A/N: Thankyou heaps to anyone reading this and especially to those who left a review. This is mainly a learning experience for me and I am so very grateful for any feedback. I have to warn you, I don't like this chapter as much so I won't be surprised if you have the same reaction. If there is anyone out there who knows anything about post-modern literature I would love to know your reaction to this fanfic. If anyone is interested in some postmodern texts some PM writers I can think of include Margaret Atwood (the Blind assassin, the handmaid's tale), Italo Calvino (If on a Winter's night a traveller) (anyone watch alias, Vaughn was reading Calvino on the plane) and John Fowles (the French lieutenant's woman) Buffy and Alias are PM tv shows and Tarantino films are also PM. Other PM films include memento and the opposite of sex. There are a lot of texts out there that contain elements of postmodernism without being overt.
Chapter 2: The Basement Crime Scene
Finally able to concentrate on the bright colourful combination of light before you, forming the engrossing picture you are avidly viewing, you settle down to watch as Grissom enters the break room. Before crossing the thresh-hold he discreetly surveys his surroundings. No matter how many times he enters a room he can not turn off his CSI intuition. Nothing seems out of place. Catherine and Warrick are chatting quietly together, perhaps about their last case. Nick is impatiently waiting for his coffee to brew and Sara... Despite her head being bent down in the latest journal she could find, she notices his gaze. Her head tentatively turns and their eyes lock for a brief moment. Unable to maintain it, for reasons he himself, let alone The Author, is not sure of, he looks down to the papers in his hands, crosses into the break room, makes his presence known to the group and begins to hand out the assignments. You can't remember the exact delegations but you know that finally, Grissom has placed himself with Sara. Your surprise is not the only one evident.
It cuts to Sara and Grissom at their crime scene. There is a dead body lying on the floor of a dark uninhabitable apartment basement. It reminds you of a recent horror film, perhaps they used the same sets. Grissom is bent over the body with his flashlight, mentally cataloguing the information before him, pausing every so often to bag fibres and other such items. Sara is taking photographs. At first glance, it appears the victim is a male in his mid to late thirties with a blunt force trauma to the back of his head. We can almost see the wheels turning Sara's mind. We are sure she has formulated an accurate impression of this incident however we know she will not share it, just yet. She has learnt her lesson well, never jump to conclusions, much less voice them, especially in the presence of her teacher. They work in silence until suddenly Grissom lifts his head to look at Sara.
"I think we need to talk"
"I'm not sure if I want to" she replies lifting head from behind the camera lens. Their eyes meet, each attempting to read the face of the other. Their success, they fear, they will never learn.
Both their heads return to their previous positions, eyes downcast, collecting their clues.
In a quiet, almost imperceptible tone (similar to that in "the now infamous scene") Grissom pleads, "Please don't leave"
The scene shifts to the other case. Typical. A very exciting drug related triple homicide with gang links and suspected sexual assault. As You, The Viewer and You, The Reader, like The Author, are interested solely in the relationship blossoming between our two favourite 'geeks' we will skip those scenes. (There is a significant amount of scepticism leading you to believe that The Author simply can not or does not feel like writing this extra information which would invariably lead to a greater resemblance to the original, that is CSI)
So we move back to our basement crime-scene. You can almost see the tension in the air. By this time our body has been removed and the two CSI's are painstakingly gathering all the evidence present. Finger prints are lifted. A shoe print cast is made. Blood is collected for DNA analysis. Everything is back to business. Subtleties in their body language visible solely to the well trained eye are the only indications of a betrayal of their true relationship. They pack up their field kits and head towards the stairs, toward the light, their car, the lab. Grissom lingers slightly, over a blood spot in order to conceal the chivalrous nature of letting Sara leave first. He does not want her to think negatively of him, yet he is an old- fashioned man set in his ways.
Before fading to the first add-break, we are again shown another scene involving the developments of their team-mates' triple homicide and some equally important developments in the relationship between Catherine and one of the other male CSI's. You decide you will pay more attention to this second storyline on another viewing. It will prove useful later on in the show. You are recording this episode precisely for that purpose. That thought brings you to wish you could fast-forward past the ads now. You begin to wonder if in fact these breaks are useful in order to build suspense. Your impatience wins out as you are forced to endure yet another pointless commercial while you wait.
A/N 2: Next chapter we return from commercials. In Australia the last ad in a segment is either for the product sponsoring the show or for another programme on the same channel. Is there a common ad at the end of the segment just before CSI returns??
Chapter 2: The Basement Crime Scene
Finally able to concentrate on the bright colourful combination of light before you, forming the engrossing picture you are avidly viewing, you settle down to watch as Grissom enters the break room. Before crossing the thresh-hold he discreetly surveys his surroundings. No matter how many times he enters a room he can not turn off his CSI intuition. Nothing seems out of place. Catherine and Warrick are chatting quietly together, perhaps about their last case. Nick is impatiently waiting for his coffee to brew and Sara... Despite her head being bent down in the latest journal she could find, she notices his gaze. Her head tentatively turns and their eyes lock for a brief moment. Unable to maintain it, for reasons he himself, let alone The Author, is not sure of, he looks down to the papers in his hands, crosses into the break room, makes his presence known to the group and begins to hand out the assignments. You can't remember the exact delegations but you know that finally, Grissom has placed himself with Sara. Your surprise is not the only one evident.
It cuts to Sara and Grissom at their crime scene. There is a dead body lying on the floor of a dark uninhabitable apartment basement. It reminds you of a recent horror film, perhaps they used the same sets. Grissom is bent over the body with his flashlight, mentally cataloguing the information before him, pausing every so often to bag fibres and other such items. Sara is taking photographs. At first glance, it appears the victim is a male in his mid to late thirties with a blunt force trauma to the back of his head. We can almost see the wheels turning Sara's mind. We are sure she has formulated an accurate impression of this incident however we know she will not share it, just yet. She has learnt her lesson well, never jump to conclusions, much less voice them, especially in the presence of her teacher. They work in silence until suddenly Grissom lifts his head to look at Sara.
"I think we need to talk"
"I'm not sure if I want to" she replies lifting head from behind the camera lens. Their eyes meet, each attempting to read the face of the other. Their success, they fear, they will never learn.
Both their heads return to their previous positions, eyes downcast, collecting their clues.
In a quiet, almost imperceptible tone (similar to that in "the now infamous scene") Grissom pleads, "Please don't leave"
The scene shifts to the other case. Typical. A very exciting drug related triple homicide with gang links and suspected sexual assault. As You, The Viewer and You, The Reader, like The Author, are interested solely in the relationship blossoming between our two favourite 'geeks' we will skip those scenes. (There is a significant amount of scepticism leading you to believe that The Author simply can not or does not feel like writing this extra information which would invariably lead to a greater resemblance to the original, that is CSI)
So we move back to our basement crime-scene. You can almost see the tension in the air. By this time our body has been removed and the two CSI's are painstakingly gathering all the evidence present. Finger prints are lifted. A shoe print cast is made. Blood is collected for DNA analysis. Everything is back to business. Subtleties in their body language visible solely to the well trained eye are the only indications of a betrayal of their true relationship. They pack up their field kits and head towards the stairs, toward the light, their car, the lab. Grissom lingers slightly, over a blood spot in order to conceal the chivalrous nature of letting Sara leave first. He does not want her to think negatively of him, yet he is an old- fashioned man set in his ways.
Before fading to the first add-break, we are again shown another scene involving the developments of their team-mates' triple homicide and some equally important developments in the relationship between Catherine and one of the other male CSI's. You decide you will pay more attention to this second storyline on another viewing. It will prove useful later on in the show. You are recording this episode precisely for that purpose. That thought brings you to wish you could fast-forward past the ads now. You begin to wonder if in fact these breaks are useful in order to build suspense. Your impatience wins out as you are forced to endure yet another pointless commercial while you wait.
A/N 2: Next chapter we return from commercials. In Australia the last ad in a segment is either for the product sponsoring the show or for another programme on the same channel. Is there a common ad at the end of the segment just before CSI returns??