| "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" #9 (cont.) While Stephen is looking underneath the hood, Livvie attempts to get away by sneaking out of the car from the passenger door and crawling on her hands and knees towards safety. However, before she can get past the car, Stephen appears, hovering over her. She kneels in front of him, her eyes above his crotch in a pose that could be suggestive of fellatio, as well as supplication and submission. It is a pose suffused with connotations, that, according to context, could indicate either subservience or devotion, the pose of a servant to a master, a worshipper to a god, a victim to an aggressor, or one lover to another. Although Livvie, on the verge of escape, did not intend to be caught in this position, once Stephen sees her on her knees before him, her fright seems to be mixed with a sense of embarrassment, as if she realizes the sexual implications of being like this, especially in front of her former lover. |
 |
| Snappies of "Naked Eyes" scenes taken by A. Armstrong |
| “Don’t do that,” Stephen says softly, ambiguously. What is he telling her not to do? Not to flee, not to beg, not to tempt him? Although he later explains that he is concerned about her wandering alone in the dark, it is likely that her safety was not all he was thinking about when he said “don’t do that.”
Her response is also rather ambiguous. “I’m sorry,” Livvie murmurs. It is unclear whether she is apologizing for trying to run away or for hurting him in the past. “I’m only saying it’s late, it’s dark. There’s all kinds of creeps walking around at night. It’s not safe for you out here,” Stephen explains, an ironic warning considering that he, a nocturnal predator, might be considered one of those “creeps walking around at night.” “What do you want from me?” she wails. “Do I have to beg? Is that it? OK, I’m begging you, please Caleb, oh, please don’t hurt me.” “I beg your pardon?” Stephen replies, perhaps repeating the word “beg” for sarcastic intent. “Don’t do this to me,” she sobs. “You didn’t give me a choice. I had to kill you or die myself. But I never meant to do it. I never meant to hurt you. I swear it. Please!” “Oh, you are a silly girl,” Stephen scolds with derision. “Listen . . . ” His words are interrupted as Livvie again runs away in panic, nearly colliding with an oncoming vehicle. Stephen lunges at her just in time, knocking her down out of reach of the traffic. Shielding her with his body, Stephen lies over her, his arm resting on her stomach protectively, possessively. “You OK?” he asks. “You saved my life,” she says in a voice choked with fear and disbelief. She cannot understand why he stopped her from being killed in a bloody, no doubt gruesome, accident. Perhaps a part of her feels she deserved the fate he prevented, the karma she as his executioner earned. Although Livvie is always trying to evade responsibility for her actions, placing blame on others or circumstances beyond her control, she can never completely deny the guilt and sorrow lurking deep within her as a result of his murder. She worries that maybe Caleb is just toying with her, saving her from a messy yet quick death so that he can torture her emotionally, prolong her suffering and thereby savor his vengeance. “Well, I didn’t see too many other options,” he responds. “Sure you are OK?” Softly, tentatively, he touches her face. “No,” she cries, accusingly. “What kind of game is this?” “You have a funny way of showing your appreciation,” Stephen smiles condescendingly, as if bewildered by this hysterical woman. “What are you so afraid of? Why are you scared of me?” “You know why,” she hisses. “Humor me. Pretend I have amnesia,” he suggests, jokingly referring to the soap opera storyline cliché in which someone has lost memory and has no recollection of former friends, lovers, enemies, or experiences. “At least give me a chance to defend myself against whatever it is you think I did to you.” |