joaquin and began seeking proof to confirm his suspicions. Will Christopher piece together the puzzle and stop the IPO before the Ewings lose control of their company?

What will Judith do? Emma (Emma Bell) once again met with Luis (Antonio Jaramillo), who agreed to put Harris behind bars again — but only if Emma agreed to use Ryland Transport to move more drugs for the cartel. When Harris (Mitch Pileggi) learned his daughter was talking to Luis, he told her the truth about his involvement with the CIA, and then she told him about the deal she struck. Since Judith (Judith Light) is slated to appear in tonight’s episode, what will she say when she finds out what her son and granddaughter have been up to?

What brings Tracey McKay back to “Dallas”? “Victims of Love” will feature the return of Tracey McKay (Melinda Clarke), whom Bobby dated after his divorce from Pam in the late 1980s. What brings her back into the Ewings’ lives, and how is she related to Hunter (Fran Kranz), the McKay heir who is secretly plotting with Nicolas to help the drug cartel take over Ewing Global?

What “Dallas Burning Questions” are on your mind? Share your thoughts in the comments section below and watch TNT’s “Dallas” tonight at 9, Eastern, Mountain and Pacific times, and 8, Central time.

A farewell to Barnes

“Victims of Love” puts the emphasis on corporate wheeling and dealing, but look past all the chatter about IPOs and SECs and you’ll see this is really an episode about the characters and their daddy issues. Pamela punishes Cliff by leaving him in prison, John Ross loses control of the family business by repeating one of J.R.’s biggest blunders, and Hunter McKay revels in the glory of simultaneously sticking it to the Barneses and the Ewings — something his villainous grandfather never managed to do. These scenes do a nice job mining “Dallas’s” rich history, even if you have to wade through a lot of high finance mumbo-jumbo to get to them.

The hands-down highlight: Pamela’s visit to the Mexican prison, where she finally confronts her father about his sins. Julie Gonzalo is moving as the betrayed Pamela, but this scene is mostly a master class in acting from Ken Kercheval. For three-and-a-half-minutes, he uses his wonderfully expressive face to telegraph all of Cliff’s emotions: his gleeful obliviousness when he receives the envelope from Pamela, mistakenly believing it contains his pardon; his befuddlement when he examines the document inside and sees it’s an old Ewing Oil land deed; his shame when Pamela mentions her dead babies. More than anything, Kercheval shows us Cliff’s pain when he sniffles, glances away from his daughter and says, “I’m so sorry for what I did. … I know I failed you.” Heaven help me, I feel sorry for the bastard.

Some “Dallas” fans don’t love the dark path Cliff has gone down during TNT’s series, but if you ask me, a jail cell feels like a fitting metaphor for a character who spent so long being a prisoner of his own hatred. Wasn’t Cliff always destined to end up like Digger, embittered and alone? Similarly, some fans are quibbling with the deed Pamela gives Cliff in this scene, saying it doesn’t square with established “Dallas” lore. I have no problem with it; the origins of the Barnes/Ewing feud have always been murky to me, and appropriately so. Besides, I appreciate seeing Pamela reduce the feud to its core — an 80-year-old real estate squabble. It makes the whole thing feel so petty and empty, don’t you think? The scene ends on a somewhat triumphant note, when Pamela tells Cliff, “You avenged the wrongs done to your father, and I’ve avenged the wrongs done to me by mine.” It might seem like Pamela is breaking Digger and Cliff’s destructive pattern, but don’t bet on it. If “Dallas” has taught us anything, it’s that the Barneses and the Ewings are doomed to repeat the cycles their forbearers.

Indeed, we see this throughout “Victims of Love,” which comes from scriptwriter Taylor Hamra, who penned last year’s similarly themed “False Confessions.” Here, John Ross erupts when Hunter points out the “poetic justice” of tricking the Ewings into giving up control of their own company, just like Hunter’s grandfather Carter did to J.R. in the original “Dallas’s” next-to-last episode. As much as John Ross worships his father, he sure doesn’t like it when people point out their mutual shortcomings, does he? We catch a glimpse of Hunter’s own familial neuroses when he answers a TV news reporter’s question by preening, “You’re asking me if it feels good to do what my grandfather never could, own the Ewings and the Barneses at the same time? Is that what you’re asking? Um, yeah, it sure does.” Later, Luis, the drug cartel general, sulks away from the tomato bushes when El Pozolero, the Mexican godfather, suggests he favors his other “adopted” son, Nicolas, over Luis. (Even gangsters have daddy issues, as my astute niece, a recent “Dallas” convert, points out.)

There’s much more to like about “Victims of Love.” I’m thrilled to see the return of the McKays, a family that played an important role in “Dallas’s” later years, which deserve more love than they receive from many fans. Melinda Clarke does a nice job stepping into Beth Toussaint’s shoes as Tracey — although truth be told, Toussaint was seen so briefly on the original “Dallas,” Clarke pretty much gets to reinvent the character from scratch. I also like Fran Kranz’s turn as the smarmy, Zuckerberg-esque Hunter; what a shame the character meets such a surprising (and grisly) end here. I also applaud Hamra’s script for getting the details right: In a cute exchange, Tracey corrects Bobby when he says she hustled a thousand bucks from him during their first encounter at the pool hall in the late ’80s (it was only $900), and the explanation that Hunter and his unseen brother Trip are Tommy’s illegitimate sons seems perfectly plausible.

Not everything here works, beginning with the drug cartel and CIA subplots, which remain out of place on “Dallas;” Judith Ryland’s antics, which have gone too far over the top for my taste (“Let’s go make us a drug deal”); and that business with the severed hands. However, the Ewing Global IPO storyline — as needlessly complicated as it seems — proves so absorbing, I kind of forget the cartel wants the company so it can be used as a tool to overthrow the Mexican government. The sillier stuff is also concealed by all the cool visual flourishes from Ken Topolsky, perhaps the new “Dallas’s” most inventive director. I love how we hear Christopher rapping on Carmen’s hotel room door, and with each knock, the camera zooms in a little tighter on the Omni logo. There’s also some nifty transitional shots using the Dallas skyline, as well as a neat special effect where the news report on Cliff’s jailhouse black-and-white TV screen dissolves into Hunter’s full-color press conference. Even the Wolf Blitzer cameo is kind of fun.

Topolsky also delivers some lovely character-driven moments that shouldn’t be overlooked, including the scene where Sue Ellen counsels Pamela, the conversation where Emma warms up to Ann (even if she still can’t bring herself to call her “Mom”), and the quick glimpse of Emma’s eager expression when John Ross pulls up in the Rylands’ driveway. (You can practically read her mind: “Is he here to see me?”) I also like the way Harris touches Judith’s shoulder when they see the video feed of the bound-and-gagged Ann and Emma; it’s a credit to the great Mitch Pileggi that this feels genuinely warm instead of genuinely creepy.

In an hour about public offerings, it’s these private moments that stand out most.

Grade: B

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The return

‘VICTIMS OF LOVE’

Season 3, Episode 12

Telecast: September 8, 2014

Audience: 1.93 million viewers on September 8

Writer: Taylor Hamra

Director: Ken Topolsky

Synopsis: Nicolas and Victor undermine Bobby’s friend Cal, which allows Hunter to obtain controlling interest in Ewing Global on the day of the company’s initial public offering. The Ewings blame John Ross for losing control of the company, as does Nasir, who express his disappointment via text message. Bobby turns to his ex-flame Tracey McKay, Hunter’s aunt, and asks her to talk her nephew into revealing the truth about the cartel’s role in the takeover, but when Bobby and Tracey arrive at Hunter’s home, they find hid dead body hanging from a noose. Christopher confirms Nicolas is Joaquin and his connection to the cartel and leaves Elena a voice mail warning her to stay away from him, but Nicolas intercepts the message. Bum tells John Ross that Harris is working for the CIA. Luis kills Candace and presents her severed hands to Judith. Luis also reveals he’s holding Ann and Emma hostage and threatens to kill them if Judith doesn’t double the cartel’s drug shipments. Pamela visits Cliff in prison, where she declines to give him his pardon and bids him farewell.

Cast: Jonathan Adams (Calvin Hanna), Emma Bell (Emma Ryland), Wolf Blitzer (himself), Jordana Brewster (Elena Ramos), Melinda Clarke (Tracey McKay), Juan Pablo Di Pace (Nicolas Treviño), Patrick Duffy (Bobby Ewing), Marlene Forte (Carmen Ramos), Julie Gonzalo (Pamela Ewing), Linda Gray (Sue Ellen Ewing), Josh Henderson (John Ross Ewing), Antonio Jaramillo (Luis), Ken Kercheval (Cliff Barnes), Fran Kranz (Hunter McKay), Judith Light (Judith Ryland), Jesse Metcalfe (Christopher Ewing), Kevin Page (Bum), Gino Anthony Pesi (George Tatangelo), Mitch Pileggi (Harris Ryland), Max Ryan (Victor Des Lauriers), Miguel Sandoval (El Pozolero), Summer Selby (police detective), Brenda Strong (Ann Ewing)

“Victims of Love” is available at DallasTNT.com, Amazon and iTunes. Watch the episode and share your comments below.

The avenger

In “Victims of Love,” a third-season “Dallas” episode, Pamela (Julie Gonzalo) centers the prison cell where Cliff (Ken Kercheval) sits at a table.

CLIFF: [Rises] Pammy, I knew you would come. Thank you.

They sit across from each other.

PAMELA: I’m sorry. I’m sorry for helping the Ewings put you in jail, for failing to protect your legacy.

CLIFF: Your whole life, I warned you about trusting the Ewings. I was trying to protect you. But what matters now is that you do know the truth — and I didn’t kill J.R. So now, you can get me out of jail. We can have a second chance. We can start all over. We can get the company back — together. I love you, Pamela. I miss you so much. [She pulls out an envelope and slides it across the table toward him. He opens it, removes an old document and studies it.] This is a deed to Ewing 6. That was Digger’s.

PAMELA: That plot of land was robbed from your father. And because of that, I was robbed from ever having one.

CLIFF: Pamela —

PAMELA: All I ever wanted from you was love. But you always hated the Ewings more than you ever loved me.

CLIFF: Darling, that’s not true.

PAMELA: Yes it is. Because if you truly loved me — because if you truly wanted to protect me — then you never would have done what you did when you killed my babies. I can never forgive you for that.

CLIFF: I’m so sorry for what I did. [Sniffles] But you want to leave me here? And you’ll forgive me if I stay in prison? I know I failed you. I did. I, I did.

PAMELA: It’s over now. You avenged the wrongs done to your father, and I’ve avenged the wrongs done to me by mine. [She rises and walks away, then turns back to face him.] Goodbye, Daddy.

The Ewings took their company public in “Victims of Love,” and with the whole world watching — even Wolf Blitzer was tracking their every move — each member of the family suited up for success.

“Dallas’s” ace costume designer Rachel Sage Kunin dressed the Ewings in outfits that fit their characters perfectly: Bobby (Patrick Duffy), the silver-haired patriarch, donned a gray suit with a conservative-yet-stylish striped necktie; Sue Ellen (Linda Gray), who recently gave herself a fresh start by sobering up, looked stunning in all white; and Christopher (Jesse Metcalfe), “Dallas’s” most upstanding character these days, went with all solids — a blue suit and a gray shirt, accented by a tie that bore a subtle pattern of dots. Pamela (Julie Gonzalo) was relatively subdued in her dark pants and sweater, but she doesn’t have much to celebrate these days, does she?

Then there’s John Ross (Josh Henderson), for whom business suits have become a symbol of power and ambition, much like they were for his daddy on the original “Dallas.” The Ewing Global IPO was the biggest gamble yet for Henderson’s character, who has been trying to make his mark in the world since the new “Dallas” began. Appropriately, Kunin dressed John Ross in a blue pinstriped suit and navy tie — a bold look for a bold character. Also, notice how he’s the only Ewing man to wear a pocket square in this episode; it’s another small detail that signals his determination to stand out from the rest of his family.

There’s symbolism in the outfits worn by the other characters involved in the IPO too. Nicolas (Juan Pablo Di Pace), the corporate raider with blood on his hands, wore a crimson tie with his perfectly tailored suit. Meanwhile, Hunter (Fran Kranz), the videogame entrepreneur who shocked everyone when he seized control of Ewing Global, subverted traditional business styles the way so many techies do in real life: He wore a collared dress shirt under a T-shirt bearing his company’s logo (“Git It”), a tweedy jacket and bright blue pants. Later, when the Ewing cousins confronted Hunter about his takeover of their company, Hunter wore a gray sweatshirt — a sly nod, perhaps, to one of the world’s most famous corporate wunderkinds: Facebook founder Mark Zuckerberg.

“Victims of Love” also gave us two memorable coats: Ann’s twirly number (it’s the second cool outer garment worn by Brenda Strong’s character in recent weeks), and Judith’s gold coat. Like the red power suit Judith Light wore in publicity stills for this episode (that scene was apparently left on the cutting room floor), the gold was a fitting symbol for Madam Ryland, a character whose brazenness knows no bounds.

It’s also another example of how Judith has become one of “Dallas’s” most fashionable characters. I suspect a lot of fans aren’t just tuning in each week to see what she’ll say and do next; they also want to see what she’s wearing.

What were your favorite looks in “Victims of Love”? Share your thoughts in the comments section below and read more “Dallas Styles.”

Friends or enemies?

Here are the questions we’re pondering as we await tonight’s telecast of “Boxed In,” TNT’s latest “Dallas” episode:

What will happen to Ann and Emma? The previous episode, “Victims of Love,” ended with drug cartel honcho Luis (Antonio Jaramillo) visiting the Rylands, where he revealed: a) he killed Candace, b) he was holding Ann and Emma (Brenda Strong, Emma Bell) hostage, and c) he would kill Ann and Emma if Harris and Judith (Mitch Pileggi, Judith Light) don’t double their drug shipments. The previews for “Boxed In” show Bobby turning to Harris for help dealing with the cartel and being told Luis has Ann and Emma. Will the Ewings and the Rylands work together to save them?

Who’ll control Ewing Global? Why does Bobby need Harris’s help dealing with the cartel, you ask? Because in “Victims of Love,” Hunter McKay (Fran Kranz) took a majority stake in Ewing Global during its initial public offering. After Bobby learned Hunter is a puppet for Nicolas (Juan Pablo Di Pace) and the cartel, he turned to his old flame Tracey (Melinda Clarke) and asked her to try to persuade Hunter, her nephew, into snitching on the cartel. Unfortunately, when Bobby and Tracey arrived at Hunter’s apartment, they found his dead body hanging from the ceiling. Bobby and Christopher (Jesse Metcalfe) believe the cartel is behind Hunter’s “suicide.” If they’re right, can they prove it?

Where does Pamela go from here? Pamela blamed John Ross (Josh Henderson) for the Ewing Global IPO debacle, telling him he had ruined her father’s company. With encouragement from Sue Ellen (Linda Gray), Pamela also went to Mexico to visit Cliff (Ken Kercheval), where she let him know she wasn’t going to get him out of prison. Instead, Pamela gave Cliff the deed that Elena (Jordana Brewster) secured in her bargain with Bobby, then bid her father farewell. Will she see him again? Will we?

Who is photographing Nicolas and Elena? Nicolas whisked Elena away to a cabin in the woods, unaware that a mysterious figure was photographing their every move. Meanwhile, after the Ewings confirmed Nicolas’s true identity and his connection to the cartel, Christopher called Elena and left her a voice mail urging her to get away from her boyfriend, unaware that Nicolas intercepted the message. In the “Boxed In” trailer, Elena is seen confronting Nicolas, telling him she knows he “used” her to pay his debt to the cartel. Is it over for these two?

What “Dallas Burning Questions” are on your mind? Share your thoughts in the comments section below and watch TNT’s “Dallas” tonight at 9, Eastern, Mountain and Pacific times, and 8, Central time.

“Dallas” has thrown viewers for a loop with the promo for next week’s two-hour season finale, which declares, “one Ewing will die!” Who will it be? I have no idea, but that won’t stop me from trying to figure it out. Here are three possibilities:

1. A “main” Ewing dies. In the promo, when the announcer announces the looming death, shots of five characters flash onto the screen: Bobby (Patrick Duffy), Sue Ellen (Linda Gray), John Ross (Josh Henderson), Christopher (Jesse Metcalfe) and Ann (Brenda Strong).

It’s hard to believe “Dallas” will kill off any of these people, each of whom brings something valuable to the series. The “safest” Ewings would seem to be Bobby and Sue Ellen, two beloved figures from the original “Dallas,” and John Ross, who’s become a fan favorite on the new show. Ann has a loyal following too, and her character offers an important link to the Rylands, who are now prominent players in the “Dallas” universe.

By my reckoning, this leaves Christopher as the likeliest candidate to die among the five Ewings shown in the promo. Losing Metcalfe would be a shame since Christopher is “Dallas’s” most upstanding character, fulfilling the role Bobby once played on the original series. (Bobby is still a hero, but now that he’s running drugs for the cartel, he’s also a little morally compromised, don’t you think?)

On the other hand: TNT’s original concept for “Dallas” — John Ross and Christopher clashing in the foreground while J.R. and Bobby battle in the background — changed after Larry Hagman died. Increasingly, the central conflict within the Ewing family is the generational struggle between John Ross and Bobby, leaving Christopher an odd man out.

So if forced to guess which one of these Ewings might head to the Big Southfork in the Sky, I’ll go with Christopher — although make no mistake: I hope it doesn’t come to that.

2. Another main character dies. What if “Dallas” plans to kill off Pamela (Julie Gonzalo)? She’s still a Ewing via her marriage to John Ross, although she made a big deal of declaring herself a Barnes in “Boxed In,” this week’s episode. If you stretch the definition of “Ewing,” another candidate emerges: Emma (Emma Bell), stepdaughter to Bobby, stepsister to Christopher and stepcousin to John Ross. That’s about as close as you can get to being a Ewing without actually being one.

Or consider this: What if there’s a come-from-out-of-nowhere revelation that Harris or Judith (Mitch Pileggi, Judith Light) are Ewing kin? Or what if Nicolas (Juan Pablo Di Pace) turns out to be a bastard son of J.R.? Don’t roll your eyes. This is “Dallas” we’re talking about.

Nevertheless, my choice among this crop of candidates is Elena (Jordana Brewster). She isn’t a Ewing, but that doesn’t mean things won’t change during the course of the two-hour season finale. Suppose Christopher and Elena have a quickie wedding, only to have the happy occasion end tragically when she’s killed by the cartel? Not only would this be a shocking twist, it would also echo one of the most memorable moments from the original show’s later years: the murder of Bobby’s bride April (Sheree J. Wilson) during their Parisian honeymoon.

And just so we’re clear: I’m not one of the “Dallas” fans clamoring for the elimination of the Ramos family. I like Brewster, although I wonder where her character can go after she waged war against the Ewings this season. If Elena has reached the end of the line, will the show get rid of her by killing her off?

3. An off-screen Ewing dies. Just because the promo suggests a Ewing will die next week, we shouldn’t assume the victim will be someone from the TNT series. What if it’s a character from the original series? There are several choices among the extended family, including Lucy, Gary, Val and Cally, as well as Ray and James, who are Ewings by blood, if not name.

Here’s one potential scenario: We lose Gary, setting up a fight between Bobby and John Ross for his portion of the Southfork mineral rights. Another possibility: Suppose Ray dies off-screen — perish the thought! — paving the way for the show to introduce an adult version of Lucas, Bobby’s son, whom Ray and Jenna raised?

Indeed, if “Dallas” is going to kill off a character from the old show, the death will have to serve the storyline on the new series. Otherwise, what’s the point?

Something else to keep in mind: I’m the guy who figured Cliff really did kill J.R. What the hell do I know?

What’s your theory — which Ewing will die? Share your comments below and watch “Dallas’s” two-hour season finale Monday, September 22, on TNT.

Mama’s here

No one who watches “Boxed In” will forget the scene where Ann, Harris and Judith are overcome with grief after hearing Luis fire the gun he’s been holding at Emma’s head. It’s the most harrowing moment I’ve witnessed on television since last year, when Walter White abducted his infant daughter while his wife kicked and screamed and tried in vain to stop him. Just as that sequence demonstrated how far “Breaking Bad’s” antihero had sunk, the moment of crisis on “Dallas” reveals new things about its characters, including the depth of Ann and Emma’s bond, Harris’s capacity for compassion and — the biggest surprise of all — the discovery that Judith Ryland is a human being. Who knew?

The “Boxed In” scene begins when Luis, who’s holding Ann and Emma hostage in a Mexican “kill house,” receives a phone call and learns the Rylands aren’t adequately honoring their deal with the drug cartel. Luis erupts in anger and yanks Emma off the sofa as Ann struggles to hold onto her. While another thug detains Ann, Luis drags Emma to the basement, where he dials Judith’s number with one hand and holds a gun to Emma’s head with the other. Luis and Judith exchange recriminations, he cocks his gun, Judith begs for mercy, Emma pleads for her life, and then: Bang! Ann screams and Judith collapses into Harris’s arms, and then we return to the basement, where we see Emma is still alive; Luis merely put a bullet in the wall.

Another “Dallas” fake-out? Yes, and what a relief. Besides delivering fresh insight into these characters, the sequence is an impressive technical achievement for director Rodney Charters. Consider the complexities: The scene involves five characters in three settings (Luis and Emma in the basement, Ann upstairs, Harris and Judith back in Dallas), and yet Charters manages to unite all of them in a single, terrifying moment. When I interviewed Charters recently, he told me this episode contained a scene he regards as one of his proudest “Dallas” achievements. I suspect this is the one he was referring to.

The “execution” scene is also a triumph for the five actors, beginning with Brenda Strong, whose scream after the gunshot is painfully real, and Mitch Pileggi, who quietly, movingly mutters “damn you” when Harris believes his daughter is dead. (Is he chastising Luis or himself)? Also impressive: Antonio Jaramillo, who goes from charming at the beginning of the episode to downright evil in this scene; Judith Light, who makes you feel her character’s anguish; and Emma Bell, who is heartbreaking at every turn. It’s especially touching to see Emma reach for Ann and call her “mom” when Luis pulls her into the basement, and I love Emma and Ann’s reunion after the ordeal, when Strong sits on the basement floor and rocks Bell in her arms. In an episode about the “Dallas” characters forming unlikely alliances, nothing can match the power of seeing Ann and Emma finally become mother and daughter.

Many other scenes in “Boxed In” are thrilling too, especially when Patrick Duffy’s character is involved. How can you not love seeing the cartel thug approach Luis and announce — somewhat nervously — that “Bobby Ewing is here.” For longtime “Dallas” fans, no four words could be more reassuring. Yes, Bobby’s scheme to win Ann and Emma’s release by bringing a train full of drugs into Texas makes his plot to frame Cliff Barnes for murder seem quaint, but no matter. Bobby will always be our hero, and Duffy has mastered the art of playing a good guy who’s also a badass. In “Boxed In’s” last scene, when Luis greets Bobby by pointing out how risky it is for him to come to the kill house, Duffy squints his eyes and coolly responds: “Well, you seem like a nice enough fella.” Could Eastwood have delivered that line any better?

I also like how Bobby deftly manipulates Luis, pressuring him to accept his drug train offer by playing on his insecurities. “You can continue to hold the women if you want, or you can be smart and show your boss that you were the one who could amass a giant fortune in one night,” Bobby says. Does he know Luis is envious over the favoritism shown toward Nicolas by the Mexican godfather El Pozolero? Or has experience taught Bobby that in any family-run business, there’s always a jealous brother lurking about? Duffy’s other great moment comes when Judith approaches Bobby on the airport tarmac, takes his hand, and says, “Emma is all I have. Thank you.” Duffy plays the moment beautifully, becoming a stand-in for the audience. He’s as surprised as we are to learn Judith is human.

“Boxed In” comes from scriptwriter Gail Gilchriest, whose previous third-season effort, “Playing Chicken,” also found Bobby saving the day. This time around, Gilchriest gives Pamela a heroic role too. She travels to Las Vegas and persuades Nasir, the sheik’s son, to give the Ewings a huge loan so they can buy up the divisions of their company being dumped by the cartel. Julie Gonzalo is wonderfully crisp in this scene, which contrasts nicely with Pamela’s previous Las Vegas visit, when she played the dutiful wife who hovered in the background while her husband was wheeling and dealing with the sheik. (One gripe: Why does Pamela tip her hand and tell John Ross she’s planning to take him for everything he’s worth? It reminds me of the time Sue Ellen revealed the details of her plan to divorce J.R., allowing him to undermine her efforts. In another Sue Ellen-esque move, Pamela sets up house inside Elena’s cottage, recalling all the times Linda Gray’s character moved across the hall from J.R. during their marital crises.)

There’s a lot more to like about “Boxed In,” including the cinematic scope in several shots and the episode’s skillful use of color, particularly the way the golden hues in the exterior Mexican shots contrast with the black and faded browns inside the kill house. I also love the handheld camerawork, which heightens the frenetic pacing and sense of urgency. And despite the heavy drama, this episode isn’t without its light touches, beginning with the scene where John Ross strides into Bobby’s den and finds none other than Harris Ryland standing there, helping the Ewings plot their rescue of Ann and Emma. You can hardly blame John Ross for being surprised; Harris never makes it past the driveway when he comes to Southfork.

I doubt the alliance between the Ewings and the Rylands will last, which is too bad in light of TNT’s promo this week for “Dallas’s” two-hour third-season finale. Now that we know the Ewings are about to experience another death in the family, they’re probably going to need all the friends they can get.

Grade: A

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Good guy/badass

‘BOXED IN’

Season 3, Episode 13

Telecast: September 15, 2014

Audience: 1.86 million viewers on September 15

Writer: Gail Gilchriest

Director: Rodney Charters

Synopsis: When Harris tells Bobby that Ann and Emma are being held hostage, Bobby comes up with a plan to appease the cartel: He persuades his fellow railroad commissioners to approve an emergency training exercise that will allow the cartel to bring a trainload of drugs into Texas undetected. Bobby goes to Mexico to pitch the deal to Luis, who accepts the offer but says he’ll free only one of his hostages. Meanwhile, when the cartel begins selling off Ewing Global’s divisions, John Ross and Pamela join forces and persuade Nasir to loan them the money they need to purchase the divisions in exchange for a piece of the Arctic leases. After Nicolas confesses his cartel connection to Elena, Lucia receives the photographs her private eye snapped of Nicolas and Elena together. Later, Lucia agrees to tell Christopher where her husband and Elena are.

Cast: Deke Anderson (Bill Weathers), Emma Bell (Emma Ryland), Jordana Brewster (Elena Ramos), Angélica Celaya (Lucia Treviño), Eduardo DeLeon (Raoul), Juan Pablo Di Pace (Nicolas Treviño), 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), Jesse Metcalfe (Christopher Ewing), Gino Anthony Pesi (George Tatangelo), Mitch Pileggi (Harris Ryland), Pete Partida (Jacobo), Brenda Strong (Ann Ewing), Steve Uzzell (Riley Shelton), Pej Vahdat (Nasir Ali)

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

Every outfit on “Dallas” tells a story, and so does every hairstyle. In “Boxed In,” this week’s episode, the characters’ tresses told us a lot about how they were coping with their latest crisis: the kidnapping of Ann and Emma.

Consider Judith, whose unkempt mane symbolized her emotional unraveling. Her hair was almost as wild as it was last year, when she wound up in the hospital after taking that nasty spill down the stairs. I admire Judith Light’s willingness to appear less than perfect on camera, but I also admire how “Dallas’s” brilliant hairstylist, Charles Yusko, uses Judith’s locks to serve the storyline. No matter what the writers give Judith to do, Yusko always manages to create the perfect look for her. One fan said it best the other night during #DallasChat: Judith’s hair has become a character of its own.

My favorite look this week belonged to Julie Gonzalo, who was striking in the scene where Pamela slyly persuades Nasir to loan the Ewings the money they need to buy the divisions of their company being liquidated by the cartel. Gonzalo’s bright red lipstick reflected the power and confidence she brought to this scene, and I love how her hair was pulled back in that no-nonsense ponytail.

In another clever touch, costume designer Rachel Sage Kunin dressed Gonzalo in a smart black-and-white suit — a nod to the black-and-white Stella McCartney dress Pamela wore during her trip Las Vegas earlier in the season. (Meanwhile, Josh Henderson’s hair seemed a little bigger than usual in “Boxed In’s” Las Vegas scene, just like it was during John Ross’s first encounter with Nasir.)

While we’re on this subject: Some of us out here in Fan Land feel like taking the “Dallas” writers to the woodshed after Luis (Antonio Jamarillo) attempted to charm Ann by taking a swipe at Harris. “I don’t see him deserving you,” Luis said. “Perhaps he was more handsome with hair.” Ouch! This is the second consecutive episode in which someone has made a wisecrack about Harris’s hair, or lack thereof. Last week, John Ross referred to him as “that bald bastard.”

C’mon, writers! How about a little sympathy for the follicly challenged members of your cast — and those of us watching at home?

What were your favorite looks in “Boxed In”? Share your thoughts in the comments section below and read more “Dallas Styles.”

There’s still no telling which Ewing will die during “Dallas’s” third-season finale, although executive producer Cynthia Cidre offered a helpful hint when she told Dallas Decoder the death will be storyline-driven. So whose demise would yield the most drama? Here’s how the loss of certain characters might affect the storytelling.

Please don’t go, girl

Ann Ewing. Even if Bobby brings Ann and Emma home from Mexico, the gals may not be out of danger. Suppose there’s a final clash between the Ewings and the cartel and Ann gets caught in the crossfire? What if Bobby holds Harris and Judith responsible for her death and embarks on a quest for revenge? It would add another dimension to the Ewing/Ryland feud while evoking the last season of the original show, when April was murdered and Bobby became obsessed with getting revenge. Of course, Bobby’s anger after Ann’s death would probably pale in comparison to the rage Brenda Strong’s fans would feel if “Dallas” kills off Ann — and can you imagine how upset they’ll be when Bobby starts dating again? (You know he will. It usually doesn’t take Bob long to mend a broken heart.) Even though Ann’s death could open new storylines for Patrick Duffy, it would be sad to see “Dallas” lose Strong, a marvelous actress and one of the show’s biggest boosters on social media. Nevertheless, like KSiteTV points out, our beloved Annie might be the likeliest to go.

Like father, like son?

Christopher Ewing. If the thought of watching Bobby lose yet another wife doesn’t put a lump in your throat, imagine what it would be like to see him lose a son. Dropping Jesse Metcalfe from “Dallas” would be shocking, although the show would undoubtedly send Christopher out in a blaze of glory. Suppose Nicolas runs afoul of the Mexican drug lord El Pozolero, who retaliates by ordering a hit on Elena — only to have Christopher take the bullet for her? It would be this “Dallas’s” version of Bobby pushing Pam out of the path of Krazy Katherine’s car, minus the “it was all a dream” twist. Once again, Bobby might blame the Rylands for bringing the cartel into the Ewings’ lives and seek revenge, giving Duffy a powerful storyline next year. Christopher’s death could also allow “Dallas” to introduce a grown-up version of Lucas, Bobby’s biological son with Jenna — and not a moment too soon. Now that Pamela, Elena and Emma have all taken turns in John Ross’s bed, aren’t the “Dallas” leading ladies going to be in the market for some fresh beefcake?

Adios, Elena?

Elena Ramos. Cidre told Dallas Decoder the character who dies is named Ewing, adding, “It’s a Ewing we know well.” This would seem to rule out Jordana Brewster’s character — unless there’s a quickie wedding between Christopher and Elena during the season finale and Elena kicks the bucket shortly thereafter. It’s true the show has set the stage for Elena to be at the center of a “who’s the daddy?” pregnancy storyline, now that she’s bedded both Nicolas and John Ross while using her Swiss cheese diaphragm. But what if all that pregnancy business is a decoy to throw fans off the Elena death trail? In Cidre’s Ultimate Dallas interview, she coyly hinted the pregnancy storyline won’t play out the way the audience expects. Could that mean it won’t play out at all? Whatever the case, as much as I like Brewster, killing off Elena could be an efficient way to get rid of the Ramoses, whom many vocal fans never warmed to. Think about it: Now that Drew is dead and Carmen has quit working for the Ewings, what’s left for Elena to do?

Gone, darlin’, gone?

Pamela Barnes Ewing. Now here’s a death that would truly suck. Julie Gonzalo and her character are hugely popular, especially among fans who are clamoring to see John Ross and Pamela get back together. But what if the Bobby/Ann scenario described above happens instead to John Ross and Pamela? Suppose she dies tragically at the hands of the cartel, setting John Ross off on a mission to destroy Nicolas and/or the Rylands? What if Cliff blames John Ross for his daughter’s death and comes after him, creating a circle of vengeance? There’s also the Barnes/Ewing feud to think about. Does Cliff have other kids who might crawl out of the woodwork to do battle with the Ewings? Or what if — I can barely bring myself to write this — the show decides to drop the feud altogether? Pamela did declare it was over recently (although she also said her fight with John Ross is just beginning). I can’t imagine “Dallas” without these two families squabbling, but don’t forget the title of this season’s final hour: “Brave New World.” Could that be the biggest hint of all?

No, nope, nada

Bobby, Sue Ellen or John Ross Ewing. I refuse to entertain the thought of any of these three characters dying. It also seems unlikely the show would kill off a beloved character from the original “Dallas.” It’s hard enough to imagine losing Ann, Christopher and Pamela! If pressed, I guess I could envision a scenario in which … nope, sorry. Can’t do it.

Which Ewing do you think will die? Share your thoughts below and watch the two-hour season finale of TNT’s “Dallas” on Monday, September 22.

Southfork showdown?

Here are the questions we’re pondering as we await tonight’s telecast of “Endgame” and “Brave New World,” the final episodes from “Dallas’s” third season:

Will Bobby rescue Ann and Emma? In the previous episode, “Boxed In,” Bobby (Patrick Duffy) learned about the kidnapping of Ann and Emma (Brenda Strong, Emma Bell) and devised a plan to secure their release. He persuaded his fellow railroad commissioners to approve an emergency drill near the Texas-Mexico border, hoping it will distract law enforcement long enough for the Mendez-Ochoa cartel to bring a train full of drugs into the United States. Bobby went to the Mexican “kill house,” where Ann and Emma are being held, and pitched his plan to Luis (Antonio Jamarillo), who said he’d go along with the scheme. Luis then threw Bobby a curveball, telling him he could take only one hostage home. Will Bobby really be forced to choose?

What will happen when Sue Ellen meets Judith? When Bobby embarked on his plan to bring Ann and Emma home, he received support from Harris and Judith (Mitch Pileggi, Judith Ryland). The publicity photos for tonight’s episodes show the Rylands at Southfork, where it looks like Sue Ellen (Linda Gray) and Judith will finally come face to face. This will probably be a low-key meeting between two understated, unassuming women, don’t you think?

What will happen to Ewing Global? After Pamela (Julie Gonzalo) moved into Elena’s old cottage on Southfork, she agreed to help John Ross (Josh Henderson) do his part to help save Ann and Emma. The estranged spouses went to Las Vegas, where Pamela charmed Nasir (Pej Vahdat), the sheik’s son, and persuaded him to give the Ewings a huge loan. John Ross and Pamela’s plan: to make the cartel an offer it can’t refuse by buying in one fell swoop all the divisions of the company the gangsters are liquidating, piece by piece. Will the plan work?

Will Christopher rescue Elena? Elena (Jordana Brewster) was stunned when Nicolas (Juan Pablo Di Pace) confessed his connection to the cartel. Later, after Nicolas’s wife Lucia (Angélica Celaya) received the photographs her private eye snapped of Nicolas and Elena at their lakeside hideaway, Lucia agreed to tell Christopher where he’ll find her husband and Christopher’s ex-fiancée. Will Christopher arrive in time to save Elena? And why do the promos for tonight’s episode show Elena wielding a gun?

What brings Tracey back into Bobby’s life? Melinda Clarke, who made her “Dallas” debut a few weeks ago as Tracey McKay, one of Bobby’s ex-flames from the late 1980s, will appear during “Brave New World,” the second of tonight’s back-to-back episodes. Will she turn to Bobby to recover from the death of her nephew Hunter, or could she have something else in mind?

Which Ewing dies — and what’s J.R.’s secret? By now, everyone knows the “Dallas” producers are planning to kill a Ewing tonight. Showrunner Cynthia Cidre told Dallas Decoder the character will indeed be named “Ewing” and that the death will occur near the end of tonight’s finale. So who’ll be the victim? Perhaps equally importantly is this: According to TNT’s preview of the cliffhanger, “John Ross learns a shocking secret about J.R. that sends him halfway around the globe in search of a surprising new cohort.” What’s the secret, and who’s the cohort?

What “Dallas Burning Questions” are on your mind? Share your thoughts in the comments section below and watch TNT’s “Dallas” tonight at 9, Eastern, Mountain and Pacific times, and 8, Central time.

Warning: This article reveals the identity of the character killed during “Dallas’s” third-season finale. Other storylines are also discussed. Scroll down to read more.

No, seriously, if you don’t want to know, stop reading now.

You’ve been warned.

As promised, TNT’s “Dallas” killed off a Ewing in its third-season finale. The victim: Christopher, who apparently perished in a car bombing. In another surprise twist, John Ross learned he has a sister — or maybe a half-sister — courtesy of J.R.

During the back-to-back episodes, Ann and Emma (Brenda Strong, Emma Bell) were rescued from the cartel, Elena (Jordana Brewster) shot and wounded Nicolas (Juan Pablo Di Pace) after discovering he was responsible for her brother’s death, and Bobby and Ann reconciled, although she worried Tracey (Melinda Clarke) was making a play for her husband.

At the end of the second hour, Bobby and Sue Ellen (Patrick Duffy, Linda Gray) joined forces to buy back Ewing Global from the government after the feds seized the cartel’s assets. John Ross (Josh Henderson) — angry that he was shut out of Ewing Global and that Pamela (Julie Gonzalo) was cheating on him with Nasir (Pej Vahdat) — formed an alliance with Judith (Judith Ryland) and reconnected with Emma, who gave him a mysterious red file that Harris (Mitch Pileggi) had been compiling on J.R. before his death.

Meanwhile, after a more-menacing-than-ever Nicolas ordered hits on his cronies in the cartel, Elena was seen getting sick in a gas station bathroom, where the results of a home pregnancy test revealed she was expecting. She was on her way to join Christopher (Jesse Metcalfe) in the car when it blew up — the result, apparently, of a bomb planted by one of Nicolas’s henchmen.

The final scene: John Ross was in the back of limousine, where he received a call from Bum (Kevin Page), who wanted to discuss the contents of the mysterious red file on J.R. “What do you want me to do about it?” Bum asked. John Ross’s response: “I want you to find her, Bum. I want you to find my sister.”

Dallas Decoder’s coverage of the season finale will continue throughout the week, including a special edition of #DallasChat on Tuesday, September 23, as well as full-length critiques of the season-ending episodes, “Endgame” and “Brave New World,” and much more.

What did you think of “Dallas’s” third-season finale? Share your thoughts below and read more “Which Ewing Dies” coverage.

Strange alliance

In “Brave New World,” “Dallas’s” third-season finale, Bobby and Sue Ellen (Patrick Duffy, Linda Gray) stand in the Ewing Global offices, gazing at J.R.’s portrait.

BOBBY: I miss him.

SUE ELLEN: Me too, but I think I finally feel free of him. Hell, I might even find love again.

BOBBY: You deserve that, Sue Ellen.

John Ross (Josh Henderson) enters.

JOHN ROSS: I agree. I want you to be happy, Mama.

SUE ELLEN: I am so glad you came back, John Ross.

JOHN ROSS: I just wanted to let you know that there are no hard feelings about what you did to me. [To Bobby] And I wanted to let you know that I am sorry to hear that you had to resign as railroad commissioner to buy those shares. [Sighs] It’s sad news, especially given all the environmental work you did with that lesser prairie chicken.

BOBBY: [Smiling] What are you up to, John Ross?

JOHN ROSS: See? Always suspicious of me, Uncle Bobby. A guy could get a complex. But since you ask, I’d like to take this opportunity to introduce you to the new railroad commissioner.

The elevator dings and the doors open, revealing Judith (Judith Light).

BOBBY: [Chuckling] You have got to be kidding.

JUDITH: [Striding into the room] It’s no joke, Bobby. The governor and I are old friends through some ladies he knows, and I’ve always had an eye toward public service. So when John Ross mentioned that the position opened, well, I jumped on it.

JOHN ROSS: Now those Ryland ships that I procured for Ewing Global to drill the Arctic? They can only enter, and exit, through ports of Texas — ports that are regulated by the railroad commission.

JUDITH: So if you want to make a play for that grand frontier, you’re going to have to deal with me.

JOHN ROSS: She means “us.”

BOBBY: Well, you can partner with the devil all you want to, boy. It won’t make any difference. I’ll always see it coming. In a lifetime, your daddy never got the best of me, and he was twice the opponent you’ll ever be.

JOHN ROSS: You see, that’s just it, Uncle Bobby. The last few months, no matter how much my old man I try to be, everybody keeps telling me, “You are just like your father.” I’ve done some soul searching, and I finally figured out the answer. [Steps forward, gets in Bobby’s face] I am not just like my father. I’m worse.

He locks arms with Judith, they walk into the elevator and turn to look back at Bobby and Sue Ellen as the doors close.

“Dallas” delivers the most delicious dialogue on television. Here are the best sound bites from “Endgame” and “Brave New World,” this week’s episodes.

What are your favorite lines from “Endgame” and “Brave New World”? Share them in the comments section below and read more editions of “Say What?!”

Step by step

The #SaveDallas campaign is working!

Since the fan-drive effort began, we’ve had two goals: 1) to persuade Warner Bros., the studio that produces “Dallas,” to find a new home for the show, and 2) to demonstrate our passion and loyalty so another network will want to pick up the show.

Well, we can now scratch one item off the list.

In an upbeat interview with Yahoo! yesterday, executive producer Cynthia Cidre confirmed Warner Bros. is indeed shopping “Dallas” to other networks. According to Cidre, the studio is focused on pitching the drama — which TNT canceled earlier this month — to other cable channels, including CMT, WGN America and Reelz.

Streaming services such as Netflix aren’t an option because of complications with “Dallas’s” foreign distribution deals, Cidre said. It isn’t clear if Warner Bros. is pitching the show to broadcast networks too, although many fans remain hopeful “Dallas” will go to CBS, home of the original series.

Fans will follow “Dallas” wherever it goes, of course. That’s why I believe we should channel our energies into the second item on our to-do list: demonstrating our dedication to “Dallas” so no matter which network considers picking up the show, the programming executives will know they’re going to inherit many loyal viewers who are eager to see the Ewing saga continue.

Here’s what I recommend:

• Boost the petition. The “Help Save Dallas TNT” petition remains the single most powerful expression of enthusiasm for the “Dallas” brand. The petition has more than 72,000 signatures — which is impressive — but if we could push this number to 100,000 signatures, our efforts would surely attract more attention from the press and television executives. Let’s make this our goal. Please, if you know any fan who hasn’t signed the petition yet, encourage them to do so now.

• Show your love on social media. Keep posting on Facebook and Twitter using the #SaveDallas hashtag, which makes it easy for TV execs and reporters to find our tweets. Remember to keep your messages positive — especially when communicating with networks that could become “Dallas’s” new home. We want to make a good impression, after all. Also: Some fans are planning a “tweetathon” on Monday, October 13, from 9 to 10 p.m. Eastern. Get online during this time and send as many #SaveDallas tweets as you can. (I won’t hold my usual Monday evening #DallasChat on October 13 so fans can focus on participating in the tweetathon.)

• Thank Warner Bros. We’ve all spent a lot of time during the past week encouraging Warner Bros. to do its part to save “Dallas.” Now that we know the studio is trying to find the show a new home, let’s all send tweets to @warnerbrostv and let the executives know how much we appreciate their efforts — and to urge them to keep fighting to save the show.

Thanks also go to the many “Dallas” diehards who continue doing their part. We should all feel proud of our achievements, but make no mistake: There’s still a lot of work to do.

Share your ideas and positive comments below and check out Dallas Decoder’s Save Dallas Page for links to news coverage, petitions, other fan sites and more.

Into that good night

Saying goodbye to “Dallas” isn’t hard because I never got used to the show being back in the first place. Like many fans, I grew up with the original series, watching it with my family on Friday nights for more than a decade. When “Dallas” went off the air in 1991, I kept on watching — first in cable reruns, then on mail-order VHS tapes and finally on DVD. I used to imagine the show returning someday, but I never expected it to actually happen. Once it did, it felt like I was living my own version of a “Dallas” dream season. Pam Ewing’s may have ended after 31 episodes, but mine lasted three whole years.

Like all dreams, this one was a bit surreal. On the new “Dallas,” J.R. was old, Bobby answered to “Robert” and Sue Ellen was sometimes missing in action. But once the show found its groove — and once Linda Gray moved front and center — I came to love it. This was a darker, edgier interpretation of the “Dallas” I once knew, but it was still “Dallas,” and it went on to deliver moments that became all-time favorites: J.R. returning ownership of Southfork to Bobby. Ann secretly recording Harris, then socking him. The revelation that Rebecca is Pamela. Sue Ellen getting drunk on the night before J.R.’s funeral. Bobby’s slow-motion walk away from Cliff. John Ross declaring that he’s not his father. All those Johnny Cash musical montages.

The more I watched, the more the new series transported me back to my childhood. On the morning after every episode, I received a phone call from my mom, who could hardly wait to gab about what happened to the Ewings the night before. Our conversations were a lot like the post-“Dallas” discussions we used to have around the Saturday morning breakfast table when I was a kid. “Dallas” also became something I could share with my husband Andrew, who spent years being mystified by my obsession with the original series. (The first time I sat him down to watch “Digger’s Daughter,” he dozed off before Bobby and Pam arrived at Southfork.) The new show hooked Andrew right away, though, and he came to enjoy it as much as me.

More than anything, I loved covering “Dallas” for this website. I got to critique episodes, interview cast members and compile list after list of “Dallas” minutiae. Writing about the show also took me back to my youth, when I used to sit at the kitchen table, pecking out “Dallas” story ideas that I’d mail to Leonard Katzman, the original show’s producer. He never wrote back, but my Dallas Decoder posts received lots of feedback from fellow fans who were eager to comment and share their own thoughts about the show. I loved hearing from them, as well as all the folks who helped me “fanalyze” the series during my weekly #DallasChat discussions on Twitter. Together, we became our own “Dallas” family, bonding over our shared love for the new series.

Does that sound corny? I’m sure it does, but it’s true. Yes, “Dallas” was a soap opera, a TV show, flickering images inside the box in front of the living room sofa. But to a lot of us, it meant so much more. I wrote about the series whenever I found a spare moment, whether it was late at night at home or on the train during my morning commute. I’ve also lugged my laptop to beaches and national parks, and on more than one occasion, I’ve asked Andrew to reschedule dinner reservations or rearrange weekend plans so I could complete some Dallas Decoder writing project. He never complained — not even on the night we had to delay our anniversary dinner because I had a phone interview with Julie Gonzalo. (It probably didn’t hurt that Andrew and I share a not-so-secret crush on Pamela Rebecca Barnes Ewing Ewing.)

Through it all, watching, writing and chatting about “Dallas” was an extended, please-don’t-wake-me moment — with two exceptions. The first came two years ago, when my childhood hero Larry Hagman died. Like all “Dallas” fans, I hated losing him, although I was grateful the new series gave him an opportunity to leave us playing the character he loved most. The second tough moment was far more personal: the death of my older brother last year. Growing up, Rick was our family’s version of J.R. He was forever breaking the rules and landing in hot water with people — including the multiple girlfriends he was always juggling — but since he possessed one of the world’s great smiles, you could never stay mad at him. One month after Bobby stood at J.R.’s gravesite and paid tribute to his big brother, I found myself standing in a church, eulogizing mine. Losing Rick is the hardest thing I ever experienced, but I’m so glad I had this website, which offered a welcome distraction when I needed it most.

“Dallas” also provided me with one of the coolest experiences of my life: Earlier this year, the show’s costume designer, the wonderful Rachel Sage Kunin, allowed me to shadow her for a “day in the life” story for Dallas Decoder. Andrew joined me as we followed Rachel around and watched her prepare the cast’s wardrobe for the third-season finale. She also took us on a tour of the soundstages; we actually got to wander around the Southfork living room and the Ewing Global offices! I could hardly believe my good fortune. I planned to post the story after the season finale aired in September, but then TNT canceled the series and I shifted into #SaveDallas mode. Now that those efforts have ended, I look forward to finally sharing the piece soon.

Speaking of #SaveDallas: As I wrote last week, I was proud to be part of the legion of fans who came together and tried to rescue the series after its cancellation. We didn’t succeed in saving the Ewings, but we did let the world know how much they mean to us. As for the cancellation itself: I believe “Dallas’s” ratings drop can be attributed to a lot of factors, including its tough time slot and the loss of fans who felt the show strayed from the spirit of the original series. Some of these folks are Dallas Decoder regulars, and even though they don’t share my affection for the new series, they never begrudged me my opinion. I thank them for this. I also thank all the readers who did love the show and came along with me for the ride. I hope you had fun.

So even though I’m disappointed “Dallas” is ending and even though I’ll miss it, it’s not hard to say goodbye. My favorite TV show returned for three years. I got to watch it, to write about it, and to share it with my family and fellow fans. It was a joyful experience; to ask for anything more almost feels greedy. I thank the cast for delivering so many performances that moved me, and I thank the many gifted people who worked behind the scenes. Once again, I also thank everyone who reads this site. Make no mistake: “Dallas” has ended but Dallas Decoder is going to stick around. I still have things I want to say about the show, and I still want to hear what all of you think. We have great conversations ahead.

That brings me to the other reason it isn’t hard to say goodbye to “Dallas,” which is this: It’s not a final farewell. We’re unlikely to see another “Dallas” series anytime soon, but that doesn’t mean the Ewings won’t return with new adventures in the future. Maybe it won’t be a TV show; perhaps the stories will be told through other forms of media. Consider the serendipity of the timing of “Dallas’s” end, which came a few days shy of the anniversary of Mr. Hagman’s death. Just as J.R. will never really leave us, I refuse to believe we’ve seen the last of his family. Someday, somehow, “Dallas” will return — and with any luck, I’ll be here to take the ride all over again.

After all, who says dreams can’t come true twice?

How do you feel about the end of “Dallas”? Share your thoughts below and read more opinions.

III

Mark your calendars: The third and final season of TNT’s “Dallas” will come to DVD on Tuesday, January 13.

The three-disc set will contain all 15 episodes, along with never-before-aired scenes. The recommended sale price is $39.98

You can pre-order the set from WBshop.com, the online retail arm of Warner Bros., the studio that produced “Dallas,” as well as Amazon.

Which deleted scenes would you like to see on the “Dallas: The Complete Third Season” DVD set? Share your thoughts in the comments section below.