CSI: Crime Scene Investigation

Season 2 Episode 8

Slaves of Las Vegas

Aired Sunday 10:00 PM Nov 15, 2001 on CBS



  • Trivia

    • Goof: Grissom notes that the victim was well cared-for, including "...manicured fingernails, manicured toenails...". This is out of character. Grissom, usually a very precise speaker, should know that a toenail job is a pedicure not a manicure. (The words come from Latin pes, foot, and manus, hand)

    • Catherine wears Chloe sunglasses.

  • Quotes

    • Grissom: Gustav Stickley, very nice furniture. No pictures of your family though.
      Eileen Nelson: I know what they look like.

    • Brass: A thousand square miles of desert in Vegas and this perp dumps the body in a sandbox.
      Grissom: He didn't put it here to hide it. He put it here to be found.

    • Catherine (to Grissom): Why do men always make everything look so tough? (he shrugs)

    • Greg (laughs): You know what a "switch" is?
      Grissom: Someone who's dominant as well as submissive. (Greg is thoroughly impressed. He turns to Catherine)
      Greg: Oh, he's even got the lingo down. (Catherine nods her head. He imitates cracking a whip. Grissom doesn't crack a smile, Greg stops smiling and looks towards the floor)
      Grissom: If Mona's DNA is in one of these masks, then she was the submissive on the night she died.
      Greg: You're so dialed into this case, I'll bet you don't need me to tell you which mask had her DNA.
      Grissom: Yes, I do, Greg. I also need to know which straw she used. (Greg turns around. Grissom looks at Catherine, she shrugs. Greg turns back around with two sharpie pens in his nose. One red and one blue. Grissom still doesn't crack a smile)
      Catherine: Oh, nice. Mmm. Yeah, that's the idea, Greg. Two straws per mask.
      Greg: You can't get any air through pens.
      Catherine: And not much more through straws.
      Grissom: And even less if someone's fingers are on the other end.
      Greg: I found the victim's DNA on this mask and... these two straws. Red mark: Victim; blue mark ...
      Grissom: Our killer. Now we just need a suspect.

    • Lady Heather: Does all this fascinate you?
      Grissom: Yes. I find all deviant behavior fascinating in that to understand our human nature we have to understand our aberrations.
      Lady Heather: And you think what goes on here is aberrant?
      Grissom: I would say that whip marks and ligature contusions on a young woman are aberrant. Wouldn't you?
      Lady Heather: Every job has it's peculiar hazards. Rock stars damage their ear drums. Football players ruin their knees. In this business, it's scars. But no one who works for me has ever sustained a serious injury.
      Grissom: Mona did. She died.
      Lady Heather: Not because she worked here that's your assumption. What happens here isn't about violence. It's about challenging preconceived notions of victorian normalcy. Bringing people's fantasies to life. Making them real and acceptable.
      Grissom: Like the theatre.
      Lady Heather: It's people who don't come to places like this that I worry about. The ones who don't have an outlet. Say...someone like yourself.
      Grissom: Oh, I have outlets. I read. I study bugs. I sometimes even ride roller coasters.
      Lady Heather: And your sex life?
      Grissom: It doesn't involve going to the theatre.
      Lady Heather (smiles): In my experience, Mr. Grissom, some men go to the theater...some men are the theater. Either way, what I offer is a chance for submission or control, whichever's required. Sometimes a client doesn't know what he wants until I show him.

    • (While Cath is getting ready to process, she glances at Lady Heather, Heather sees her)
      Lady Heather: Go ahead, ask. "How can I do this for a living?"
      Catherine: Oh, that's not what I was thinking. (pause) How much does this place clear a week?
      Lady Heather: Ten grand.
      Catherine: I'm not with the IRS.
      Lady Heather (smiles): Okay. Twenty.
      Catherine: I don't make that in three months.
      Lady Heather: Sex pays a lot better than death.
      Catherine: Plus the outfits are cooler.
      Lady Heather: Well, I have this genius tailor. Worked at the Desert Inn back in the day. I let him come in weekends and play human ashtray. He designs for me and my girls. It's a fair trade.
      Catherine: You got a good thing going here. And the best part is that these guys think getting slapped around and getting humiliated is their fantasy.
      Lady Heather: Like I told my daughter...
      Catherine: You got a daughter?
      Lady Heather (smiles proudly): Eighteen this month; freshman at Harvard.
      Catherine: Really? Mine's seven.
      Lady Heather: Oh, that's a great age.
      Catherine: Yeah.
      Lady Heather: When I thought Zoe was ready to hear it, I told her, "Honey, there are a lot of things you can give a man -- your body, your time, even your heart. But the one thing you can never, ever, ever let go of is your power."
      Catherine: All my mother ever said to me was "Cash up front."
      Lady Heather: Don't take this the wrong way but I think you've got everything it takes to make a great Dominatrix.
      Catherine: I take that as a compliment.
      Lady Heather: Well, you should. It's just about knowing yourself, being strong and not taking any crap from powerful jerks who are used to giving it all day long.
      Catherine: Well, death is still a man's business and I don't have to tell you about police work.
      Lady Heather: So, how do you survive?
      Catherine: By knowing myself and working hard...and by not taking any crap from powerful jerks who are used to giving it all day long.

    • (As they walk up the stairs)
      Lady Heather: I've never lost one of my girls.
      Grissom: Well, you don't seem too upset about it.
      Lady Heather: What you see and what I feel are two different things.
      Brass: Really? Were there any disturbances last night? Did you hear screams? (they reach the top of the stairs, Lady Heather turns around to look at Grissom and Brass)
      Lady Heather: It's when I don't hear screams that I start to worry.
      Brass: Well, then can you tell us what time Mona got off?
      Lady Heather: Knowing Mona, every couple of hours. She enjoyed her work.
      Brass: There's no sexual contact or anything illegal going on here, of course.
      Lady Heather: Captain Brass, surely you don't think sexual contact is the only means of fulfillment.
      Brass: Lady Heather, you don't wanna know what I think.
      Lady Heather: Her last client was at 11:00. She would have left at midnight.
      Brass: Do you have any kind of log book? Some record of who was working that night? What they did with their time? That sort of thing?
      Lady Heather: Would that get you excited?
      Brass: Not particularly. But it might help us catch the creep who murdered Mona.
      Grissom: We need names and addresses. We also need to know which rooms she worked last night so we can examine them.
      Lady Heather: Mona worked the pool house. Give me a minute, I'll have to move some clients around. (Catherine and Nick appear on the bottom of the stairs)
      Catherine: Oh, there you are. Mona's car is in the driveway. It looks clean.
      Grissom: Okay, tow it to CSI and then start processing the rooms in the pool house where Mona worked last night.
      Catherine: And you will be...?
      Grissom: I'll be with Lady Heather.

    • Catherine: How much business can one sugar daddy give a plastic surgeon? (they ring the bell)
      Grissom: The eternal question to which we're about to find the answer. (Lady Heather answers the door, Cath and Grissom they are suprised. Brass isn't shocked at all)
      Lady Heather: Let me guess-- three police officers looking for respite from having to control and dominate our big, bad city?
      Brass: Close-- one police officer, two criminalists. May we come in? (Lady Heather steps aside, letting them in. Catherine, Grissom and Brass are downstairs and they hear a guy groaning from getting whipped upstairs)
      Lady Heather: Ah, another happy customer. (Grissom turns to look at her) Now would you like individual sessions or would you like to enjoy each others submissions? (Grissom looks towards Catherine and she laughs)

    • Dr. Cornfield: You shouldn't judge Mona for wanting to improve herself. Competition's intense especially for a young woman living in Las Vegas. Why don't you put yourself in her shoes.
      Catherine: Trust me, I've been in her shoes. I got out of them.
      Dr. Cornfield: Oh, yeah? Why's that?
      Catherine: Because they were killin' me.

    • Sara: I understand you're upset...
      Carla Delgado: Upset? Lady, upset is for white people. I'm pissed off.

    • (Grissom shows Lady Heather a photograph he brought with him)
      Grissom: Have you ever seen either of these two people?
      Lady Heather: Not the wife, but I have seen the husband.
      Grissom: I didn't say they were married.
      Lady Heather: It's obvious. Look at the way he's clenching her hand with both of his and leaning toward her. And see how she's twisting away presenting herself to the wealthy alpha male? She's insensitive; he insecure. That's a setup for matrimony, not passion. She wants the dominant male to choose her so she can stop being dominant.
      Grissom: You're very good. You could work for me.
      Lady Heather: You want to be my boss?
      Grissom: You never know. We both might learn something.
      Lady Heather: Oh, I'm sure of that. (they both sit at the table) I can read anyone who walks through this door and know their desires. Sometimes even before they do. Why do you think I selected china and table linens?
      Grissom: You like fine things.
      Lady Heather: Or maybe I knew you'd like them. Same way I know you enjoy most of the superficial trappings of civilization.
      Grissom: I'm that obvious, huh?
      Lady Heather: Only because you try not to be. You spend your life uncovering what goes on beneath the surface of civility and acceptable behavior. So it's a release for you to indulge in something like high tea when it seems, if only for
      a moment, the world really is civilized. (Grissom stays silent) The most telling thing about anyone is what scares them. And I know what you fear more than anything, Mr. Grissom.
      Grissom: Which is?
      Lady Heather: Being known. You can't accept that I might know what you really desire, because that would mean that I know you. Something, for whatever reason, you spend your entire life making sure no one else does.

    • Nick: None of this weirds me out anymore.
      Catherine: People are just as twisted in their own living rooms. The props are different here. That's all.
      Nick: Well, not everybody's twisted.
      Catherine: Everybody, Nick. Wake up and smell the species.
      Nick: Catherine, do you really think that those freaks out there, running around with their little dog collars on getting spanked are the same as you and me?
      Catherine: Just because you've never did it doesn't mean you never could.
      Nick: No way, never gonna happen. (Catherine points her camera at him, looks at him through the lens, then puts her camera back down)
      Catherine: Hey, relax, Nick. All I'm saying is you're human.
      Nick: Hey, man, my mom and dad are human, and...
      Catherine: There's one thing you learn on this job is that human beings are capable of anything.

    • Catherine: I just realized that you and I have a very healthy relationship.
      Grissom: We do?
      Catherine: When we have a problem, I don't paint Greg in latex and stick a straw up his nose.
      Grissom: Good. He'd probably like it.
      Catherine: You're supposed to say something revealing back to me.
      Grissom: Okay. I never told anyone this, Catherine.... (screen fades to black)

    • Grissom: To get to the evidence, we may have to destroy the evidence.
      Catherine: Do you get these haikus out of a book, or do they just come to you?
      Grissom: Every time you find a body, you have to choose a path and when you take that path, Grasshopper, you risk destroying the evidence.
      Catherine: We grab a trowel and some fine mesh screens and we just pretend like we're panning for gold...Master.

  • Notes

  • Allusions

    • Episode Title: Slaves of Las Vegas

      The title of this episode is a play on the title of the book and film written by Tama Janowitz entitled Slaves of New York - though those slaves took their work slightly less literally.

    • Dominatrix: Okay, Randolph, You may lick my boots and go.
      Randolph: Because I'm naughty?
      Dominatrix: Randolph, shut up! (Catherine looks at Nick. He smiles a bit) Get up. (Catherine and Nick move along)
      Catherine: I feel like I'm trapped in the Marquis De Sade's brain pan.

      The Marquis de Sade was a French author whose works explored sexual freedom (including S&M) and was also a multiple rapist and torturer.

    • Grissom: Every time you find a body, you have to choose a path and when you take that path, Grasshopper, you risk destroying the evidence.
      Catherine: We grab a trowel and some fine mesh screens and we just pretend like we're panning for gold... Master.

      Master and Grasshopper are allusions to the 70's show Kung Fu.