| "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" #3 (cont.) The band’s current drummer, Mick, enters the room, his long blond, bedraggled dreadlocks and gangly, pale appearance giving him the look of an albino spider. “You wanted me?” he asks by way of a greeting. “Well, there is a problem,” Stephen says in a soft yet rather menacing voice. |
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| Snappies of "Naked Eyes" scenes taken by A. Armstrong |
| “Oh, I thought when Reese told me to come over that, uh . . .” Mick stammers, but Stephen cuts him off before he can finish the sentence.
“That I wanted you?” Stephen growls. “Yes, well, it’s a shame, but I have to disappoint you.” He licks his lips. “I mean, you’re going to have to go.” “What?” Mick exclaims, his frightened expression seeming to make him look even paler. “Let’s just say the band is going in a different direction creatively, without you,” Stephen explains. “But, I’m a really good drummer and I’ve always been loyal to you, Stephen,” Mick whines in mounting anguish. “You have been loyal, Mick,” Stephen sighs, hugging the terrified musician and patting his face. “You have been loyal, but we both knew this day could come. That’s why I know you are going to do the right thing when you leave here. When you leave here, no one’s ever going to see you again.” His voice is patronizing and dismissive, as if he’s disciplining a well-meaning but rather idiotic puppy, suddenly turning colder and more sinister in foretelling the drummer’s permanent disappearance. “I thought that . . . ” Mick gasps as Stephen grabs him by the collar, lifting him off the floor. “You thought wrong!” Stephen snarls, shaking Mick as if the doomed drummer is a rag toy, easily torn apart and easily replaced. “It’s over. It’s over,” he repeats one last time and then releases the banished drummer to his ominous fate. What happens to Mick is not revealed. Does he move far away, die, or perhaps even vanish as if he never existed? We never know. Like the aberrant and obsolete creations of a sadistic deity, Mick is tossed aside by his master, his maker, the one who gave Mick the disposable fame and the revocable future. His visitor now forever out of his presence, Stephen resumes playing the guitar and sipping from his blue bottle. “Time to give the good people of Port Charles a little taste of the Stephen Clay Experience,” he muses, smiling cryptically. “Time to spread our wings. I’m the gift that keeps on giving, but no real gift is free.” The gift that keeps on giving is the gift of endless want, the yearning that never dies, the addictive fix that can never be satisfied. Caleb/Stephen Clay, in offering a “taste” of himself, arouses in us the incessant hunger that never abates. |