| "Naked Eyes" : Analysis of the "Naked Eyes" Arc of ABC-TV's Port Charles
(c) Alison Armstrong |
| An analysis of the "Naked Eyes" episodes of the show Port Charles, formerly of ABC-TV. This site will focus on the scenes featuring the vampire character Caleb Morley/Stephen Clay (portrayed by actor Michael Easton). The character of Caleb Morley/Stephen Clay and any other characters relating to Port Charles are the property of ABC and their creators. This is a fan-run site and is not an official site, nor is it affiliated in any way with ABC, Port Charles, or the actors portraying any of the Port Charles characters. No copyright infringement is intended. The writings on this site are copyrighted by the author, Alison Armstrong, and may not be reproduced without the author's express permission. |
| "Naked Eyes" #10 (cont.) Livvie’s derisive demeanor and Jack’s icy indifference are stripped away when a crashing sound fills them with fear. Frightened that it might be Caleb, Jack goes outside to investigate and Livvie grabs a fireplace poker. Although the noise turns out to be that of a falling tree limb, they are so shaken that they turn to each other for comfort. Both apologize for their hurtful remarks, and Livvie tells Jack that he’s the “best thing” that has ever happened to her. “I’m never going to forgive myself for blowing it with you,” she tearfully confides. “Because I know I did. I’m sorry.” Hugging her to him, Jack, once again the protector, assures her that Caleb is to blame for all their turbulent emotions and has got them all “acting crazy.” Unbeknownst to Jack and Livvie, Tess is lurking by the window and sees them embrace. Livvie’s feelings about Jack and Caleb are ambiguous throughout much of the “Naked Eyes” arc. She claims to love Jack and does still depend on him as a friend/guardian. However, she is always comparing him to Caleb, seemingly perceiving him as an antithesis to Caleb—safe, sheltering, trustworthy, yet lacking the sensuality, passion, and sexual prowess of Caleb. Livvie, as well as Caleb, makes Jack feel like a “little man,” emasculated, inadequate. Only with the childlike, naïve, virginal Tess can Jack experience the confidence and virility he once did with Livvie, before Caleb came into their lives. Jack, like Ian and Rafe, is addicted to damsels in distress, helpless, vulnerable women he can protect, cherish, and possess. After watching “Stephen Clay” give a press conference on TV, Jack is convinced that it’s Tess, not Livvie, whom Caleb wants this time. As Jack races away to slay the evil dragon endangering his princess, Tess enters his house and comes face to face with her treacherous twin. She is humming her song, consoling herself with its hypnotic spell, perhaps letting it soothe her sorrow at seeing Jack in Livvie’s arms. “Bad. You’re bad, Livvie,” Tess hisses after Livvie commands her to stop humming. An expression of condemnation clouds Tess’s soft, childlike face. For the moment, she looks like a possessed doll, her delicate, pretty features emanating subtle malice. In Tess simmers a trace of Livvie. “Stay away from Jack,” she warns in a guttural whisper. “You’re bad for Jack.” In response to this surprising show of menace, Livvie laughs, remarking that her innocent counterpart is not as pure as everyone thinks. “Sweet perfect Tess is jealous,” she explains. She writes the word on a piece of notebook paper and waves it triumphantly in front of Tess. “That’s what you are, Tess. You’re jealous.” “No, I’m Tess,” Tess foolishly yet stubbornly responds. “No, Tess, you are hopeless,” Livvie sighs. “Jealous means . . . it means you want something that someone else has and you will do just about anything to get it.” “Mean, you sound mean,” Tess chimes in, repeating, parrot-like, the word “mean” without understanding what Livvie is saying. “And you sound stupid,” Livvie mocks. “Do you know Jack feels sorry for you? He took you off the street like some mangy dog.” “You always hurt Jack. Please go away,” Tess replies, sadness and shame temporarily overcoming her fierce resolve. “No, see, I don’t have to go anywhere because I need Jack and Jack needs me,” Livvie says in a condescending tone of voice. “We need each other more than ever now. He just can’t see that because of you.” “Jack will make you go away,” Tess replies with a snarl of returning anger. “Make me go away? Yeah, I guess he will,” Livvie concedes, suddenly losing her snide, sarcastic edge and assuming a mask of placating regret. Like a chameleon or some other reptile that can camouflage itself to conceal its identity, Livvie instantaneously transforms herself to disguise her malicious intent. She is, in a sense, reptilian, cold-blooded, lacking empathy or compassion. Diabolically, she realizes that in order to rid herself of Tess, she must trick her by pretending to be a friend. “No, you’re right, Tess,” she says with false remorse. “Jack doesn’t, he doesn’t need me because every time I come back into his life I hurt him, just like you said, and that’s not right. See, Jack saved me once too, not that long ago, and well, at least he tried to save me. Anyway, what I’m trying to say is I don’t blame you for loving Jack. He’s a really great guy, and he deserves to be happy. And as much as it hurts to admit this, I really think he could be happy with you. What I’m trying to say, Tess, is I’m sorry I underestimated you. I see that now, and I will never make that mistake again, I promise.” Her show of remorse is so convincing that at first it seems she actually means what she says. As Tess smiles in unsuspecting joy, Livvie baits her trap. “Jack and I were talking about you tonight, Tess,” she continues. “Did you know that he loves you too?” “I know,” Tess mumbles shyly. |