| "Surrender" : Analysis of the "Surrender" Arc of ABC-TV's Port Charles
(c) Alison Armstrong |
| An analysis of the "Surrender" 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. |
| "Surrender" #2 (cont.) “I have a fondness for that particular paperweight,” he says calmly, his voice soft yet menacing, and takes the shimmering object from her grasp. “In the light it has a certain magic.” Gently, almost reverently, he places the paperweight on the table. Caleb’s gentle, loving treatment of the object reveals his love of beauty and refined sensuality. Throughout Port Charles we have seen examples of Caleb’s aestheticism-- his first conversation with Livvie (twirling a white flower as he sat in a poetic pose), his scenes in the Villa (leading Livvie through his maze of graceful, silken curtains), the opulent, Venetian-like pageantry of his masquerade party in “Naked Eyes, etc. He, like Dorian Gray, is intoxicated by the presence of beauty, its fragile yet sublime mystery. “I’m sorry about the apartment, Stephen,” Elizabeth gasps in a fearful, placating voice. “I was . . . I was just upset. I mean, it’s our wedding night. How long do you expect a woman to wait at home alone just thinking of ways to please her husband?” He looks at her with a sickened, disgust-filled expression. “It’s frustrating when you can’t have who you want when you want them,” he remarks coldly. |
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| “Mmm,” she sighs, becoming aroused and seductive. “But you’re here now. And you want me as much as I want you.” |
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| Snappies of "Surrender" scenes taken by A. Armstrong |
| He studies her, as if she were some pretty but irritating insect he could crush, and shakes his head, denying her.
“Stephen, we belong together,” she purrs, undeterred. “We’re a perfect fit. I am going to keep you very, very satisfied. Drink from me, my love,” she murmurs, touching his head and bringing it towards her neck. “Take me, Stephen. Take me now.” |
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| “What is this?” he asks sternly, pulling back. “This . . . this blood. What is this?”
“It’s nothing,” she giggles guiltily. “Have you been a bad girl, Elizabeth?” he asks, his tone a softly threatening taunt. He treats Elizabeth to the same cruel, deadly game of seduction that he played with Gabby in “Tainted Love.” “Fess up, my blushing bride. Have you been feeding on someone?” |
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| “I cut myself,” Elizabeth lies.
“Aw, where does it hurt?” he mocks, contorting his face into a parody of concern. |