| "The Gift": Analysis of "The Gift" Arc of ABC-TV's Port Charles
(c) Alison Armstrong |
| An analysis of the "The Gift" 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. |
| "The Gift" #20 (cont.) “What do you want me to say?” she continues pleading. “I love you. I love you. You know that. I’m sorry. I love you, please. Please forgive me.” “Not good enough. Not good enough . . . ” he admonishes, rejecting her tearful pleas. “This obsession with Alison is like a stake through the heart for both of us.” He walks away towards the living room, and she, puppy-like, follows. “Imagine your life without me,” he announces, forcing her to acknowledge the possible results of her scheming, treacherous, obsessively jealous behavior. |
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| Snappies of "The Gift" taken by A. Armstrong |
| “I’d survive. I always have,” she tries to convince herself. “Yeah?” he challenges. “You think you’d find someone else who understands you the way I do? That satisfies you the way I do?” “So we had a fight,” she sighs. “We both probably said things that we didn’t really mean anyway. It’s not the end of the world. Caleb, you really wouldn’t leave me, would you? Because I’m not that great on my own,” she admits, fighting back another onslaught of tears. “You know that.” |
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| “And now you have the gift of eternity, an eternity of being alone,” he reminds her coldly, his voice, ironically, like that of a stern preacher, “Father” Michael, perhaps, sermonizing about Hell. “I want you to think about that because that is what you are facing. And this wasn’t a misunderstanding.” He sniffs dismissively at her childish attempts to minimize the seriousness of their conflict. “I meant everything that I said.” |
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| “I don’t want to be alone. I don’t!” she wails. “I want to be with you.” “Then control your jealousy,” he reprimands. “I would. It’s just Alison,” she makes excuses again. “Your worst enemy is you,” he snarls. “I know. I know. I don’t know what it is,” she fumbles for an explanation, an insight into her motivations. “Any time I hear her name or see her face or hear her voice, something inside me, it just snaps. . . . I am afraid that she is going to take away everything that I love,” she wrenchingly confides. “So I want to hurt her. I want to hurt her before she can hurt me.” “You are fighting a war all by yourself with yourself,” he points out. “I don’t feel that way,” she argues, still refusing to acknowledge that she, not Alison, is to blame for the increasing tension between Caleb and herself. |