| "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. |
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| "The Gift" Analysis #6 As the residents of Port Charles struggle to heal in the aftermath of Joshua’s destructive reign, relationships between friends, lovers, and enemies continue to fluctuate, becoming progressively ambivalent. Rafe, Caleb, Livvie, Alison, Jack, and Jamal now realize that, like it or not, they must find a way to somehow coexist. The relationship between Livvie Locke and Alison Barrington is, in many ways, more complex and volatile than that between Caleb Morley and Rafe Kovich. Whereas the two men were always enemies, the roles as vampire and slayer predetermined by the age-old battle between the Morleys and the Koviches, Livvie and Alison used to be the best of friends. Because of their former closeness, Livvie and Alison know each other’s subterfuges and vulnerabilities. The female bond of competitive admiration and self-doubt lurks beneath the sneers and smiles they assume as masks of indifference. When Livvie enters the warehouse Alison and Rafe are converting into a gym, Alison is in the midst of painting the graffiti-smeared walls. The gym is to be a symbol of Rafe and Alison’s new life together, a life of normalcy and contentment instead of intrigue and danger. Previously a dark, derelict, rather creepy abandoned building, it is to become a sparkling new health center, a place of wholesome self-enhancement. Surprising Alison with this unexpected visit, Livvie astounds her even further with the announcement that she has come there to apologize, that Kevin has made her re-examine her life “in a whole new way.” Understandably skeptical, Alison challenges Livvie’s attempt to apologize, observing that Livvie is never nice unless it serves her in some way. “OK, you’re right,” Livvie irritably concedes. “You’re right. I have a totally selfish reason for wanting to put whatever it is we have between us behind us. . . . I want to be able to enjoy my life with Caleb. . . . I want to be able to go to bed at night without wondering how you are going to ruin my life or how I’m going to get back at you. That’s it. That’s the truth. That is all.” As if to prove her point that she is trying to make amends, Livvie picks up a brush and asks where she should start painting. “You can’t really be serious,” Alison scoffs. “Look, I’m trying really hard here,” Livvie replies in a wounded voice. “And, like I said, this is not easy for me, OK? . . . I just wanted to help you. And, besides, it’s probably not a bad idea to be on speaking terms with the owner of the best new gym in Port Charles.” She looks at Alison beguilingly. “Even a vampire can use a workout.” As the two women begin painting together, side by side, Livvie recalls their friendship. “I can remember when a moment like this was a normal part of our lives,” she reminisces. “Yep, well, that was a really long time ago,” Alison responds, her sharp-edged tone a rebuke to Livvie’s little sojourn into memory lane. “Believe me, I’m not suggesting that we be friends or that we would even want to,” Livvie wavers. “I’m just saying that maybe we can put some of this stuff behind us and . . . I just want you to know, for the record, that I . . . forgive you, too.” She smiles sweetly, truly believing that she has been wronged by Alison in the past and is now humbling herself by offering forgiveness along with her apology. “You forgive me?” Alison sneers, stunned by Livvie’s distorted view of reality. “Are you kidding me? What, for what?” “I just meant, for, like, all the stuff you did to me,” Livvie falters. “Oh, my God, thank you so much!” Alison exclaims, emphasizing her sarcastic tone. “Thank you so much for forgiving me for, you know, framing you for a murder you didn’t commit. Oh, no, that was you. That was you framing me. Gosh, sorry I forgot. You know, actually this is what I wanted to say. Thank you so much for forgiving me for sending you to Joshua so that, you know, he could do whatever he wanted and make you a prisoner. . . . Oh, no, that was me. Oh, and another thing, thank you so much for marrying the man that I loved. Thank you so much, oh, no, wait, oh, gosh, that was me, wasn’t it?” |
| Snappies of "The Gift" scenes taken by A. Armstrong |