I don't know why I first developed an intense love of CSI Las Vegas, given that so many of the episodes follow the same basic format, but this is the first time that that format has been completely thrown away and the show went in a completely different direction.
We can thank Quentin Tarantino, of course, for that change, since he was given the opportunity to write and direct these two episodes in his own way. It's interesting to consider that he made these shows a year after making Kill Bill, in which Uma Thurman's character is also buried alive. Nick Stokes' kidnapping and live burial is not necessarily an homage to Kill Bill, but it seems that Tarantino has noticed the effectiveness of a live burial, particularly one in which the person is unconscious when buried and then wakes up underground.
Can you imagine? I was particularly affected by these two episodes, because being buried alive is one of my own worst fears, along with drowning, spiders, and Global Thermonuclear War an intense fear that I developed in after watching an early Matthew Broderick movie.
I had hoped that Tarantino might take it upon himself to write and direct more for the show, but as of now that has yet to happen, and it looks like it's not going to.
Other than these two episodes, all of the rest of the series looks surprisingly homogenized So it's a whisper. Happy now? FAQ 1. What movie is the guy who lives in Vaking Street, and is fallen asleep when the cops enter his house, watching? Details Edit. Release date May 19, United States. United States. Technical specs Edit. Runtime 1 hour 25 minutes. Contribute to this page Suggest an edit or add missing content. Edit page. Warrick begins to break down, and confesses to Catherine about the coin toss.
Catherine reassures him but they're interrupted by Greg, who has found a patch of dirt with something buried beneath it. The CSIs begin to dig frantically. In his coffin, Nick hears noises and starts calling out. The CSIs dig until they hit a coffin, but it's that of a dead dog, not Nick. They sigh in disappointment. Inside his coffin, Nick watches as the fiberglass walls begin to crack, set off when he shot the light earlier.
Warrick takes the coffin with the dog in it back to the lab and takes it apart. In his coffin, Nick begins to record a message for his parents and friends while Grissom looks on and reads his lips.
Suddenly Nick begins to convulse. Grissom magnifies the image and sees hundreds of ants streaming into the coffin through the cracks in the plexiglass. The ants are biting Nick; he wads up some paper and sticks it in his nose to avoid ants getting into his nasal passage. At the lab, Warrick tells the other CSIs that based on his examination of the prototype coffin, Nick probably only has ninety minutes of air left. Grissom studies the wire feed and manages to get a screen capture of one of the ants as it crawls across the screen.
He rushes to his entomology books and identifies the ant as a rare type of fire ant. The CSIs are able to narrow down the areas the fire ants are found in to two plant nurseries, and Sara recalls that Kelly Gordon mentioned she worked at a nursery.
She gets the name and the CSIs rush to the area. They scour the area, and Catherine locates the webcam transmitter. Meanwhile, Nick is running out of air and beginning to hallucinate. He envisions Dr. Robbins and David Phillips autopsying him and removing his organs as he looks on. His father enters the room and observes, asking what his son died of.
Above ground, Warrick begins to dig frantically. The CSIs are rewarded with the sight of a plexiglass coffin with Nick inside. Nick becomes frantic when he sees them, and Warrick gets a fire extinguisher to kill the ants that are biting him. Before the CSIs can pull Nick from the coffin, Catherine gets a call from Hodges--he's discovered traces of simtex on the bottom of the prototype coffin, indicating there could be explosives under the one Nick is in. Warrick is forced to leave Nick as the CSIs prepare a way to get Nick out and retain the weight in the coffin.
Nick becomes hysterical when he sees Warrick leave, and Grissom gets into the hole, calling Nick 'Pancho' and telling him how they're going to get him out. The CSIs bring over a tractor to dump dirt in the coffin as Nick is lifted away from it by a crane.
The coffin explodes just as Nick is pulled to safety. Nick is taken away in an ambulance, Catherine and Warrick at his side. As Grissom watches the ambulance drive off, he tells Ecklie that he wants "my guys back. They regard each other warily, and Nick tells her that when she gets out, not to take it with her. She hangs up the prison phone and goes back to her cell, contemplating his words.
Analysis: When the news that Quentin Tarantino was going to direct the fifth season finale of CSI broke, the reaction was understandable excitement, from both those working on CSI and the show's many fans. The stakes are always upped when a main character is in jeopardy, but "Grave Danger" is the rare episode that actually leaves the viewer wondering whether Nick is going to make it out of that coffin alive.
Indeed, Nick is no Beatrix Kiddo, and he can't simply punch his way out of the coffin. Being buried alive tops most people's nightmare scenario lists, and Tarantino and George Eads do an admirable job of drawing viewers in and forcing them to experience the horror alongside Nick.
The scenes in the coffin are claustrophobic and eerie, whether lit by the too-bright white light or the sinister green glow from the light sticks. The fiberglass adds to the effect, as Nick can see for a fact that he is indeed buried under ground.
There's been speculation about the possibility of a CSI movie, but it would be difficult to top the cinematic feel of "Grave Danger. What is perhaps most surprising is that the whole cast is given a chance to shine. Usually in a big story like this, two or three characters are in the forefront while the others have little more than background work to do, but that's not the case here.
Every character is proved integral to the story and to solving the case. The most notable performance is Eads', which makes sense, given that Nick is the one in danger throughout the episode. I would argue that his best scene is not in the coffin, but at the end, when he confronts Kelly Gordon in jail. His need to see her, to put the situation behind him and bring some good from it are all evident in his plea to her, "When you get out, don't take it with you. William Petersen remains the steadfast rock that anchors the show.
Even in moments of crisis, Gil Grissom's calm center allows him to think rationally. And yet, there's no doubt that Grissom is emotionally affected by Nick's plight. He goes alone to meet Gordon with unmarked money, imploring, "I just want my guy back. It is also Grissom that pulls Nick from the abyss by calling him Pancho and calming him down.
Despite Grissom's awkwardness around other people, he does have a keen grasp of human nature, and is in fact the one who connects with Nick emotionally at the crucial moment. Nick is shown to be quite fluent in Spanish. Hence he frequently deals with cases involving Hispanics and the Latino community. Despite being one of the more well-adjusted members of Grissom's team, the character has personally been the victim of a number of crimes during the course of the series: having had his car and all the evidence inside it stolen "Rashomama" ; having been kidnapped and buried alive, then subsequently eaten alive by fire ants " Grave Danger " ; held at gunpoint more than once "Who Are You?
He was also accused of killing a prostitute, Kristy Hopkins before learning that he was framed by Jack Willman, the pimp who truly killed the prostitute "Boom". In the Season 5 finale " Grave Danger ", he was kidnapped and buried underground in a glass coffin rigged with explosives.
He became a victim of a car bomb during a police funeral in the Season 11 opener after just recovering from a gunshot wound. In "Targets of Obession" Nick becomes the personal target of teenage bomber Jason McCann and is forced to shoot him in self-defense.
During the sixth season of CSI , Nick grew an ill-advised moustache , but soon got rid of it. A sort of running gag throughout the series seems to indicate that whenever Nick gets with a woman, misfortune befalls someone else. In "Boom", he sleeps with a prostitute named Kristi Hopkins, and she is murdered some time later. Shortly after Nick hooks up with a woman at the club, Catherine is drugged and abducted. In "For Gedda", during breakfast with the team at a diner, Nick eyes a pretty waitress and stays behind to get her number while Warrick Brown leaves.
Shortly after, Warrick is murdered. It is often mentioned that Nick is something of a ladies' man. However, the only onscreen romance over the course of the series was the brief affair with Kristi. Nick has shown to be an emotional person through the series: He cried when being held at gunpoint in "Who Are You?
Jekyll" , sent to the hospital, has made a recovery as seen in the Season 11 opener, which Nick is seen almost dying again because of a bomb at the funeral for an officer gunned down the same night as Nick, which was partly his fault. Throughout the episode "Shock Waves" he is seen struggling with the pain of his gunshot and he suffers a mental breakdown when the suspect pulls a gun, which causes Nick to fire his gun so many times he had to reload, but the suspect is already dead, and Catherine is the only one to stop him.
He was barred by the officer's family from attending his burial, which was then turned into an explosive crime scene, causing the CSIs to look for the killer. Nick has been struggling emotionally as Catherine attempts to comfort him with how she handled losing Warrick and by suggesting that he sees a therapist and gives him the card of a therapist that works for LVPD and at the end of the episode he is seen calling the therapist after a long look at the infamous fetal pig.
In the episode "Unleashed" Nick helps deliver a baby after the mother has committed suicide.
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