Captain Jim Brass
Renée, Foam Dancer
Det. Sam Vega
In this Episode, Grissom and Lady Heather seem to share a private moment when Grissom is caressing Lady Heather's face and told her "you can always say stop." In the next scene, we find Grissom and Lady Heather having a morning tea, still at Lady Heather's house. The very observant viewer would notice that Grissom has not changed his clothes while Lady Heather has. You could draw the conclusion that they slept together.
Goof: In the scene where Lindsay is being questioned she says that the car driver got out of the car, then Eddie (Lindsay's father and Catherine's ex-husband) fell out of the car and into the water. This is not possible. The passenger side door was closed and as the car was at an angle and wedged against the ground and unable to open. It is not possible that he fell upwards and out of the driver side door.
Marg Helgenberger performed all of her own stunts during the scene where Catherine rescued her daughter from the car.
Goof: Catherine breaks the car window and throws away the tool used. From a different angle she picks up Lindsey with tool in hand.
Goof: When the wife is found dead on the stairs, in the first two shots of her face her mouth is closed. In the third and fourth shots (including one close up) her mouth is open.
Warrick: Are we sure that it was a blunt object?
Grissom: Size ten, double A.
Warrick: Stilettos, huh? Brings out the toes, accentuates the legs. Murder on the ankles, though. (he sprays luminol on the heel, it glows in the dark)
Grissom: Looks like murder to me.
Grissom: The material we found in Rebecca McCormick's wound was nylon thread with fragments of ostrich feather.
Brass: Oh, I know that look. We're going back to Lady Heather's.
Grissom: I can take care of this myself.
Brass: Gil, do me a favor. Get a sport car. It's a lot cheaper and easier to handle.
Lady Heather: Steven came to me three years ago in a state of confusion. I helped him clarify his need for dominance. Our work enabled him to marry.
Grissom: But he chose a woman who didn't understand the dynamics of a Dominant-submissive relationship.
Lady Heather: Unfortunately, the language we speak in here doesn't necessarily translate to the world out there.
Grissom: No, in here, the submissive has the power... all he has to do is say the safety work and everything stops.
Lady Heather: Very good, Mr. Grissom.
Grissom: I'm just repeating what I've heard.
Lady Heather: You're a good listener.
Grissom: Part of the job.
Lady Heather: So, this is work?
Grissom: Yes, but I value your insight.
Lady Heather: I'm flattered...but you already seem to know the answers to your questions. You keep me in proximity when I walk away... (she moves closer to him) ...when I'm close you watch my lips. Are you losing your hearing?
Grissom: I'm losing my balance.
Lady Heather: Your sense of self?
Grissom: No, I know who I am.
Lady Heather: Do you?
Grissom: Yes... I do. (he touches one side of her cheek with one hand then the other with his other hand) You can always say "stop".
Lady Heather: So can you. (screen fades, then the next scene of them is in the morning at Lady Heather's house, having tea)
(After Grissom and Lady Heather have tea in her house, he finds out she's a diabetic and calls for a warrant)
Lady Heather: I think I heard you just say "stop".
(During the interrogation Lady Heather gets up and walks over to the mirror she knows Grissom is behind)
Brass: Is it something I said?
Lady Heather (staring at Grissom directly through the mirror): I'm disappointed in you, but not suprised. You fear me because I've commited the one unforgivable act.
Brass: No, it's more like two acts... of murder.
Lady Heather (still staring at Grissom): I know you. And I know that in your heart I know you don't believe I did this.
Brass: Lady Heather this has nothing to do with the heart, it's all about the evidence. (Lady Heather turns to look at Brass then back to Grissom. Grissom later proves she was innocent)
Grissom: There's seminal fluid all over the place.
Sara: Is this a dance club or a sex club?
Warrick: A little of both. Don't you love this town?
Sara: Whatever you say, Superfly.
(After Catherine runs into the interrogation room and threatened a suspect in the case of her dead ex-husband)
Sara: What the hell are you doing? Do you know where you're at right now?
Catherine: I've been here a lot longer than you.
Sara: Then you should know better.
Catherine: And I wouldn't have to be here if you were doing your job properly!
Sara: There is a difference between me doing my job and you wanting to do it for me. You don't want to get the job done. What you want right now is revenge.
Catherine: You're gonna tell me what I want, huh?
Sara: Go home, Catherine. Be with your daughter she's the one that needs you. (she walks away)
Archie: Must have been someone else there. You think we got a witness?
Sara: Either that or a suspect.
Nick: You know Croix had this sweet apartment and this wad of cash we thought he was selling drugs, turns out he was selling himself.
Nick: Paid to get laid.
(Warrick opens the door and walks in, lounging on the bed in her lingerie is Rebecca)
Rebecca: You're late. Not that I mind. (Grissom walks in) There's two of you?
Warrick: We work as a team.
Rebecca: What's in the kit?
Grissom: Latex gloves, cotton swabs, specimen jars, other evidence-gathering stuff.
Rebecca: Wait a minute, what's going on here?
Grissom: You tell us.
Rebecca: Oh, my god. You guys are cops. (she stands up, grabs her robe and covers herself with it) I'm, um ... I'm really embarrassed. I've never done anything like this before. I swear.
Grissom: This room is registered to Trey Buchman. Who are you?
Rebecca: Do we have to do names?
Rebecca: Rebecca McCormick. (puts her robe on) Look, I got a number from a guy who was giving out these cards on the strip. I thought it would be fun. (mumbles) I-I don't know what I was thinking. (stands and crosses her arms in front of her) Am I under arrest?
Grissom: Not yet.
(Catherine holds up a vile of blue liquid)
Catherine: Knowing Eddie's taste in women, I'd say that's a good bet.
(Grissom's going through evidence and holds up a thong)
Warrick: I was wondering where I put my nice silver satin thong.
Grissom: It's amazing how the sight of blood can clear a room.
Steven: Listen ... my wife had a problem with sex.
Brass: Sounds like she had a problem with you, pal.
Steven: My wife had a problem with sex. And at Lady Heather's, I fixed her.
Brass: Oh, you 'fixed' her?
Brass: She stay "fixed"? Yeah, you fixed her so good that she started spending your money to get other men to give her what you couldn't.
Steven: Rebecca was out of control.
Brass: So you got her to kill Richards and Buchman.
Steven: No, I didn't.
Brass: And then you told her to kill you wife.
Steven: No, I loved my wife. I didn't tell Chloe to do anything.
Brass: What happened?
Steven: She killed Richards and Buchman on her own.
Grissom: Chloe thought that killing your wife's lovers would please you. And it did please you.
Steven: I told her to stop.
Grissom: But she didn't obey you. She killed your wife. You couldn't make Chloe do what you wanted. All that time at Lady Heather's and you never learned that the submissive is the one in control?
Steven: I told her to stop.
Grissom: I owe you an apology.
Lady Heather: Apologies are just words.
Warrick: Your hair has a similar morphology to the hair that we found in Mr. Buchman's hotel suite.
Rebecca: Well, 'similar' doesn't mean me.
Warrick: No, but the DNA we also recovered from under the sheets does mean you.
Brass: Sounds like a physical encounter to me.
Rebecca: So because I pay for sex, I must also be a murderer?
Brass: No, it's just everybody you pay for sex ends up dead.
Rebecca: I don't like you.
Brass: Well, I guess I'll have to live with that.
Steven McCormick: Hi. Sorry to keep you waiting. So, what can I do to help out the Las Vegas Crime Lab?
Grissom: You could tell us about your relationship with Croix Richards.
Steven McCormick: Well, I hired Croix Richards to dominate Rebecca. Would you like a chocolate?
Lady Heather: Do you like my lipstick?
Lady Heather: You've been staring at my lips.
Grissom: You have very lovely lips.
(Catherine stares at the body of her deceased ex-husband)
Dr. Robbins: Catherine, you can't say goodbye in an autopsy room.
Brass (while interrogating Lady Heather): You know what really gets me wild? The truth.
Grissom: I would like to come in.
Lady Heather: Of course you would. Say the magic word.
This episode was sent in for Emmy consideration for Outstanding Drama Series for the 3rd season.
Production designer Richard Berg was recognized with an Art Directors Guild Award nomination in the category of Excellence in Production Design in a Single-Camera Television Series for this episode.
Last appearance of Timothy Carhart as Eddie Willows. He made a total of 4 appearances throughout the series.
Closer - Nine Inch Nails
Fundamental - Sasha
Darkest Dreaming - David Sylvian
According to the DVD Commentary, the 90 min. duration of the episode was a last minute thing for sweeps and all the writers on the show were involved.
While in interrogation, the character that Elizabeth Berkley plays, crosses her legs in front of Cptn. Brass; a move similar to the one Sharon Stone did in 'Basic Instinct'. When Grissom enters the room and asks her if she is a natural blonde, she looks directly at "nervous" Brass (with a kinky smile on her face) as he shakes his head [indicating that she was not a natural blonde].
User Score: 6133
User Score: 2064
User Score: 2043
User Score: 985
User Score: 785
User Score: 705
User Score: 586
User Score: 553
User Score: 510
User Score: 487
User Score: 359
User Score: 332
User Score: 318
User Score: 273
User Score: 256
User Score: 256
User Score: 247
User Score: 233
User Score: 228
User Score: 210