| "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" #2 (cont.) “Let’s just say I’m not much of a people person. I sometimes have trouble relating to others,” he confides. “You seem to be doing fine now,” Marissa encourages. “I never met anybody who understood what I was trying to say the way you do,” he replies. This rather clichéd remark may or may not be true, but given that Stephen Clay as Caleb has told Livvie that she was his soulmate, one soul connected, it seems unlikely that Marissa would share a deeper, more intimate bond than he and Livvie had. Marissa doesn’t even know his former identity or anything about the man now calling himself Stephen Clay. He is as enigmatic and paradoxical as the words he recited to her from his song. “Then why didn’t you trust me instead of bugging my house?” she demands. “And don’t bother denying it because it’s the only way you could have gotten my lyrics.” “Is it?” he responds, again replying with another question, heightening his aura of mystery. “Maybe I just read your mind. Maybe we are so connected we could finish each other’s thoughts.” As before, Stephen makes Marissa feel special by emphasizing their psychic bond. In fact, Stephen deceitfully tells Marissa the same thing he told Livvie—that they are so connected they can finish each other’s thoughts. In doing so, he not only tricks and manipulates Marissa; he also cheapens the love he and Livvie shared, reducing his words of undying devotion to a slick cliché. Perhaps he does this as a way of distancing himself from his feelings for Livvie. By using the same line on Marissa that he did on his true love, Livvie, he tries to convince himself that his love was false, mere pretty words without substance. He wants to harden his heart towards Livvie because she forever scarred it, literally driving a stake through it when she murdered him in “Tempted.” He wants to numb himself and make her pay, seduce and manipulate all he can so that he won’t let himself fall in love and become vulnerable again. “Do you ever just answer a question directly?” Marissa observes. “Where would be the fun in that?” Stephen replies with another question. “So what do you say, Marissa? Do you think we can make music together? Will you work with me?” He pauses, noting Marissa’s nod of agreement. “Good, that calls for a celebration.” “On one condition,” she says firmly, temporarily regaining her stubbornness. “You do something for me.” “Yeah, there’s always one condition, isn’t there?” Stephen remarks with a smug expression on his face, then lunges in and gives her an aggressive kiss. By coming on to her in this sudden, rather rough way, Stephen seems to belie the sensitive, introspective demeanor he has projected throughout his conversation with Marissa. With this act, he shows his arrogance, his macho assumption that she, like every other woman, must desire him, the rock star god. He treats Marissa as a groupie instead of a muse, thereby making his words of soul connection seem shallow and false. To his surprise, Marissa angrily pulls away and wipes her mouth as if trying to erase the lingering impression of his kiss. “Hey, what are you doing?” she demands. “Why did you have to do that?” “I thought that was your one condition,” he leeringly replies. . “No, I’m not a stupid groupie. I’m not even into you like that,” she insists. “Then I owe you an apology, although it was nice,” he smiles, seeming to downplay her protests, as if incapable of believing any woman could resist his sensual allure. Trying to ignore his seductive insinuations, she gives him an ultimatum—either he put Ricky Garza back in the band or she will refuse to be his lyricist. When he tells her he already has a drummer, she replies that their deal is off and their conversation is through. “He must be quite a lover,” Stephen smirks. By suddenly and inappropriately referring to Ricky’s abilities as a lover, Stephen shifts the focus away from Ricky’s musical talents and lewdly implies that Ricky is just a sex toy. He is intentionally trying to embarrass Marissa and make her strong-willed demands seem like the girlish, hysterical whims of a lovesick teen. As with his aggressive kiss, his sexual insinuations and dismissive remarks reveal Stephen’s arrogance and condescending treatment of women. |
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| Snappies of "Naked Eyes" scenes taken by A. Armstrong |