CSI: CRIME SCENE INVESTIGATION 2X08: SLAVES OF LAS VEGAS ORIGINAL AIR DATE ON 11/15/2001 TRANSCRIBED FROM CBS Written by: JERRY STAHL Directed by: PETER MARKLE Transcript by Intrepid Courtesy of http://www.grissomandsara.com/ Please do not archive without permission. (Made possible in High Definition by Panasonic HDTV) (CBS Interactive Program) RATING: TV-PG-LS ========================== DISCLAIMER: ========================== "CSI: CRIME SCENE INVESTIGATION" and other related entities are owned, (TM) and (c) by ANTHONY E. ZUIKER, JERRY BRUCKHEIMER Television, CBS Worldwide Inc., Alliance Atlantis Corporation, and CBS Productions, All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain. Leave the headers/disclaimers in tact because it lists all those who have painstakingly made this transcript possible for your enjoyment and provide a link back to the site where this file originated http://www.grissomandsara.com/ For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) ========================== SUMMARY: The discovery of a naked body in a sandbox plunges GRISSOM, NICK and CATHERINE into the respectable and mysterious world of a fetish club. SARA and WARRICK investigate a robbery gone amuck. ========================== CSI: CRIME SCENE INVESTIGATION 2X08: SLAVES OF LAS VEGAS ========================== DUE TO BRIEF NUDITY AND ADULT THEMES, VIEWER DISCRETION IS ADVISED COLD OPEN: [EXT. LAS VEGAS CITY (STOCK) - NIGHT] [EXT. LAS VEGAS CITY (STOCK) - MGM -- NIGHT] CUT TO: SCENE #01: [EXT. PARK - NIGHT] (A Young Man and a Young Woman are playing in the park. He's chasing her and she's running through the various park equipment. She laughing.) BUTCHY: You're going down! (She playfully weaves her way through the swings, laughing as she goes.) BUTCHY: I got you, I got you! I got you! I got you. (BUTCHY finally catches up to the girl. He pulls her down to the ground in the sandbox. They start kissing. He glances up and sees something. He stops kissing the girl, his eyes glued to whatever it is that he sees.) GIRL: Butchy. keep going. (The girl turns her head to look. Partially exposed in the sand is the face of a dead person. She starts to scream.) FLASH TO WHITE: SCENE #02: [EXT. PARK -- NIGHT] (GRISSOM walks around the body. It still hasn't been touched.) BRASS: You've been walking in circles for ten minutes. GRISSOM: There's no sign of struggle. Whatever happened, happened somewhere else. This is a secondary scene. BRASS: Body dump? GRISSOM: Textbook. David, when we dig her up, I want you to tag her special processing. DAVID PHILLIPS: Yes, sir. GRISSOM: The only person who knows where the crime scene is has her mouthful of sand. 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. HARD CUT TO END OF TEASER ROLL TITLE CREDITS (COMMERCIAL SET) SCENE #03: [EXT. PARK -- SANDBOX- NIGHT] GRISSOM: What do you think? CATHERINE: I think we got a van full of tools we can't use. Sand's a nightmare. (CATHERINE and GRISSOM sit off to the side looking at the scene trying to figure out the best way to get to the body.) GRISSOM: To get to the evidence, we may destroy the evidence. CATHERINE: 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. (Cut to GRISSOM scooping up some sand and sifting through it. GRISSOM finds a barbie doll half buried in the sand. He picks it up.) (Cut to CATHERINE sifting through the sand.) (Cut to GRISSOM dusting sand off of the body.) (Cut to CATHERINE sifting through the sand. The body is partially uncovered. GRISSOM is brushing sand off and away from of the body.) (Dissolve to a top view of the sandbox with the body fully uncovered.) CUT TO: SCENE #04: [EXT. ASTRO CASH CHECKING -- PARKING LOT -- NIGHT] (A dark SUV parks. SARA and WARRICK exit the car. DET. SAM VEGA meets them.) DET. SAM VEGA: Gunshot victim shipped to desert palms. Santee Cherna, 32. Runs this check-cashing joint. WARRICK: Cash business, huh? DET. SAM VEGA: You bet. Was shot in the leg making his weekly bank run. (They cross the crime scene tape.) SARA: Let me guess -- the guy makes his run same time every week. DET. SAM VEGA: Night deposit. WARRICK: He's either stupid or suicidal. DET. SAM VEGA: We can't arrest people for that, unfortunately. SARA: Whole thing went down here? DET. SAM VEGA: Sister heard a gunshot, saw a car take off. SARA: Okay, I'm going to do a once-around. WARRICK: All right, I'll take the lot. (WARRICK settles in. SARA leaves.) CUT TO: SCENE #05: [INT. CSI -- LAB] (The body found in the sandbox is now on the table. GRISSOM starts to take pictures. He makes special notice of the restraint marks on her ankles.) (Flash to white. The body is flipped over and GRISSOM continues to take pictures. He notices something on her back. He picks it up and puts it in a bindle.) (GRISSOM puts on his goggles and turns off the lights. He uses the ALS down her body. He finds something on the back of her calf. He picks it up and looks at it.) (Cut to GRISSOM washing the body. He sees multiple bruises on her back and thighs. GRISSOM also notes the restraint marks on her wrist.) (Cut to GRISSOM mixing a mold mixture and putting it on the marks on her wrist.) CUT TO: SCENE #06: [EXT. ASTRO CASH CHECKING - PARKING LOT -- NIGHT] (WARRICK is bagging the items found on the ground.) (WARRICK also finds a small orange flyer on the ground. He looks up and notices that there are small orange flyers on the wind shields of the parked cars ... all except one.) (WARRICK stands and approaches DET. SAM VEGA.) WARRICK: You run this car already? DET. SAM VEGA: Oh, yeah. The RO's our vic. That's his spot. WARRICK: Right here? DET. SAM VEGA: Mm-hmm. (Cut to SARA kneeling in the alleyway behind the store. She calls out to WARRICK.) SARA: Hey, Warrick! Check this out! (WARRICK walks over.) WARRICK: We're dealing with some criminal genius here. SARA: Grab the money bag, slice it and run. WARRICK: You forgot the "leave the evidence on the ground." SARA: Let's see. (SARA opens the bank bag left behind on the ground and leafs through the contents.) SARA: We got some checks, no cash ... and a deposit slip for $22,500. WARRICK: So, our victim breaks out of the store with a bag full of dough ... SARA: Same time every week. WARRICK: Guess somebody was casing the joint, huh? SARA: Or... it was an inside job. CUT TO: SCENE #07: [INT. CHECK CASHING STORE -- NIGHT] CARLA DELGADO: This morning everything was fine. Then some pendejo attacks my brother and we're out god knows how much money and now I'm stuck running this place alone. SARA: Um, Ms. Delgado, I know you're upset ... CARLA DELGADO: Upset? Upset is for white people, lady. I'm pissed off. My brother was just shot in the thigh, okay? That's awful close to serious if you know what I'm saying. WARRICK: Ms. Delgado, how long have you been here? CARLA DELGADO: Six years. WARRICK: You have insurance? CARLA DELGADO: You better have insurance. You take 15% of a man's paycheck just to cash it. People use us, but they don't like us. WARRICK: Thank you. (CARLA DELGADO leaves. WARRICK, SARA, and DET. SAM VEGA walk out of the store.) [EXT. CHECK CASHING STORE - PARKING LOT - NIGHT - CONTINUOUS] SARA: So ... you think the brother might be behind this? WARRICK: Well, I might bet my own paycheck on that one. DET. SAM VEGA: But if that's true then our vic gets to collect the insurance money plus he gets to keep the money he stole for himself. SARA: Nice scam. (WARRICK holds up a sheet of colored paper advertisement for LUCKY LEE'S Chinese Restaurant.) WARRICK: Check it out. What's the first thing you do when you see one of these on your windshield? DET. SAM VEGA: Chuck it. WARRICK: Exactly. But the only guy to chuck his was the victim. I found one on the ground next to his car. SARA: That means whoever put these here wasn't gone long when the brother was shot. (WARRICK nods.) SARA: Potential eyewitness. CUT TO: SCENE #08: [INT. CSI - FORENSIC AUTOPSY -- NIGHT] ROBBINS: She died two to four hours before she was discovered. Jury's still out on cause of death but considering the whip and ligature marks it's no stretch to say it was violent. Some of the scars on her back are years old. Some are fresh. GRISSOM: So what are we looking at? Rape, multiple sexual assaults? ROBBINS: That's the strange part. Her body's a road map of abuse but there's no sign it was sexual. She hasn't had intercourse in months. CATHERINE: I'm thinking trade-in. Some lowlife gets tired of beating on the old model so he punches her ticket and starts shopping around for a version 2.0. GRISSOM: Here's a woman who's been beaten on a regular basis but look at the care she's lavished on herself. (GRISSOM holds out her hands.) GRISSOM: Manicured fingernails, manicured toenails. Perfect teeth, hair. (CATHERINE lifts up the sheet.) CATHERINE: Not to mention some serious breast augmentation. That is not a Tijuana boob job. Those puppies are top-of-the-line (Quick CGI POV camera angles down to the deceased's chest, through her breast and to the saline enhancement underneath with the serial number 414-55-5401 on it.) CATHERINE: (v.o.) ... at least we've got a pair of saline leads. (End of CGI POV. Resume to present.) CATHERINE: (to ROBBINS) Can you grab me one of those? ROBBINS: Left or right? CATHERINE: Dealer's choice. CUT TO: SCENE #09: [INT. CSI -- LAB] (GREG is grounding up something in a mortar. NICK walks in and peers over his shoulder to see what he's doing.) NICK: What up, Einstein? Ooh, you got anything there? GREG: You think Einstein had people hovering over his shoulders all the time? If he did, do you think that we'd be walking around with e=mc squared t-shirts? (NICK remains silent. He leans in to see what GREG is working on. GREG looks over his shoulder and gets annoyed.) GREG: Would you step back? Just give me some breathing room? GREG: Maybe I'll tell you something about the silver sliver that Grissom found on sandbox girl's back. NICK: It's all yours. (GREG puts the mixture on the card and puts it in the machine.) (Quick CGI POV as the machine processes the mixture on the card.) GREG: Let's see what the library has to say. (The computer screen flashes the results.) GREG: Tempered steel with aluminum coating. NICK: Then she was chained up. GREG: If she was, she was wearing something pretty funky. NICK: She was in the raw. GREG: Yeah, in a matter of speaking. Remember that sparkly stuff that Grissom got off her body? NICK: Yeah. GREG: I broke it down -- tree sap, ammonia and water. NICK: Sounds like frat house gravy. GREG: Liquid latex. NICK: Never heard of it. GREG: Really? It's all the craze right now, man. Girls paint it on guys. Guys paint it on girls. You can paint it on yourself if you want if that's what you're into. You can't get a date. NICK: I got it. GREG: Like I would know. NICK: Sure, sure. I got it, man. (NICK leaves.) CUT TO: [EXT. LAS VEGAS CITY (STOCK) - DAY] SCENE #10: [EXT. PARKING LOT -- DAY] (A man is busy putting flyers under the parked cars windshields. SARA and DET. SAM VEGA round the corner to the parking lot. They're carrying cups of coffee.) SARA: Hey, is that our guy? DET. SAM VEGA: Detective Vega, LVPD. Can I see some ID? BUSINESSMAN: I am a legitimate businessman. My card. SARA: How often do you distribute around here? BUSINESSMAN: On this street? Every Thursday and Friday. Is that a crime? SARA: Well, that depends. Did you see anything unusual last night? In the parking lot at Flamingo and Rhodes? BUSINESSMAN: I don't know what city you live in, Missy but in Las Vegas, unusual is what happens when you leave the house. DET. SAM VEGA: We can do this down at the station, if that works better for you. BUSINESSMAN: Okay, okay. Um, some jerk told me if I touched his car he'd shove a flyer down my throat. Does that count:? DET. SAM VEGA: Maybe. Did you get a good look at him? BUSINESSMAN: Them. There were two. A couple of lowlifes in baseball caps. SARA: What about the car? Did you notice the make? BUSINESSMAN: Honda, maybe. All those tin boxes look alike. CUT TO: SCENE #11: [INT. DR. CORNFELD'S OFFICES -- HALLWAY] (DR. SIDNEY CORNFELD walks down the hallway. CATHERINE calls out from behind him. He stops and turns around.) CATHERINE: Dr. Cornfeld? Catherine Willows, Las Vegas crime lab. I believe this is one of yours. (CATHERINE reaches into her bag and pulls out a plastic container with the implant in it.) DR. SIDNEY CORNFELD: Oh, yeah. 414 series. Firm, but plenty of give. CATHERINE: Spare me the sales pitch. We removed that from a homicide victim. I've got a photo. DR. SIDNEY CORNFELD: Judging by the size she had a pretty decent pair to start with. (CATHERINE opens the file she's carrying and shows the Doctor the photograph of the deceased inside.) DR. SIDNEY CORNFELD: Oh, she was a pretty girl. CATHERINE: I'm going to need her name. (DR. SIDNEY CORNFELD reaches into his jacket pocket and checks his palm pilot.) DR. SIDNEY CORNFELD: Let's see. Oh, yeah, here we go. Third-party billing, but I do recognize the address. They send me a lot of business. Mona Taylor. She must have worked there. Real shame. CATHERINE: I'll tell you what's a shame -- that she was so pretty and perfect and still thought she needed implants. DR. SIDNEY CORNFELD: 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. SIDNEY CORNFELD: Oh, yeah, why is that? CATHERINE: They were killing me. (CATHERINE leaves.) CUT TO: [EXT. LAS VEGAS CITY (STOCK) - NIGHT] SCENE #12: [EXT. LADY HEATHER'S DOMINION -- NIGHT] (GRISSOM, BRASS and CATHERINE walk up the driveway to an impressive home.) GRISSOM: Are you sure the surgeon said this is where Mona Taylor worked? BRASS: Maybe she was a domestic. CATHERINE: No domestic has a $10,000 rack. Not even in Vegas. BRASS: Well, the DMV records indicate that she hit town from South Dakota three years ago. I figure the bright lights faded and she snagged a sugar daddy. CATHERINE: How much business can one sugar daddy give a plastic surgeon? (They ring the doorbell.) GRISSOM: The eternal question to which we're about to find the answer. (The door opens and LADY HEATHER appears. Both CATHERINE and GRISSOM are casually taken aback. BRASS doesn't seem surprised 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 and they all enter the foyer.) (In the background, a whip cracks and a man groans.) LADY HEATHER: Another happy customer. (GRISSOM turns to look at LADY HEATHER.) LADY HEATHER: Now, would you prefer individual sessions or would you like to enjoy each other's submission? (GRISSOM turns to look at CATHERINE. She laughs.) LADY HEATHER: You don't have to decide now. Please, make yourselves comfortable and welcome to Lady Heather's Dominion. FADE TO BLACK. (COMMERCIAL SET) SCENE #13: [EXT. LADY HEATHER'S DOMINION -- NIGHT] (The flashlight shines on a car's Nevada License Plate, IAM4FUN, with registration for 12/2001. NICK: That's her. CATHERINE: "I'm for fun". Right. NICK: She drove herself to work. CATHERINE: But she didn't drive home. (NICK walks away and starts looking around. CATHERINE checks the car driver's side door.) CATHERINE: It's still locked. (NICK opens the trash can. He picks through it. CATHERINE peers into the car from the window.) CATHERINE: Looks clean. (NICK finds something in the trash can. He picks it up to examine it.) NICK: Hey, Catherine .... come check this out. CATHERINE: What's that? NICK: Liquid latex. Grissom found some on the victim. Sanders did a trace analysis. Stuff peels off like a glove. CATHERINE: Handy. NICK: Yeah. What do you think that is there? Watch? (NICK notices the impression on the inside of the scrap of latex.) CATHERINE: Bag it. We can get a mold and try and track it down. CUT TO: SCENE #14: [INT. LADY HEATHER'S DOMINION -- NIGHT] (GRISSOM and BRASS follow LADY HEATHER up the staircase.) LADY HEATHER: Never lost one of my girls. GRISSOM: You don't seem very 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? 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? (The reach the top of the staircase. LADY HEATHER turns around to answer.) 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 what to 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.) 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. CUT TO: SCENE #15: [INT. LADY HEATHER'S DOMINION - LADY HEATHER'S ROOM -- NIGHT] (GRISSOM is looking around the room. He picks up a silver-plated mask from the dresser.) 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. (GRISSOM puts down the mask he's holding and walks across the room.) 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 theater. (LADY HEATHER smiles.) LADY HEATHER: 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. (LADY HEATHER takes a seat.) GRISSOM: "No man is a complete mystery except to himself." Marcel Proust. LADY HEATHER: I bet he'd have enjoyed himself here. GRISSOM: Probably. No crime is a complete mystery, either. The whip marks on Mona Taylor were fresh. (LADY HEATHER stands up surprised by this piece of information.) LADY HEATHER: That can't be. Mona was Dominant with her clients. (thoughtful) I know that she sometimes saw clients off the books. I let her because she brought in so much business, but I just assumed she knew what she was doing. GRISSOM: My guess is that one of her off-the-book clients ... is a regular. I mean, it is a repeat business, is it not? (GRISSOM picks up another mask, this one made of leather.) LADY HEATHER: Does that one interest you? GRISSOM: Yes, it does. May I borrow it? CUT TO: SCENE #16: [INT. LADY HEATHER'S DOMINION - POOL HOUSE -- NIGHT] (CATHERINE and NICK enter the pool house. A Dominatrix is there with RANDOLPH in a schoolroom setting. On the chalkboard behind her is the phrase, "I'm a Dirty Little Sink Boy." written multiple times. The Dominatrix looks up and sees CATHERINE and NICK up above them. She slaps RANDOLPH'S rump and instructs him.) 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.) DOMINATRIX: Get up. (CATHERINE and NICK move along.) CATHERINE: I feel like I'm trapped in the Marquis De Sade's brain pan. NICK: I guess Lady Heather hasn't quite cleared this room yet. CATHERINE: Waiting for recess. (NICK laughs. They pass by another room that's still occupied by a Dominatrix and her Submissive. They turn the corner and enter the pool room Mona used.) CUT TO: SCENE #17: [INT. LADY HEATHER'S DOMINION - POOL ROOM - NIGHT -- CONTINUOUS] (CATHERINE and NICK look around the room. Hanging along the walls are various whips and paddles. In the back of the room is a cage and hanging from the ceiling in the middle of the room is a large silver chain.) CATHERINE: Didn't Grissom say he found some flecks of silver on the victim's back? NICK: Yeah. CATHERINE: I may have found the source. NICK: Mm-hmm. (CATHERINE starts taking photographs of the chain. NICK wanders around some more. In the cage at the back of the room, he finds something.) NICK: Hey, hey. Liquid latex. Like the kind we found in the dumpster and on the vic. Hand me a bindle will you? You know what I just realized? CATHERINE: Hmm? 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 never did it doesn't mean you never could. NICK: No way, never gonna happen. (CATHERINE turns the camera on NICK. She looks at him for a moment through the lens, then puts the camera 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. CUT TO: SCENE #18: [INT. CSI -- LAB] (AMY YOUNG walks over to the printer. WARRICK stands off by the doorway.) AMY YOUNG: A smudge of dirty tire on a ratty piece of paper? (AMY YOUNG picks up the test results and looks at it. WARRICK walks into the lab.) WARRICK: I know, I know, it sucks. You couldn't get anything off of it, huh? AMY YOUNG: Just because I'm a newbie, doesn't mean I'm not good. Your tire print from the strip mall. WARRICK: Wow. AMY YOUNG: Common to a lot of compacts and subcompacts. But one manufacturer who uses it standard off-the-lot: Honda. WARRICK: So, that confirms what Sara's eyewitness said. What else you got? AMY YOUNG: I've got incidental marks from where the tire ran over something. Left an impression. (AMY YOUNG holds out the LUCKY LEE'S CHINESE RESTAURANT flyer and points to the tire impression.) (Quick CGI POV to a tire running over a bottle cap. End of CGI POV. Resume to present.) AMY YOUNG: All you have to do is find the tire attached to the vehicle your shooter was driving. WARRICK: Thanks. CUT TO: SCENE #19: [INT. CSI - BALLISTICS LAB] (Microscope view of the bullet.) BOBBY DAWSON: Okay, now. Look at the bullet from your vic's thigh. Five lands and grooves on it. That would be a colt. .38 caliber. SARA: According to Vega the vic owns a colt. BOBBY DAWSON: And? SARA: And ... since he mysteriously got shot in the leg instead of a vital organ I'm thinking I should go visit him. CUT TO: SCENE #20: [INT. CSI - FORENSIC AUTOPSY] (ROBBINS pulls out the body from storage.) ROBBINS: Mona Taylor didn't die from the beatings but cause of death was equally as slow: Asphyxia. You look like you expected it. GRISSOM: I considered it. ROBBINS: Well, there's something else. She had some odd scaring in the inside of her nose. Some small red circle. (Quick CGI POV from the exterior to MONA TAYLOR'S nose to the red circle inside her nose. Resume to present.) ROBBINS: She worked in a sex club, it could be caused by anything. GRISSOM: Like a straw? ROBBINS: Maybe I lack imagination but why would you need a straw at a sex club? GRISSOM: Well, it's not a sex club, actually. It's a fetish club. ROBBINS: There's a difference? GRISSOM: Like a straw is not used for sipping mint juleps. ROBBINS: Cocaine? GRISSOM: Air. CUT TO: SCENE #21: [INT. LADY HEATHER'S DOMINION - BACK ROOM] (LADY HEATHER leads CATHERINE to the sink with apparatus in them.) LADY HEATHER: Anything from last night would be in here. Masks, the usual accouterment. CATHERINE: We don't technically have a warrant. LADY HEATHER: Not necessary. I want to help. (LADY HEATHER moves to the back. CATHERINE puts her things down by the sink. CATHERINE glances back at LADY HEATHER who happens to look up and see CATHERINE'S glance. CATHERINE turns back around and opens her kit. She pulls out a pair of latex gloves.) LADY HEATHER: Go ahead, ask. "How can I do this for a living?" CATHERINE: Oh, that's not what I was thinking. How much does this place clear a week? LADY HEATHER: Ten grand. (CATHERINE turns around and looks at LADY HEATHER. She hardly believes that one.) CATHERINE: I'm not with the IRS. (LADY HEATHER smiles.) LADY HEATHER: 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: It's like I always tell 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. (LADY HEATHER smiles and nods her head.) CUT TO: SCENE #22: [INT. CSI -- LAB] CATHERINE: These are the masks and straws I took out of the sink at Lady Heather's. GREG: None of which have been washed. GRISSOM: Mona was a Dominatrix at the fetish club. But my guess is that she was a switch for her off-the-books clients. (GREG chuckles.) GREG: 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.) 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. CATHERINE 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. (Quick flashback to the leather mask being put on. Someone zipping it down with the two straws attached. Resume to present.) 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. (Quick flashback to someone blocking the ends of the two straws and the person inside struggling to breathe. Resume to present.) 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. FADE TO BLACK. (COMMERCIAL SET) SCENE #23: [INT. CSI -- LAB] (CATHERINE is making a mold impression of the latex that NICK found in the trash can.) GRISSOM: You got the yin. I've got the yang. (GRISSOM pulls out the mold he made from the deceased's wrist. He tapes it to the table top.) CATHERINE: Actually, I've got the yang and you've got the yin. This is as far as our watch will go. So that's on her wrist. No air bubbles. Good job. GRISSOM: Thank you. Now we'll see how yours turns out. CATHERINE: Hm-mmm. That's from the trash can. (CATHERINE lifts up the mold and looks at it.) CATHERINE: Wow. Looks like there's a few carats around that bezel. And the band. Major bucks. (CATHERINE tapes her impression next to GRISSOM'S mold.) CATHERINE: Oh, and, uh, computer graphics system keyed up the video system. Just hit it. (GRISSOM hits the keyboard and the two sides are scanned into the computer system.) CATHERINE: Yin and yang. Top and bottom. It's definitely not a man's watch, but unique. (GRISSOM hits more keys and the two sides are combined into one very expensive looking watch on the monitor.) GRISSOM: You know any fine jewelers? CUT TO: SCENE #24: [INT. HOSPITAL - SANTEE CHERNA'S ROOM -- DAY] (SARA and DET. SAM VEGA walk into the hospital room. It's 3:28 in the afternoon.) SANTEE CHERNA: You have my pants? You know, I wake up, I look around I can't find my damn pants. SARA: You cant' wear them out of here, so what? You want them as a souvenir? SANTEE CHERNA: I want my stuff. DET. SAM VEGA: Why don't we start talking about your pistol. SANTEE CHERNA: I have one gun. DET. SAM VEGA: It wouldn't happen to be a colt. SANTEE CHERNA: It's on a shelf behind the cash register. (CARLA DELGADO walks in with her husband, HECTOR, carrying get well flowers and balloons.) CARLA DELGADO: Ay, mi hermano. I was so worried about you. HECTOR DELGADO: Yo, papi, huh? SANTEE CHERNA: Hey, don't worry. Doctor said everything was going to be okay. CUT TO: SCENE #25: [EXT. NELSON'S RESIDENCE - DAY] (CAMERON NELSON is standing in front of the door carrying his son, Dylan.) CAMERON NELSON: Burglary? In this neighborhood? CATHERINE: Well, are you missing any personal property? Jewelry? Small valuables? A watch, perhaps? CAMERON NELSON: No. My wife, didn't mention anything either. (CAMERON NELSON notices the smell.) CAMERON NELSON: Again? Look, I'm sorry. I have to go change Dylan. CATHERINE: Before you do, Mr. Nelson, in the last year, did you buy a diamond watch at Maarten's jewelers at the forum shops? CAMERON NELSON: Yeah, in my spare time between the grocery store and the park and baby jamboree. No, no, this ... this is my life. Sorry. GRISSOM: Thanks for your help. (CAMERON NELSON leaves.) CATHERINE: Why do men always make everything look so tough? (GRISSOM shrugs.) GRISSOM: If the dad didn't buy the watch then the mom did. Brass has the credit card receipt. CATHERINE: A $20,000 watch and he didn't discuss it? He's lying. (GRISSOM and CATHERINE leave.) CUT TO: SCENE #26: [INT. EILENE NELSON'S OFFICE -- DAY] EILENE NELSON: I thought my husband answered all your questions. CATHERINE: He tried. GRISSOM: Gustav Stickley. Very nice furniture. No pictures of your family though. EILENE NELSON: I know what they look like. GRISSOM: Most people keep pictures of their loved ones in their office. EILENE NELSON: Well, I would hope that I'm not like most people. Is there a point to this? CATHERINE: Did you order a $20,000 custom made watch from a jeweler at the Forum shops? EILENE NELSON: I did. Is there a problem? CATHERINE: No. We'd just like to see it. EILENE NELSON: Do you have a warrant? GRISSOM: Do we need one? EILENE NELSON: The truth is I lost it on a business trip. I'm waiting to find out from the hotel if they found it. CATHERINE: Is that the trip you look to L.A. with your boss, Ronald? Let me refresh your memory. You shared a suite. Very cost-effective. What'd you save there, two-three hundred dollars? EILENE NELSON: I'm a corporate litigator. It's going to take a lot more than that to rattle my cage. GRISSOM: Okay. How about this? Are you familiar with the gal who calls herself Lady Heather? EILENE NELSON: No. GRISSOM: Well, one of the girls who works for Lady Heather was found dead with an imprint of your watch on her wrist. That's why we'd like a sample of your DNA. EILENE NELSON: That's a big leap. Lost watch to a DNA request. I think we're done here. CUT TO: SCENE #27: [INT. CSI -- LAB] SARA: What do you know about the money bag? AMY YOUNG: Clean cut, quick way in. WARRICK: Can you tell us anything about the tool that may have been used? AMY YOUNG: BFK. SARA: Big knife. Great. Tell us something we don't know. AMY YOUNG: I found materials on the cut. SARA: Nice. (SARA looks into the scope.) SARA: It's gotta be transfers from the knife. Red fibers. All uniform length. AMY YOUNG: The refractive index of the fibers is 1.544. It's a synthetic. Fiberglass. WARRICK: Like the insulation in my attic. AMY YOUNG: Close. But those amber beads are catalysts. Resin-- which causes the fiberglass to harden once its poured into a mold? SARA: A mold? To make what? CUT TO: SCENE #28: [EXT. FIBERGLASS MANUFACTURERS - DAY] WARRICK: Hey. DET. SAM VEGA: There's three fiberglass manufacturers here in Vegas. This is the largest one for prefab baths and showers. Twenty-four employees. SARA: Everybody in the bath business uses isophthalic resin because it's got the highest water resistance. Downside is the stuff gets everywhere. Hair, clothes, skin ... (Over behind SARA, WARRICK notices a familiar face and calls the others' attention to it.) WARRICK: Hey. (SARA turns around to see HECTOR DELGADO working some distance away from them.) WARRICK: Small world, huh? (The group walks over to HECTOR DELGADO.) WARRICK: Hey, that's ironic, Hector. We're investigating your brother-in-law's shooting and look where we end up. SARA: We found traces of fiberglass and resin in Santee's money bag. HECTOR DELGADO: So? SARA: So, how many knives in Vegas come into contact with both those materials? (DET. SAM VEGA notices the knife hanging from HECTOR DELGADO'S waist.) DET. SAM VEGA: Dame la navaja. (HECTOR DELGADO hands the knife to DET. SAM VEGA.) SARA: Thanks. (DET. SAM VEGA hands the knife to SARA. SARA checks it.) HECTOR DELGADO: Hey, could be anybody's knife. WARRICK: We also have a tire print. (The group walks out to the parking lot.) HECTOR DELGADO: See? You got the wrong car. SARA: We never said what model we were looking for. WARRICK: We're looking for a Honda, Hector. DET. SAM VEGA: Do you have one? Because we can check your house. We can check your neighborhood. Why don't we just start right here in this parking lot? (HECTOR DELGADO pushes DET. SAM VEGA aside and makes a run for it. WARRICK takes off after him. HECTOR runs and tries to get away, but WARRICK is just as fast. HECTOR DELGADO runs straight into the wire fence blocking his path and tries to climb it, but WARRICK catches up to him and grabs him.) WARRICK: You know it don't look good when you run, man. You want to tell us who that Honda belongs to? HECTOR DELGADO: I don't know. Okay, okay! It's a friend of mine. He told me nobody would get hurt. WARRICK: I guess that makes everything okay. CUT TO: SCENE #29: [EXT. NELSONS RESIDENCE -- DAY] (EILENE NELSON opens the door.) EILENE NELSON: You again. I thought you people would've gotten the message. GRISSOM: We did. We also got a warrant. (GRISSOM hands the warrant to EILENE NELSON. She reads it and starts to laugh.) EILENE NELSON: Is this some kind of joke? This is limited to my watch box. CATHERINE: Sometimes, that's all it takes. (In the background, DYLAN NELSON cries. CAMERON NELSON appears behind EILENE.) CAMERON NELSON: Eilene, honey? Everything okay? EILENE NELSON: Cameron, go see what Dylan needs. (CAMERON leaves. EILENE turns to GRISSOM and CATHERINE.) EILENE NELSON: I think my watch box is in my glove compartment. GRISSOM: Is the watch in the box? (Cut to CATHERINE inside the car. She is opening the glove compartment. She takes out the watch box. She opens it and ands it to GRISSOM where finds a small piece of liquid latex stuck in the crease of the box. He holds the piece up so that CATHERINE can see it.) CATHERINE: Latex. Like Hansel and Gretel, we just followed the bread crumbs all the way home. FADE TO BLACK. (COMMERCIAL SET) SCENE #30: [INT. LADY HEATHER'S DOMINION -- DAY] (LADY HEATHER enters her room carrying a tea pot. She walks over to the table set for tea. She pours the tea and puts the tea pot on the table. GRISSOM is standing off to the side. He turns around when she walks in.) GRISSOM: Afternoon tea. How nice. LADY HEATHER: I like a bit of civility before dark ... when all the needy little boys show up. GRISSOM: Well, I'm a little needy myself today. My lab pulled skin cells from Mona Taylor's straws. LADY HEATHER: A DNA sample? I have several clients in law enforcement. X-X or X-Y? GRISSOM: They're male. (GRISSOM shows LADY HEATHER a photograph he brought with him. It's of CAMERON and EILENE NELSON at a formal function. Both are speaking with a man.) 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 down at the table.) LADY HEATHER: 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 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 doesn't respond.) LADY HEATHER: 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. GRISSOM: Lady Heather, you're an anthropologist. LADY HEATHER: More tea? (LADY HEATHER picks up the tea pot and refreshes GRISSOM'S cup of tea.) CUT TO: SCENE #31: [INT. POLICE DEPARTMENT - INTERROGATION ROOM -- DAY] HECTOR DELGADO: But, see, I could give the money back. But my wife doesn't even know it. If, I like, give the money back to her brother I could go home, right? Right?! DET. SAM VEGA: Tell us how it happened-- then we'll talk about the future. HECTOR DELGADO: When I picked Carla up from work on Wednesday, I doubled back and I lifted the piece that Santee keeps by the register. I figured I'd return it Friday. Nobody would know. SARA: Pretty smart, Hector. HECTOR DELGADO: I couldn't use my car, 'cause Santee knew my car, so I hit up on a buddy. (Quick flashback to a red Honda stopping and a masked man jumping out to attack SANTEE CHERNA. The masked man holds a gun to SANTEE CHERNA. SANTEE CHERNA hits the man.) SANTEE CHERNA: No ... ow! (The man falls to the ground and fires the weapon at SANTEE CHERNA. He drops the money bag. The masked man picks it up and runs. End of flashback. Resume to present.) HECTOR DELGADO: Look, it's not like they're out of anything. They're insured. For the money and his health. Nobody loses. (SARA looks at WARRICK. WARRICK looks over at HECTOR DELGADO.) HECTOR DELGADO: (hopeful) So can I go now? CUT TO: SCENE #32: [INT. CHERNA CHECK CASHING - DAY] CARLA DELGADO: Hector's my husband, but I hope you keep him in jail a long time. SANTEE CHERNA: He's not going anywhere, right? You commit a crime, you pay the price. WARRICK: You got that right. SARA: Oh, by the way we found the $5,000 you skimmed from this business in your jeans pocket. CARLA DELGADO: What? (Quick flashback to WARRICK taking the jeans out of the evidence paper bag. He finds a wallet, some keys and a wad of cash. End of flashback. Resume to present.) CARLA DELGADO: You self-righteous bastard. You stand there and bad-mouth my husband while you're robbing me behind my back? SANTEE CHERNA: I was just borrowing it, I swear. (CARLA DELGADO takes a step back and looks at DET. VEGA.) CARLA DELGADO: You going to arrest his ass? SARA: Yeah. CUT TO: SCENE #33: [EXT. PARKING LOT -- DAY] (GRISSOM and CATHERINE go through the NELSON'S car. CATHERINE finds a coat jacket with sand on it. They look at each other.) (EILENE NELSON drives up in her convertible.) CAMERON NELSON: They had a warrant. I didn't want to bother you at work. EILENE NELSON: This qualifies as a harassment suit. CATHERINE: Too late. GRISSOM: "Grains of golden sand." EILENE NELSON: What? GRISSOM: Edgar Allan Poe. Another man who was familiar with murder. CATHERINE: Played in any sandboxes lately Mr. Nelson? CUT TO: SCENE #34: [INT. POLICE DEPARTMENT - INTERROGATION ROOM - DAY] EILENE NELSON: As my husband's attorney, I'm advising him not to speak with you. CAMERON NELSON: Eilene ... EILENE NELSON: Shut up, Cameron. I'll handle this. CAMERON NELSON: No. No, I will not shut up. You know, I didn't ask you to be my attorney. You're just doing this to look out for yourself. EILENE NELSON: I'm looking out for our family. I'm the only one who's qualified. CAMERON NELSON: Really? And how exactly is sleeping with Ronald looking after your family? EILENE NELSON: Cameron ... CAMERON NELSON: Cameron ... what? What? You never gave a damn about me. And our child ... our child is just some yuppie pet designed to make you look better at the firm. Which happens to be the only family you probably really care about. CATHERINE: Mr. Nelson, you're very emotional right now. Why don't you just take a moment collect yourself. Let me get you a glass of water. (CATHERINE stands up. She pauses by the door.) EILENE NELSON: No! No water, no gum, no anything. If you think you can trick him into giving you some DNA, you're mistaken. (CATHERINE looks over at GRISSOM. GRISSOM stands and pulls out an evidence bag from the file he's holding. He holds it out to EILENE NELSON.) GRISSOM: Liquid latex. (GRISSOM puts the bag on the table.) EILENE NELSON: What is that supposed to mean? GRISSOM: Your husband made Mona Taylor wear it every time that he paid to humiliate her. EILENE NELSON: Why would he do that? CATHERINE: Psychologically, she was a surrogate. In fetish club terms, she was a slave. Cameron would put a mask on her face and cover her body in liquid latex. (Quick flashback to MONA TAYLOR in chains and in the mask. CAMERON NELSON puts the watch on MONA TAYLOR'S bare wrist. Flash to white.) (CAMERON NELSON painting liquid latex on MONA TAYLOR'S wrist. End of flashback. Resume to present.) GRISSOM: He made her into nothing in order to make her into you. EILENE NELSON: My watch. GRISSOM: I guess that made it more real. CATHERINE: Cameron couldn't dominate you, so he dominated Mona. Only his last appointment, he got carried away. (Quick flashback to CAMERON NELSON striking MONA TAYLOR and yelling at her.) CAMERON NELSON: Corporate bitch! You still think you're too good to touch your own husband? How about I make you beg for air? Huh? How about I make you ... beg for it?! (Cut to CAMERON NELSON holding the end of the nose straws. MONA TAYLOR is struggling and screaming.) CAMERON NELSON: Are you begging for it? Huh? I can't hear you, Eilene. (MONA TAYLOR struggles and screams. She goes lax. CAMERON NELSON releases the straws. End of flashback. Resume to present.) CAMERON NELSON: I had to pay some girl to pretend to be my wife. EILENE NELSON: Cameron, be quiet! If this is all you have, I am ... happy to go to trial. GRISSOM: Mrs. Nelson, we're going to match Cameron's epithelials to the ones on the end of the straw. CAMERON NELSON: Wait, wait, wait. Epithelials -- that's like ... that's like DNA, right? That's DNA? (CAMERON NELSON turns to his wife.) CAMERON NELSON: Okay, I got an idea. Why don't we test little Dylan's epithelials? Huh? See if his daddy isn't really your law partner. 'Cause, god knows, you haven't let me touch you in three years. (CAMERON NELSON stands up.) CAMERON NELSON: I'm out of here. EILENE NELSON: Where are you going? CAMERON NELSON: Away from you. Other than that, I really don't care. (CAMERON NELSON leaves the room escorted by an officer.) CUT TO: SCENE #35: [INT. POLICE DEPARTMENT - HALLWAY] (CATHERINE and GRISSOM turns the corner and walk through the hallway.) CAHTERINE: I just realized that you and I have a very healthy relationship. GRISSOM: We do? CATHERINE: Well, when we have a problem, I don't paint Greg Sanders in latex and stick a straw up his nose. GRISSOM: Good. He'd probably like it. (CATHERINE puts and arm on GRISSOM'S shoulder, stopping him.) CATHERINE: Gil ... you're supposed to say something revealing back to me. GRISSOM: Okay. I never told anybody this, Catherine ... FADE TO BLACK. ========================== THE END ========================== [Captioning sponsored by CBS, CBS productions and Volkswagen. Captioned by media access group at WGBH access.Wgbh.Org] For corrections / inaccuracies, please contact the Transcriptionist at (intrepidly002@yahoo.com) Courtesy of http://www.grissomandsara.com/ Please do not archive without permission. ========================== TITLE/OPENING CREDITS ========================== CSI: CRIME SCENE INVESTIGATION 2X08: SLAVES OF LAS VEGAS ORIGINAL AIR DATE ON 11/15/2001 TRANSCRIBED FROM CBS Starring: WILLIAM PETERSEN as Gil Grissom MARG HELGENBERGER as Catherine Willows GARY DOURDAN as Warrick Brown GEORGE EADS as Nick Stokes JORJA FOX as Sara Sidle and PAUL GUILFOYLE as Jim Brass Created by ANTHONY E. ZUIKER Starring ERIC SZMANDA as Greg Sanders ROBERT DAVID HALL as Dr Al Robbins MELINDA CLARKE as Lady Heather KELLY ROWAN as Eilene Nelson MITCHELL WHITFIELD as Cameron Nelson TRACY VILAR as Carla Delgado AMAURY NOLASCO as GEOFFREY RIVAS as Hector PERRY ANZILOTTI as Businessman JOHN BENJAMIN HICKEY as Dr. Cornfeld STACEY DASH as Lab Tech MANNY SUAREZ Music Composed by JOHN M. KEANE Edited by JOHN GANEM Production Designer: RICHARD BERG Director of Photography: JONATHAN WEST, A.S.C. Co-Producer: JOSH BERMAN Co-Producer: ANDREW LIPSITZ Consultant: JERRY STAHL Producer: DANNY CANNON Producers: CYNTHIA CHVATAL Producers: WILLIAM PETERSEN Co-Executive Producer: JONATHAN LITTMAN Co-Executive Producer: SAM STRANGIS Executive Producer: ANTHONY E. ZUIKER Executive Producer: ANN DONAHUE Written by: JERRY STAHL Directed by: PETER MARKLE ========================== END CREDITS ========================== Executive Producer: JERRY BRUCKHEIMER Executive Producer: CAROL MENDELSOHN JERRY BRUCKHEIMER Television Alliance Atlantis Productions, Inc. CBS Productions, Inc. Co-Starring DAVID BERMAN as David Phillips DENNIS BERTSCH as Randolph SUYUN KIM as Headmistress GERALD McCULLOCH as Bobby Dawson DANICA STEWART as Girl NICOLA HINDSHAW as Mona Taylor Line Producer: FRANK BALLOU Associate Producer: PHILIP CONSERVA Associate Producer: KIM M. CYBULSKI / BRAD TANENBAUM Casting by: ROBERT J. ULRICH, C.S.A Casting by: ERIC DAWSON, C.S.A Casting by: CAROL KRITZER, C.S.A Original Casting by: APRIL WEBSTER, C.S.A Story Editor: ELI TALBERT Story Editor: ELIZABETH DEVINE Unit Production Manager: RICK TUNELL First Assistant Director: ARTHUR ANDERSON Second Assistant Director: STACY MURPHY Art Director: TIM ECKEL Set Decorator: JENNIFER GENTILE Location Manager: PAUL WILSON Construction Coordinator: ALLAN JOHNSON Production Sound Mixer: MICK FOWLER Camera Operator: JEFFREY HUNT, S.O.C Gaffer: KURT JOHNSON Key Grip: DALE ALEXANDER Property Master: ROBERT LOYAL GOOD Script Supervisor: PAULA BARRETT-BARBIER Technical Consultant: ELIZABETH DEVINE Key Make-Up Artist: NICK PAGLIARO Key Hair Stylist: DANNY GOLDSTEIN Special Effects Make-Up: JOHN GOODWIN Transportation Coordinator: TOM THOMAS 2nd 2nd Assistant Director: MARK RABINOWITZ Costume Designer: EILENE COX BAKER Costume Supervisor: ANNIE MARIE THOMAS-CASADOS Special Effects Supervisor: MARK BYERS Stunt Coordinator: JON EPSTEIN Casting Associate: ANDY HENRY Dominatrix Consultant: MISTRESS JULIANNA Assistant Editor: AUGIE ROBLES Supervising Sound Editor: MACE MATIOSIAN Sound Effects Editor: DAVID VAN SLYKE Music Supervisor: JASON ALEXANDER Music Editor: SHERI OZEKI Colorist: GARETH COOK Visual Effects Supervisor: LARRY DETWILER Digital Effects by STARGATE DIGITAL High Definition Post Production by ENCORE Film Laboratories by CREST NATIONAL Post production Sound Provided by TODD STUDIOS BURBANK Promotional consideration furnished by KODAK "Who Are You" by Pete Townshend Performed by THE WHO The persons and events portrayed in this film are fictitious. Any similarity to actual persons, living or dead, or any events is unintentional. (c) 2002 CBS Worldwide Inc., and Alliance Atlantis Productions, Inc. All Rights Reserved CSB Productions Inc. and Alliance Atlantis Productions Inc., are the authors of this program for the purposes of copyright and other laws. Dated:10/27/2002~lky