| "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" #4 (cont.) “I bet you think I really deserved that,” Ricky, subdued somewhat, replies. “No,” Stephen explains. “What I think is you came on my territory. You started hurling drunken insults at me.” “Maybe I was a little over-served,” Ricky concedes. “No, I think you were drunk,” Stephen responds. “And all I did was cool you off.” “All right,” Ricky grumbles. “What I still don’t get is why you guys dumped me from the band.” “Well, if you feel bad about that, you’re going to feel like a real ass after this,” Stephen predicts. Twirling the drumsticks in his hand and pointing them at Ricky, Stephen then informs Ricky that he has been chosen as the new drummer. “Of course, if you think we are a bunch of no-talent frauds,” Stephen teases, making Ricky regret his idiotic, rude behavior. |
 |
| “Hey, hey, no, stop,” Ricky pleads, his drunken bluster replaced by obsequious gratitude. Thanking Stephen profusely, Ricky vows to stop drinking and to tell all his friends, especially Marissa, the exciting news.
After Ricky runs off to boast of his good fortune, Joshua asks whether Stephen is sure about the decision to hire Ricky. “You have to give some to get something. I won’t forget this. I don’t forget anything,” Stephen answers, his smile twisted into the hint of a snarl. The new drummer now inducted into his coven of musicians, Stephen oversees Joshua’s preparations for the upcoming Halloween party. Although the warehouse is dusty, drab, barren, and seemingly unsuitable for a lavish gala, Stephen assures Joshua that the masquerade ball will be a success. “How many times have I told you . . . It’s all in the presentation,” he smirks, his eyes sparkling with devilish anticipation. The “presentation” begins at the Recovery Room diner, where Marissa, Alison, Rafe, and Lucy are discussing their impressions of the Stephen Clay Experience. Whereas Rafe and Lucy both have an ominous feeling about the band, with Lucy even remarking that the music is “like nails on a chalkboard” to her, Marissa and Alison love the group’s sound. When Marissa tells Alison of her meeting with Stephen Clay, Alison is curious to know all about the reclusive, enigmatic rock musician. Like teen girls sharing stories about some unattainable heartthrob, the young women giggle excitedly as Marissa describes her impressions of Stephen. He’s “intense,” with “unbelievable eyes” and “really heavy duty sex appeal,” Marissa gushes while Alison smiles with fascination. The conflict between Rafe and Alison over Stephen Clay, even before Stephen makes his appearance, is already beginning to cause tension. A wedge is forming, progressively tearing the loving couple further apart throughout “Naked Eyes.” In the midst of all this talk about Stephen Clay, the lights suddenly darken and a glowing skeleton–costumed figure appears. Speaking with Joshua’s voice, the skeleton invites everyone there to attend a Halloween party. “The drinks, the food, the masks, the decadence are on us,” he promises. “Go to the Port Charles docks. Follow the screams to my house—Number 13. It’s your lucky number. It’s your lucky night.” With a flutter as of bat wings, a flurry of invitations swoops down upon the crowd. As mysteriously as they had been extinguished, the lights flicker back on, revealing no trace of the skeleton-messenger. |
 |
 |
| When we next see the warehouse, it glistens with the sensual blood-red aura of a Bacchanal. Stephen Clay walks amongst the opulent displays of food, wine, and masks. Smiling with satisfaction, he touches the ice sculpture representing a nude female torso, tastes an hors d’oeuvre, and admires the décor. Bronze candle sconces shaped like nude figures, some vaguely hermaphroditic, cling lasciviously against the walls, inviting yet somehow sinister in their Art Nouveau angularity. This is a world of decadence reminiscent of Aubrey Beardsley’s illustrations, a world where sensuality is tinged with perverse wit and cynical temptation awaits. |
| Snappies of "Naked Eyes" scenes taken by A. Armstrong |