Before Checking out the details on each episodes in the ShipArc, I recommend Heidi's summary for an overview of the ShipArc...
Sara is first introduced in Cool Change,
and right away the animosity starts between her and Warrick and Catherine,
though the stupid network execs decided to try UST between her and Nicky.
That obviously never panned out, so let's leave that alone. Stunned silence all over TV
land....Did he just say that? by Heidi M Clark ,Thu Mar 21, 2002 |
After The Holly Gribbs incident, Grissom asked Sara from
San Francisco to assist in internal investigation.
Grissom referred to her as "... a friend. Someone I trust"
Sidle's first appearance, in front of the hotel where Grissom did the tossing
dummy experiments in front of crowds.
GRISSOM: Norman Pushed. Norman Jumped. Norman Fell...
SARA: (behind him, in the crowd) Wouldn't you, if you were married to Mrs. Roper?
GRISSOM: (Smile) I don't even have to turn around. Sara Sidle...
SARA SIDLE: It's me... Still tossin' simulation dummies? There are other ways to tell, you know.
GRISSOM: How? Computer simulation. No thanks. I'm a scientist. I like to see it. Newton dropped the apple. I drop dummies.
SARA SIDLE : You're old school.
GRISSOM: Exactly, and this guy was pushed. "
Sara and Grissom investigated a seeming kidnapping and pulled out a woman who was buried alive. After rescuing the victim, he touches her face and shoulder to make sure Sara was alright.
SARA: (frustrated) I keep trying to be your star pupil.
GRISSOM: That was a seminar. This is real. Pebbles. Tile. The front is all concrete.
Grissom : Did you know that Nevada produces 80% of the countries gold. Miners drop cyanide powder into the dirt, and it draws the gold to
the surface.
Sidle : And ... how does a bug specialist know so much about dirt?
Grissom : I had a case five years ago. We found a skeleton in an abandoned
gold mine. I thought it was a murder. Turned out the guy
passed out, drunk, and the cyanide leeched into his system.
Sidle : Gruesome, Grissom.
Sidle : Grissom, can you come tape me up?
Grissom : I love my work.
Willows : It shows.
Sara and Grissom investigated a crime scene on an airplane. Sara asked Grissom to cite his source regarding "Mile High Clubs..."
The famous "Cite Your Source" scene:
Sidle : *knowingly* Ah, the Mile High Club. That means two passengers may have had no idea what was going on inside that cabin.
Grissom : *quotes* You know, high altitudes increases the entire sexual experience. It increases the euphoria.
Sidle : *offhanded* It's good, I don't know if it's that good ...*curious* Cite your source.
Grissom : Hand me a swab, please.
Sidle : You're avoiding the question. Enhances sexual experience, increases euphoria. Cite your source.
Grissom : A magazine.
Sidle : What magazine?
Grissom : Applied Psychodynamics in Forensic Science.
Sidle : Never heard of it.
Grissom : I'll get you a subscription. Now cite your source.
Sidle : Oh, now you want to go down that route.
Grissom : Yeah.
Sidle : Nah, never mind.
Grissom : You started it.
Sidle : *LONG pause* Delta Airlines, Flight 1109. Boston to Miami,
March 93. Ken Fuller. Hazel eyes, Organic Chem Lab TA, BMOC. Overrated in every aspect ...
Could we get back to work please?
Grissom : Yeah ... *deadpan* I think that due to your first hand knowledge and experience in airplane bathrooms,you should do the swab.
Sara became very emotional investigating the Kaye
Shelton case, a woman who was abused repeatedly by her husband, Scott Shelton.
Grissom tried to calm her down after Scott Shelton behaved rudely to Sara.
The team hit a block when Grissom determined the age of larvae in Kaye's body
did not math the reasonable explanation they had for murder. Sara became very
upset because she knew Scott Shelton had committed the crime but CSI could not
prove it. Sara went to Grissom:
Sidle : [...] You know how you say we're the victim's last voice? (Grissom
barely nods) I thought it was our job to speak for Kaye Shelton.
Grissom : You don't crunch evidence to fit a theory.
Sidle : (her voice cracked a bit) What if you hear the victim's screams? In the car, at the store.
Grissom : (calmly)You have empathy for her Sara. You want someone to pay for what was done to her, that's normal.
Sidle : (nods. long pause) You wanna sleep with me?
Grissom : (surprised, confused pause, removed his glasses) Did you just say what I think you said?
Sidle : (tried to act coldly) That way, when I wake up in a cold sweat under the blanket, hearing Kaye's screams, you can tell me it's nothing. It's just empathy.
Later Grissom found that the blanket wrapped Kaye could have effected the growth of larvae. He conducted an experiment using dead pig wrapped in the same blanket on Kaye, exposing the pig in the cold night air, recording the changes. Sara went over, brought Grissom blanket and warm drinks. They sat together in the cold night, comparing notes, with a decomposing pig next to them. How romantic.
Quote Sobell's review from TWoP :
"At one point, he's shivering on a crate as he observes the pig. Sara shows up. Gil pushes over a second box, and Sara sits down. She then opens a large bag and hands Gil a thermos. He smiles at her -- something that really does peel about ten years off his face -- and Sara continues by wrapping a blanket around him. She then hunkers down to keep him company, and the camera pulls back to show them huddled together, reviewing lab notes. It's really kind of sweet, except for the festering, vermin-riddled pig decomposing at their feet. Young forensics investigators in love, I guess.
"
Another case of woman fell to victim of violence; this
time, the victim was in coma but the suspect was a juvenile so the bad one would
not get what he deserved. Again Sara became "emotional" to the
case. She talked softly to the Pam (the vic), promised her to find the guy who
did that. Grissom saw that when he quietly stood next to the hospital room's
door.
Sara started to work late and sleep in the office. Grissom knew Sara was
emotionally involved, and told her to do something else, to find a diversion.
Himself, for instance, rode roller coaster occasionally. (*Evie's note: Why do I
get this very pathetic feeling?) Sara replied... "I don't like anything
[...] and I read crime books and I listen to my scanner." (remember in
Blood Drops Sara showed up at crime scene even nobody asked her to.)
The tension (bad way) heated up with the "emotion" issue.
Sara : I wish I was like you, Grissom. I wish I didn't feel anything.
What to watch: The Uber-soft Grissom, the gazing, the tension, and heck a lot of POV! (personal space violation)
Sara : *As Grissom runs off to investigate* Hey, can I come with you?
Grissom investigated a murder of a deaf boy. The
principle of the special school, Dr. Gilbert, had a special connection to
Grissom. Later we learned that Grissom's mother was deaf.
When Dr. Gilbert showed up with Grissom, Warrick and Sara were working on the
truck.
Sidle : I don't like her.
Brown : You just don't like other women in [Grissom's] life.
Sidle : I'm going to pretend I didn't hear that.
When Grissom learned that Sara volunteered as bait
(FBI's idea), he became VERY concerned. So concerned that he had lost his usual
coolness (and, where did that "don't -get-personal" policy go?) (Devanie
said: "He stares at her obsessively a few times, and he gets to see her all
tarted up.). We seldom saw Grissom freaked out, and this was one of the
occasions, for, Sara.
What to Watch: Grissom freaked out when he learned Sara was volunteered
to be FBI's bait. He told FBI that he would not sacrifice his CSI; when
Sara wanted to tell him that she wanted to do it, he told Sara to sit down (a
command!), and started delivering the coldly-furious speech about how the Strip
Strangler killed and raped woman, right at Sara's face. Strangely he did not
make eye contact with her. This is one of the most bizarre scenes I've ever seen
in CSI.
After the bait operation failed, Grissom escorted Sara out of the
supermarket.
A lot less of SG scenes, but they had a very nice Geek Mind meld moment at the crime scene.
Looking for the whereabouts of a young freshman of UNLV
without any luck, Sara and Grissom (and the rest of the team) figured out the
chaos theory --- a string of seemingly unrelated events would lead to the
result.
What To Watch:
1) Sara and Grissom went up to the missing girl's dorm room again and
tried to reconstruct what happened during the night the girl disappeared. Sara
played the role of the girl, and Grissom watched as he reconstruct the night
Paige disappeared. Slowly Sara morphed into Paige, a scene nicely done.
2)Whenever Grissom and Sara were in Paige's dorm room. The nice teacher-student
little moments. Grissom had his body language of "teaching" whenever
Sara appeared.
3) in the lab
4) OT: Cat/Nick shippers, watch the AV lab scene.; & Archie fans like Evie:
Archie's first appearance as the campus security tech.
The Pickle. Yep, the one that turned into a light bulb... not to mention the amount of Geek mind meld...
The no-one-else-can-understand-except-for-Sara-and-Grissom talk resumed in this episode. "Think Outside The Box" The dynamic duo almost torn out the whole apartment (literally!) but still could not find the body except for a few beetles. Keeping on tearing down the walls, Grissom was very upset because he could not find the source/nest of the beetles (i.e., where the body was), and he knew that the apartment manager was hiding something. With frustration, he went out the door to ease his anger, and checked his pulse. Sara followed.
* important note: G/S shippers were NOT seeing things in this scene. Later we found that it was all written in stage direction; in other words, the writers on CSI made a conscious choice of GS-UnR. WP and JF nailed it perfectly. Thanks Mush for the detailed script.
Sara: You okay?
Grissom: (checking his pulse) 95.
Sara: Excuse Me?
Grissom: (looking at her, starting to talk very fast) Normallymypulseis70 when
it gets to 95 I realized how mad I am...
(Sara nods quietly)
Grissom: I have 10 people working around the clock on this thing...
Sara: (softly) You're too hard on yourself.
Grissom: (voice gets higher) No, no! I..I'm not mad at me! There is a body in
there and that guy knows where it is!
Sara: (nods slightly, looking away, then looking back at him, smiling) What's
your pulse at now?
Grissom sighed slightly. Sara smiles, looks away, sides, and down..
| (This is "what I see" in
the footage:) Sara: (looking down) You wanna... (looking back at him) take a walk around the block? get some air? Grissom: (sighs of relief, smiles, appreciating Sara's offer. shakes his head) No. Sara: Clear your head? Grissom: (exhausted) I'm fine Sara: Okay. She stares/gazes at him for a few seconds longer, He isn't paying attention on her. Sara reaches out, her right hand is on Grissom's face. She rubs (or caresses, depending on how you saw that...) his cheek, and her eyes are fixed, so concentrated that she doesn't seem to care about anything else. Grissom stares at her... (is he jumping out of his skin? or? ) Sara: (no obvious expression on her face) Chalk, from plasters. Grissom: (rubs his own cheek where was just touched by Sara. looking at his hand. chalk? looking at Sara with...) Sara: (looking down) Better go wash up. (She goes back in the house again) Grissom is still in the shock of face-caressing. He wipes his hand (still that one!) on his chin, and then walks back in the house. |
(THIS IS THE SCRIPT FROM MUSH) After she asks him if he wants to take a walk... Okay. She reaches up, touches his face. He's not sure how to take this. Then: SARA Chalk. From plaster. She's still touching his cheek. GRISSOM Oh. They're looking at each other, maybe a moment longer than they usually would. He touches the chalk now, on his face, sees it on his fingers. SARA Better go wash up. He nods. Doesn't make a move toward her. Or away. A beat. She walks off. He looks after her. What the hell was that? Then he walks toward the apartment |
(*Evie: What can I say? Great Acting! Sara + Griss 4 ever! )
The overlooked Geek Mind-meld moment:
G: What about the neck? Any fibers in the wound?
S: You told me to wait for you
G: that hasn't stop you yet
S: ...I did observed some fibers
G: be my guest
Grissom went to roaches-racing, leaving Warrick in charge.
Sanders : Don't take it out on me just because you got passed over.
Sidle : I didn't get passed over.
Sanders : Then what would you call it?
Sidle : Grissom.
Two women teamed up to get money by 1). poisoning the
husband while the other played the secretary 2). selling his organs after he
died. Sara had broke the case but no concrete evidences the DA would use to
against the women.
(the hotel scene)
Sidle : No matter how clean or expensive the [hotel] room is, that's why I always travel with NonOxynal9.
Grissom : You sound like you're a commercial.
(*note to the hotel scene: For the first time Sara didn't catch Grissom. What was "murder central"? She pretended to know it but Grissom knew that she didn't.)
Greg told Grissom that he was going out with Sara later (without Sara knowing it was a date, thanks to Catherine). Grissom rolled his eyes, "Not that, Greggo. The case!"
Grissom : What's the most important ingredient in a poison?
Sidle : ... the poison?
Grissom : Patience.
(There wouldn't be any actions against the organ grinders. Sara was upset and went out of the CSI building. Grissom went after her. In the parking lot...)
Sidle : What are we doing? Digging up graves, chasing prints...if it's no good in court, if the killers win --
Grissom: It isn't a competition. We don't 'win.' The courts are like dice. They have no memory; what works one week won't work the next.
Sidle : I know that. I do. I know that. That's why I'm mad.
Top
Grissom and Sara investigated the death of a woman who almost never went out of her door...POV, POV and POV!
Quote Devanie:
....are completely in each others personal space. I think it was the same way in
Chaos Theory. Anyways, there is that completely telling scene where Sara and
Grissom are looking at the love emails. She says something akin to "It's
easy to wear your heart on your sleeve while you aren't face to face" and
then looks away from Grissom. The subtext in that scene was oh so
interesting."
Sara had been having trouble making eye contact to Grissom since Scuba. The
face-to-face dialogue was intriguing up to this point...
from the old Shippers' Lab (humblely my opinion):
Except for the "Chalk" scene, the next obvious (and somehow,
painful maybe) scene was in YOU'VE GOT MALE, where Sara was checking the victim
Donna Marks' emails, with Grissom right besides her. She turned to Grissom
and said that Donna was lonely and vulnerable to make cyber-friend, and then she
shifted her eyes away from Grissom, as if she was afraid of something deep in
her mind --- " It's easier to pull your heart out on your sleeves
when you're not eye to eye." Jorja Fox (Sara) was accused of being a
less powerful actress, but that scene she had proven that she was just as
talented as the others; just the eye work, is one of the memorable moments on TV
2001. Working with Petersen must be a learning experience for her!
Sara called someone at the end of the scene. "Do You want to go out, have some coffee?" Rumors had that she called Nick in the original script but the footage was never aired.
Trivia & Gossip: George Eads (Nick) said in
one interview that, during his scene where he was supposed to deliver the
scripted line telling Sara to get out more, he said, "you should get Daddy
to give you a roll in the hay; that should straighten you up."
Now I really wonder what that meant.
old case - Paul Milander came back to haunt Grissom. The
whole story is mainly Grissom-centred, but there was a clue for GWS (Grissomian
withdrawn Syndrom):
miss_tess from TWoP:
Sara was a part of that case, but he didn't include her to the extent he did
the last time. He pushed her away...maybe she did call him [in You've Got Male]
and he told her no.
There could be nothing. The plot itself was disastrous enough, and personally I
don't think Billy had any attention on creating chemistry with Jorja since they
had so little scene together. It was all about Grissom facing his own demon.
ADDED AFTER THE HUNGER ARTIST: The scene
with Grissom thinking, not hearing the team discussing the case in the meeting
(sounds and voices became blurred) was not only a sign of withdrawnness; in
fact, it foreshadowed Grissom's hearing loss.
Top
Sara got a date. At first it seemed that Grissom did not
know about Hank, or he did not even care, but ...
Grissomian Jealousy/Denial?
miss_tess from TWoP:
...We've seen the looks Gil throws when people are flirting in front of him.
(The "say good-bye to Greg" moment [in PNN] may have been more
meaningful than we know). Gil not only pushed her away after the date with Hank,
he basically alienated her.
Grissom and Sara barely had a scene together. Could this
be GWS?
"He's just off on his own, avoiding her... I don't think he even
makes the usual sort of eye contact with her, and he never talks to her in any
real way throughout the ep. He then keeps avoiding her in BoP, basically
punishing her for having gone out with Hank." (VIgirl, Mar. 11th, TWoP)
All the GWS had established since SDD, finally reached
the boiling point. Sara doubted the leadership of Grissom because he failed to
communicate with her (or, you can read it this way: "Do you even give a
damn about me? hun? After all I do for you --- flying from San Francisco to be
stuck with a boss like you. What was I thinking!") Sara submitted the leave
of absence, and told Grissom that she *might* pursue FBI in the future (which
was just what/who Griss hated the most.) Here came the Grissomian Sheepy Look,
which he had used on the "Pin Me" lab tech and Teri Miller. "Is
this about the hamburger?" he said. (Mulder: ... because you didn't get
a table?)
SARA: "How can you reduce everything I've said into some kind of single
quirk...Do you think this is just about me ?" ("Things Sara
shouldn't say to Grissom" list, entry #2)
The whole meat experiments and vegetarian thing was, IMHO, was just a trigger.
She had enough. (But thanks for the meat experiment we have the closest
Sara-Grissom photo so far! giggle)
From the old Shippers' Lab:
When Grissom said, "Is this about the hamburger?", I yelled at
TV,this is NOT about the hamburger, you bughead! This reminded me about Mulder,
Scully and the desk that she never had.
Sara, there are still a lot to learn before you go on to FBI. A lot of
single-minded guys, worse than Grissom, are waiting for you in the FBI, now.
Well, when Grissom said "The LAB needs you," I
was like, "my ass, you stone head, it's YOU that needs her". But it's
Grissom, what else do we expected?
Here is what I wrote in Shipper's Lab on Feb 7th:
He wanted her to stay, but couldn't come up with good words-- the lab needs
Sara. Em. Lab. Right --- Where he kept his maggots, expired blood experiments,
and decomposing ground beef.
With Cat's reminder, he speedily dialed and sent flower --- no, living plant
("She loves vegetations?" --- my a**!)
You don't threaten to quit (or worse, go to FBI) when your boss did not pay
enough attention on you; unless, you have some unanswered feelings for him, and
you have tried to read out for so many times but he kept dismissing you (and you
know he is always like that.) Speaking from experience, MY DEAR SARA, you are
doing the right thing. However, this situation can be easily turned around by
one living plant, with a thank you card.
Up till this point I wasn't that sure about the whole Sara/Griss Un-Romance, and
Grissomian Denial could be so frustrating sometimes. Then, Cat came to rescue.
Cat approached Grissom with hesitation about Sara, as if this was a personal stuff. When Cat started to say, "Are you in denial? Wow, you got burned deep, hum?" and hinted him to get Sara back. That was it. If Cat put it that way, then it's settled. Here is how he ordered the PLANT:
(he flipped pages of phone book. Was he calling Sara?)
Grissom: "Yeah. hi. I'd like to get some flowers for a girl. No, no, Not flowers.... A plant. A living plant, she.. likes vegetation..... Yeah, that'd be fine. To a Sara Sidle. Deliver it at the CSI Division, Las Vegas Police Department, the one out on North Trop Boulevard. Yeah, you can bill me at the same place.she is probably not back to the office!)
Grissom: ...Gil Grissom….The sentiment? Oh oh, on the card. Yeah. Uh, uh, have it say… have it say, uh… 'From Grissom.' Thank you."
miss_tess:
I just need someone to explain one thing: In the last part when Grissom and
Catherine were talking about getting burned, Catherine said, "It happens to
everybody. Everybody just moves on." Without missing a beat, or showing any
type of emotion, Gil peered over those glasses and said "Let's move
on."
Why did he want to move on? He obviously didn't want to discuss it. But was he
really willing to just let the issue pass? Was he really going to let her go?
Billyrocs:
.... he just doesn't care to talk about those personal things with others...
he knows what he should do but ... It is much easier to deny those feelings and
continue to protect yourself, not let anyone in. Let what happens happen, at
least in his personal life... Don't let anyone really know you....
Cath knows him, to some degree, and called him on it, and ... he was just
letting her know that he would rather not deal, as is his way, which of course
is why Cath persisted, and we saw the outcome of that as the phone call to order
a plant for the little lady. Ha.
It takes a certain type of person, and relationship, to know when and how much
to push another person to get them to come out of their shell and respond to
something they know exists, but may find quite frightening, and/or may not have
acquired the skills to deal with....
allthingsMSR:
... "Let's move on" as his not wanting to talk about whatever was
in his past. Cat used her bad marriage as a frame of reference. We don't know
what Grissom's story is. I think that makes the scene even more telling, because
why would he equate his relationship with a past one if there was not the
potential for something more? And more interestingly, why would Catherine? She
could have been talking in a general way regarding his inability to connect with
the living, but then what did he need to deal with before it went away? And why
make the gesture only to Sara? That scene is fascinating because Every. Line. is
up for debate. What cinched it for me was Cat's facial expressions. That look
she gave him as he picked up the phone had nothing to do with respect for the
unit, I swear.
The Points:
And then there is
the plant. now, take a moment of silence, thinking about what the plant
had brought us, before proceeding to the next section. AFTER THE PLANT.
Your participations in subtext analysis, graphics and layout are desperately
needed. Please email me or leave a message on my guestbook to count yourself in.
Your name will be cited. Yes. "CITE YOUR SOURCE!" *lol*
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