| "Tainted Love" Diary 77 (c) Alison Armstrong |
| "Did you happen to tell her you can't actually destroy me? Huhh? Aaaah," Caleb again makes a dismissive gesture with his hands as he temporarily seems to regain his customary advantage, becoming mocking, arrogant. "Don't waste my time with empty threats." But despite his bravado, Caleb has his hands on his head, a nervous gesture, and he is rubbing his eyes, as if worried, frustrated. "They're not empty now," Michael again warns. "Oh, what? Because you met Eve," Caleb smirks. "I'd do anything to protect her--even if it means destroying you," Michael vows. "For a woman you can't have?" Caleb asks in amused disbelief. "For a woman you can't hold? Whose warmth you'll never feel?" He taunts. "A woman you can't possess?" "I don't need to possess Eve to love her," Michael calmly explains. "See, your reign of terror ends once and for all tonight." "Tonight? Ooooh," Caleb exclaims, shivering in mock fear. "Hey, look at me, Michael. Look. I'm still standing here. Do you know how many times I've heard that threat? And I'm still here. You want to know why? Because you ain't got the guts or the knowledge." |
| An analysis of the "Tainted Love" episodes of the show "Port Charles," formerly of ABC-TV. This site will focus on the scenes featuring the vampire character Caleb Morley (portrayed by actor Michael Easton). The character of Caleb Morley 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. |
| "I've always had the knowledge, Caleb," Michael replies softly yet icily. "As for having the courage, loving Eve has made all the difference. I'll do this for her." "All right. Do you want to play hero?" Caleb challenges. "It's time to live up to your word. You want to fight, I'll give you a fight." "I'm ready," Michael agrees. "Ready to die?" Caleb boasts. "You're right, Mikey. Only one of us will survive tonight." The scene then shifts to Livvie and Jack, and It is not until the end of the episode that the winner in this dissociative duel is revealed. But even then the answer is not as it appears, and the two aspects, once seeming so diametrically opposed, blur, transform, and battle again in a recurring cycle of psychotic conflict. The sudden appearance of Michael as he visits Eve in the emergency room and announces that he has killed his brother to protect her provides a false sense of resolution, seemingly indicating that Michael and conventional morality have triumphed, order is restored, and happiness will reign. However, as the arc progresses past this illusion of closure, we see that morality, order, and happiness have not triumphed and never will because the battles between apparent opposites, such as good and evil, are never resolved. The Port Charles universe is much more complex and ambiguous than the war between good and evil, angels and vampires would at first seem. As Port Charles demonstrates, within each individual there is shadow and light; there are no absolutes or ultimate answers. Everything is in a state of flux and possibility. |
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| ******************************************** The few episodes after Caleb's apparent death and before his resurrection seem, like most transitions, to hint disquietingly of the unchangeable past and an unknown future, a time of nostalgia, regret, hope, and fear. For Eve and Ian, Caleb's "death" is a blessing, representing the beginning of their new life as a family, but for Michael it brings emptiness and alienation. Although Michael "killed" Caleb because of his love for Eve, she is just as inaccessible to him as ever. Lonely, depressed, without a family, Michael is isolated from human bonds. In return for his act of love and sacrifice, Eve and Ian leave him desolate and in despair while they celebrate their happiness and rather blatantly express their love for each other, the kind of love denied Michael. As "Michael" tells Eve of his desperation and disillusionment with Caleb, he shows the deep inner conflict regarding his vampire nature. "I wanted to believe so badly that Caleb could be redeemed, that I could save him," he relates. "But then I realized he was beyond my help, beyond anyone's help. . . . Everything you and Ian said was true. Caleb had to be stopped for good. He pleaded with me. But this time I wouldn't listen. . . . I did what I had to do to keep you safe even though it goes against everything I believe in. " With these words, the Michael aspect of Caleb is expressing his loss of hope, loss of faith that he can control his urges, pronouncing upon himself a death sentence. Like someone terminally ill, he has given up chances of recovery and embraced annihilation. But although these statements are bleak with self-hatred, the Michael side of himself does reveal some love and self-forgiveness for his other aspect. Eve perceives the love mixed in with the reproach also. "You loved him very much, didn't you?" she notes, and he replies, "I guess you're wondering how that's possible -- to love someone like that, but it's true." When Eve makes the observation that "sometimes love isn't very logical," Michael, feeling his desire for her, replies "But it doesn't make it any less real," and briefly touches her hand. Then, overcome by guilt, he withdraws his hand. "Please, just forget," he apologizes, his fingers to his mouth and nervously walking away. |
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| Snappies of "Tainted Love" scenes taken by A. Armstrong |