Kill Me Once -- Act I

FADE IN:

EXT. BERLIN - NIGHT (1945)

Rain falls in the rubble-filled streets. Artillery creates false thunder and lightning.

A dozen RUSSIAN SOLDIERS, ragged, filthy, armed with PPSh-41 machine guns, scurry through deserted streets.

On the rooftop, a dark figure slips from shadow to shadow.

SOLDIER 1 (16), eyes wide, spins around, takes aim —Nothing there.

CERNY (33), a confident veteran with dark matted hair, squeezes his shoulder and offers a tired smile. He urges Soldier 1 forward.

EXT. BANK - NIGHT

An ostentatious building, battered, but still standing.

The Soldiers flank the bank entrance, backs to the wall. They cast furtive glances up and down the street.

Two Soldiers arm grenades, toss them in.

A cloud of debris explodes from the entrance.

The Soldiers rush through thick gray smoke into the building.

INT. BANK - NIGHT

A large atrium surrounded by tall windows, mostly unbroken.

Flares skitter across the marble floors, sputtering. They cast an eerie red glow over the faces of the advancing Soldiers.

From the darkness comes a feral growl, low and menacing. Soldier 1 turns, unleashing a stream of automatic fire.

URSAE, a bear of a man, pallid face, glittering dark eyes, wearing Nazi Stormtrooper fatigues, storms into the blaze of fire. Bullets rip into his chest, not slowing him down.

Soldier 1 screams as Ursae fells him with a single blow.

2.

Three more machine guns come to bear on Ursae. Ursae turns slowly toward them, hands empty. A predatory smile plays across his face.

Four more Stormtroopers — two men, two women — appear out of the darkness, hands open, empty.

The Russian Soldiers quickly form a defensive circle.

One of the Stormtroopers takes off her hat, tosses it aside. Blond hair cascades over her shoulders as she licks her lips. This is SERENA (22), a feral beauty.

CERNY(Russian with subtitles)

Surrender or die.

Serena smirks at a tall, confident Stormtrooper — AMBROS (33). He offers a seductive wink.

Beefy LEONID begins to chuckle. VULPEA, a ferocious vixen, joins in. Laughter builds among the Stormtroopers.

The faces of the Russian Soldiers reveal a mixture of confusion, apprehension and amusement.

The laughter is cut short by the ratchet of a PPSh bolt.

The Stormtroopers are on them before the Soldiers can react. Automatic gunfire shreds the night. In the melee, there are only brief flashes of the slaughter —

Ambros shoves the stock of a rifle into SOLDIER 2’s face, then pivot’s it downward, barrel striking him in the groin.

SOLDIER 3 raises his pistol. Serena grabs his arm, breaking the wrist. As he screams in pain, she shatters his trachea with an elbow strike.

SOLDIER 4 slashes out at Vulpea with a trench knife. She catches his hand and drives it downward. His face reveals surprise, then horror and pain as she guts him.

LEONID sweeps SOLDIER 5 into a headlock, lifting him off his feet, then slamming him downward, breaking his neck.

Vulpea slams Cerny in the chest with a rifle, tosses him across the room like a rag doll. Cerny lands bloody and broken in a pile of rubble.

3.

An inhuman shriek pierces the darkness as all the windows simultaneously implode.

Glass showers down over everything. Bounces off the marble floor like raindrops.

Stillness... Everything frozen in time. Artillery rumbles in the distance.

Ursae, crouching over a DEAD SOLDIER, glances up.

A flash of steel catches the red of the flares. Ursae’s head is neatly severed from his body.

Ambros releases the hold on SOLDIER 6’s throat. Soldier 6 collapses to the ground.

The four remaining Stormtroopers glare at —

HELEN (28), feline, golden hair, Serena’s older sister. A determined huntress in black, she wields twin swords.

Glass crunches under her shoes as she maneuvers closer.

Leonid snatches a knife from a downed Soldier and tosses it across to Vulpea. He wrenches a table leg from the debris for himself.

Helen attacks, finesse against brute strength, one against four.

A battered Cerny watches as Leonid beats Helen back with the table leg. A sword goes flying across the floor.

Cerny reaches a grenade, pulls the pin.

Helen slams against the wall. The second sword goes flying.

Leonid rears back — Cerny tosses the grenade.

CERNYElle!

Helen snatches it out of the air, sidestepping Leonid’s blow, then slips the grenade down his shirt.

Leonid looks puzzled as Helen launches him through the window with a kick.

Debris and body parts blast back through the window.

Helen retrieves her sword as Vulpea rejoins the attack.

4.

Serena starts after them, but Ambros pulls her back. Time to go.

Vulpea and Helen fight, steel against steel, but Vulpea is obviously overmatched.

Helen backs Vulpea up against a wooden beam. Helen blocks the attack, then rams her sword through Vulpea’s body.

Pinned like a bug, Vulpea struggles to get free.

Helen picks up a PPSh submachine gun, firing point blank. Vulpea’s shrieks are cut short as the bullets rip into her, shredding the side of her face.

Helen continues firing till the drum runs out, then tosses the gun aside. She yanks her sword from the bloody carcass and is about to deliver the coup de grace —

The scrape of footfalls on stone distracts her — Serena and Ambros getting away.

Helen snatches up her second sword from the rubble.

HELEN(Russian with subtitles)

Coward!

Ambros and Serena turn back toward Helen.


Finish it!

Helen glares at them.


Finish it!

The wall explodes where Ambros and Serena stand, sending Helen flying.

Helen, stunned, pushes herself up, staggers through the smoke and dust.

Where Ambros and Serena stood — only rubble. She hears Cerny’s burbling cough, turns.

Helen stumbles across to where Cerny is propped, struggling to remove a cigarette from a crumpled pack.

5.

She kneels beside him and removes his helmet. In the light from the fading flares, she can see the shimmer of blood.

CERNYElina...

Helen offers a bashful smile, then takes the cigarette from his hand.


What now?

She reaches into his pocket, fishes out a lighter hand-made from a machine gun shell.


Your uncle still has that pig farm in Novosilki?


I can not imagine you as a pig farmer’s wife.

She lights the cigarette and slips it into his quavering lips.


I’ve slopped a few hogs in my time.

He inhales, relishing the taste. She removes the cigarette and he exhales, smiling.

Helen looks away as artillery thunders nearby, lighting up the walls with strobes of white.


The Red Army will be here soon. We should...

She turns back to Cerny, but his eyes are fixed and dead.

Helen flicks the cigarette away. She presses her cheek to his, holding him close.

6.


Wait for me, my love. I will find you...

The sputtering flares shimmer blood red as artillery rumbles in the distance.

EXT. APARTMENT BUILDING – NIGHT (THE PRESENT)

An upscale high-rise apartment building with balconies.

Birds spiral through the beams of architectural spotlights.

INT. SCAGLIA’S APARTMENT - LIVING ROOM – NIGHT (PRESENT)

A million-dollar apartment with a view to match. Two thick-necked THUGS lounge in the living room, reading.

A man’s ecstatic moans bleed through the walls. The Thugs embarrassed smiles.

Thug 1 picks up the TV remote, flips on the television, cranking the volume to drown out the noise.

Onscreen: MELANIE TOOMBS (30). Dark cropped hair. Tailored suit. Composed. Confident. An ambitious legal warrior outmaneuvered but not beaten.

“Asst. DA, Melanie Toombs” is superimposed over the microphones pointed at her.

MELANIEWhile we are obviously disappointed with the court’s ruling, we have no intention of abandoning our investigation into Mr. Scaglia’s business dealings.

The video cuts to a night shot of ANTHONY SCAGLIA (45), virile, charismatic, dangerous, exiting a limo. He smiles and waves as the cameras flash.

ANNOUNCER (V.O.)Meanwhile, controversial club owner Anthony Scaglia has vowed that business will continue as usual.

7.

LATER

The Thugs watch an old movie droning on the TV. No sound from the bedroom.

The door opens behind them. Thug 1 mutes the TV and turns.

THUG 1Yeah, boss.

Scaglia, stripped down to his boxers, leans in the doorway, pale as a ghost.

The Thugs rush toward Scaglia, guns drawn.

As Scaglia collapses.

INT. SCAGLIA’S APARTMENT - BEDROOM - NIGHT

Fit for a kingpin. Bed mussed. Balcony door open. Thug 2 rushes in, gun drawn.

THUG 1 (O.S.)I need a ambulance! Now!

INT. SCAGLIA’S APARTMENT - BATHROOM - NIGHT

Empty.

INT. SCAGLIA’S APARTMENT - CLOSET - NIGHT

Empty.

INT. SCAGLIA’S APARTMENT - BEDROOM - NIGHT

Cautiously, Thug 2 approaches the open balcony door.

He reaches for the rustling curtains, whips them away.

EXT. APARTMENT BUILDING - BALCONY - NIGHT

Thug 2 steps out onto the open balcony.

Below, a sheer drop to the street, 30 stories down.

Above, birds spiral through the spotlight and disappear into the night.

8.

INT. MELANIE’S HOUSE - FOYER - DAY

A spacious suburban home. Eclectic. Chic. High-priced art and sculpture accent a tasteful combination of antique and modern furnishings.

Melanie checks herself in the mirror as she heads for the door. As she stops to check her attaché case —

HELEN still 28, but softer, more human, wraps her arms around Melanie from behind. She wears a silk nightgown; a Russian Orthodox cross dangles at her cleavage.

Helen kisses Melanie seductively on the throat.

MELANIEDon’t —

Melanie leans back into Helen, luxuriating in her touch.

MELANIEElle... I have to get to work.

Helen speaks in between kisses. Her voice is lush, exotic, a foreign actress speaking perfect mid-Western.

HELENCall in... Tell them you’re taking... A mental health day.

MELANIEIf you give me a hickey —

The cell phone buzzes. Melanie pulls away, suddenly poised, answers the phone.

MELANIEToombs... When...? Why the hell —

Melanie gives Helen an angry glance.

MELANIENo, I’m on my way.

She checks her watch.

MELANIETwenty minutes.

She hangs up, sets her sights on Helen.

9.

MELANIEDamn it, Elle!

HELENYou deserve a night off every once in a while. One night —

Melanie, shaking with anger, picks up her attaché case.

EXT. MELANIE’S HOUSE - DAY

Helen follows Melanie out of the house without closing the door.

HELENYou work ninety hours a week. Don’t take vacations. When was the last time you had an actual day off?

Melanie pauses by an upscale sedan. Helen stands behind her, bathed in golden sunlight.

HELENI miss you... I love you, but I miss you.

Melanie takes a calming breath.

MELANIEWe’ll talk about it tonight.

Helen watches Melanie get into the car and drive away.


Helen slams the door behind her. She glares at the mirror.

HELENWhat are you looking at?

No reflection glares back at her.

After a moment, she snatches a heavy piece of sculpture off the shelf and hurls it into the mirror.

INT. SCAGLIA’S APARTMENT - LIVING ROOM - DAY

CSI Techs work the scene. Phlegmatic, DR. ROBLERO (48), examines Scaglia’s body, partially covered by a sheet.

10.

CALDWELL (O.S.)According to the bodyguards, Scaglia and a young woman returned to the apartment around two o’clock. They retired to the bedroom and commenced to making loud passionate noises.

Melanie walks in, followed by Detective MIKE CALDWELL (31), rugged, street-worn. His stoic façade hides the turbulence underneath. Caldwell gives Melanie a wide berth.

CALDWELLA little after three, Scaglia opened the door and collapsed. Bodyguard gave Scaglia CPR until the EMTs arrived.

MELANIEThe woman?

CALDWELLBodyguards swear she went into the room, never came out. Got ’em with a sketch artist.

MELANIEWe believe them? What about Solonik?

CALDWELLWe’re looking for connections. If it’s an inside job —

MELANIEDoctor, do we have a COD?

Roblero looks up from the body.

ROBLEROI’m afraid you’ll have to wait for the autopsy.

Melanie kneels at the head of the body, staring at a purplish oval on Scaglia’s neck.

MELANIEWhat’s that?

11.

ROBLEROPetechial hemorrhage, probably due to localized reduction of air pressure.

MELANIEA hickey. Very funny, Doctor. Let me see his legs.

Roblero gives Caldwell an inquisitive glance, then pulls the sheet back on one side — nothing.

MELANIEThe other.

He pulls the sheet back from the other leg — nothing.

Melanie pulls a pen from her jacket pocket.

MELANIEMay I?

ROBLEROIs there something in particular...?

She uses the pen to push up his boxer cuff, revealing a second hickey on the inside thigh.

MELANIECheck for incised wounds in those two areas, please, Doctor.

Roblero gives her a curious glance. She stands and checks her watch.

MELANIEI’ve got to get back to the office. Detective? A word?

Caldwell follows her out.

INT. - APARTMENT BUILDING - HALLWAY - DAY

Caldwell escorts her to the elevator.

MELANIEYou OK?

CALDWELLWhy wouldn’t I be?

12.

MELANIEFirst time we’ve had to work in close quarters since I’ve been back.

CALDWELLWe’re both professionals... What’s the deal with the hickeys? Something I should know?

Melanie starts to say something, hesitates. The elevator opens and Melanie gets in.

MELANIEWhen you find who did this, thank him for me.

INT. - APARTMENT BUILDING - ELEVATOR - DAY

Melanie waves as the doors close. She pulls out her cell phone, hits speed dial.

INT. MELANIE’S HOUSE - GREAT ROOM - DAY

A WORKMAN replaces the glass on the mirror in the foyer. Helen answers the phone.

HELENHello?

INTERCUT - TELEPHONE CONVERSATION

MELANIEHey, it’s me.

HELENMel, I am so sorry about this morning. I just —

MELANIEDid you go out last night?

HELENWhat?

MELANIEDid you go out last night?

HELENI was with you.

13.

MELANIEAfterwards. While I was asleep?

HELENOf course not. I don’t —

MELANIEHelen — You’re sure?

HELENMel, you’re scaring me.

The doors open and a WOMAN and her DAUGHTER get on the elevator.

HELENMel?

Melanie hangs up.

INT. MELANIE’S HOUSE - GREAT ROOM - DAY

The Workman approaches Helen, who still has her hand on the phone.

WORKMANAll done. Replaced the hangers —absolutely no way that’s gonna fall down now without an act of God.

He holds out a clipboard for her to sign. She signs, hands it back.

WORKMANYou wanna check it out?

HELENI’m sure it’s fine.


Helen watches from the doorway as the Workman drives away.

She closes the door, double-locks it, sets the alarm.

INT. MELANIE’S HOUSE - HALLWAY - DAY

Helen slips her finger through a biometric lock, opens the door.

14.

INT. MELANIE’S HOUSE - ARMORY - DAY

A training room. Walls filled with guns, knives, swords —weapons of all kinds. A bookshelf displays a mishmash of art, weapons and old books.

Helen removes a darkly stained staff from the wall. Grasping the ends with both hands, she pulls it slowly apart into twin swords.

She turns, moving into a series of slow-motion martial arts forms that mime attacks, blocks, counterattacks.

With each movement, she remembers using that technique to defend herself. A forward block —

EXT. RUSSIAN FOREST - DAY (1914)

A PRUSSIAN SOLDIER attacks from higher ground. Helen parries the attack and —

INT. MELANIE’S HOUSE - ARMORY - DAY (PRESENT)

Turns to thwart a blow from the rear.

EXT. PARIS, FRANCE - NIGHT (1928)

A rain-slick street. A FRENCH DANDY with a cane sword attacks from the darkness. Helen blocks the attack and —


Turns to parry an attack from the left. With each movement, she speeds up, the memories coming faster and faster.

EXT. TOLEDO, SPAIN - NIGHT (1936)

Cobblestone street. Helen blocks an SPANISH NATIONALIST SOLDIER attacking from the left.

EXT. KIEV, RUSSIA - NIGHT (1918)

Helen blocks two RED ARMY SOLDIERS — one coming at her from the front then ANOTHER from behind.

15.

EXT. SMYRNA, TURKEY - DAY (1922)

The city burns as Helen defends herself against three TURKS, left, right, and front.

EXT. GYPSY ENCAMPMENT, HUNGARY - DAY (1892)

A mêlée of HIGHWAYMEN and GYPSIES. Helen takes on four Highwaymen at once.

INT. BANK - NIGHT (BERLIN, 1945)

Helen stands defiantly in front of Ambros and Serena.


Helen eases the two swords together into a single staff.

INT. MORGUE - DAY

A modern and well-maintained morgue. Scaglia’s body lies on the examination table.

Dr. Roblero swabs the two bite marks for residue.

Using gloved hands, he fingers the bite mark on Scaglia’s thigh, revealing a deep puncture wound.

Using a scalpel, Roblero cuts deep around the bite mark, removing a plug of tissue for further examination.

Turning back to the body, Roblero poises a scalpel to begin the Y-incision.

The CLICK-CLICK of a pistol hammer being cocked echoes in the silence.

INT. A/V LAB - DAY

Computers and audio-visual equipment galore. Caldwell stands behind a young TECH (22) sitting at a computer.

On screen — The Hallway outside Scalia’s apartment. No sound. Elevator doors open.

TECH (O.S.)Time stamp is two oh eight.

16.

Thug 1 exits the elevator. Nothing happens, then Scaglia exits, followed by Thug 2.

Scaglia turns his head to the side, talking as if to an invisible companion.

CALDWELL (O.S.)What’s he doing?

TECH (O.S.)Cell phone?

Thug 1 opens the apartment door and goes inside.

Scaglia holds the door, motions for his invisible companion to precede him in.

CALDWELL (O.S.)What the hell?

Scaglia glances back at Thug 2, gives a self-satisfied grin, then goes inside.

Thug 2 shakes his head, smiling to himself, then follows Scaglia, closing the door behind him.

The Tech glances over his shoulder.

TECHBefore you ask. Yes, this is the original, and I checked — no way could it have been tampered with.

CALDWELLI don’t buy it. There’s someone else in that hallway. I want to know who.

INT. CITY HALL - MELANIE’S OFFICE - DAY

A nice, but not top-of-the-line government office. Bookshelves filled with legal volumes. Solid desk.

Door closed. Blinds shut. Melanie sits behind her desk with her skirt up and her pantyhose down.

She points her cell phone at the inside of her thigh, taking a photo of a “hickey” identical to Scaglia’s.

The desk phone rings. Melanie answers it as she struggles to redress.

17.

MELANIEToombs.

INT. MORGUE - DAY

Dr. Roblero leans beside a microscope, the desk phone on speaker.

ROBLERORoblero.

INTERCUT: TELEPHONE CONVERSATION

MELANIEHey, Rick. Whatcha got for me?

ROBLEROYou called it on the puncture wounds — clear down to the artery. Also, collapsed aorta and empty heart.

MELANIEExsanguination.

ROBLEROYou’ve seen this before. What are we dealing with here, Mel?

MELANIEIf I knew that, wouldn’t need a team of highly-paid CSIs now would I?

INT. MORGUE - DAY

Roblero disconnects. He glances nervously across the lab.

ROBLEROOK?

A weaselly guy in an EMT uniform eases the trigger on his pistol home. This is PUMA. His beefy partner, GRIZZLY, zips up a body bag with Scaglia inside.

PUMAPaperwork?

Roblero signs the form, hands Puma a copy. Puma and Grizzly ease the gurney with Scaglia’s body toward the door.

18.

PUMAKeep your head, Doctor, your daughter’ll see her Quinceañera yet.


Melanie finishes adjusting her clothing. She hesitates momentarily, then dials her cell.

INT. FBI OFFICE - DAY

Brightly lit cubicles. KEITH MEEKS (32) answers the phone. His smart-alecky wit tempers a brilliantly intense mind.

KEITHMeeks.

INTERCUT: TELEPHONE CONVERSATION

MELANIEHey, Keith, it’s Melanie —

KEITHWhat can I do for you, Miss Toombs?

MELANIENot fair — I may have just called to see how you’re doing.

KEITHExcept you didn’t.

MELANIEFine. I need a favor. I’m sending a photo of a bite mark.

He picks up a pen to write.

KEITHLocation?

MELANIEFemoral and-or carotid. Victim bled out. No blood found at the scene.

KEITHChasing vampires?

19.

MELANIEIf you can access Interpol as well...

KEITHYou know you could run this query yourself.

MELANIEI could, but you’re so much faster and more discreet.

KEITHSpeaking of which, how’s Elle?

MELANIEHelen and I are fine, thanks. She hasn’t aged a day since college.

KEITHGive her my love. I’ll yell if I find something.


She hangs up and surveys the piles of papers on her desk for a moment, then starts loading up her attaché case.

INT. CITY HALL - HALLWAY - DAY

Caldwell cuts off Melanie on the way to the elevator.

CALDWELLGlad I caught you.

She hits the down button. The doors open.

MELANIERide down with me.

INT. CITY HALL - ELEVATOR - DAY

The doors close. Caldwell hands Melanie a still from the surveillance video showing Scaglia and the two Thugs.

CALDWELLFrom the feed outside Scaglia’s apartment. No callgirl.

20.

Melanie raises an eyebrow, intrigued.

CALDWELLWhen the guards saw the tape, they freaked. Seriously freaked.

Caldwell pulls out a hard copy of two sketch-artist drawings side by side. Both look vaguely like Helen.

MELANIEIs this a joke?

Caldwell shakes his head, confused.

MELANIEHelen Blakely, my housemate. She was home last night, not out gallivanting with Tony Scaglia.

CALDWELLYou sound pretty sure.

Melanie hesitates. The elevator doors open.

INT. CITY HALL - ATRIUM - DAY

A busy government building lobby. Lots of people.

Caldwell follows Melanie around the corner to a less traffic-intensive area.

MELANIEHelen was in bed with me. All night.

Caldwell stares at her, speechless.

MELANIEDon’t look at me like that. Would it hurt less if it was a guy?

CALDWELLBut you’re not — I know you’re not.

MELANIENot — or not — we’ve been together ten years. She —

(off the look on his face)

C’mon Mike, you left me, remember?

21.

She pulls away from him, composes herself.

MELANIEI’ll see you tonight?

He shrugs.

MELANIEBlack tie optional means you can wear a nice suit. Go with the gray pinstripe, blue tie.

He fakes a smile. She waves as she walks away. Her smile turns grim as she tucks the photos into the side pocket of her case.

INT. MELANIE’S HOUSE - BEDROOM - DAY

Helen begins to strip out of her workout clothes.

INT. MELANIE’S HOUSE - BATHROOM - DAY

Helen steps into the tub and turns on the shower. As the water flows over her, worry seems to melt from her face. Helen begins to soap herself...

Through the translucent shower curtain, the shadow of the bathroom door opens.

The noise of the shower masks any sound. The shadow of a woman falls across the shower curtain.

Helen’s back is to the curtain as — A hand reaches up, grasps the curtain, pushes it aside.

Steel flashes in the light — Helen holds the business edge of a wakizashi blade against Melanie’s throat.

Melanie glares, annoyed. Helen removes the blade.

MELANIEWe need to talk.

Melanie pulls the curtain back between them.

HELENDid you never see Psycho?

The bathroom door closes.

22.

INT. MELANIE’S HOUSE – GREAT ROOM – DAY

Wrapped in a bathrobe, Helen sits on the couch and stares at the documents on the coffee table: A crime-scene photo of Scaglia’s head, the red blotch visible on his neck; the security feed still; the sketch-artist drawings.

Melanie paces, blood pressure skyrocketing.

MELANIEWhat? You were jealous I was spending more time prosecuting Scaglia than with you, so you killed him? My God, Helen —

HELENI’ve been honest with you. You’ve known from the start who and what—

MELANIEI am an officer of the court. You’ve made me an accessory to murder.

Helen glances up, eyes narrowing. Melanie blanches with fear.

Helen stands slowly, carefully avoiding any movement that might be construed as threatening, then simply walks away.

MELANIEHelen!

INT. MELANIE’S HOUSE – ARMORY – DAY

Helen stands before the wall of weapons, contemplating her options as Melanie enters the room behind her.

MELANIEElle...?

HELENI’m sorry... If I’d known I’d be putting you in danger...

MELANIEGive me an explanation. Something.

HELENIt’s Serena — has to be.

23.

Melanie takes a moment to digest this.

MELANIEYour sister.

HELENSerena? Ambrose...? When the bombs hit... I was unconscious for a few seconds. It’s possible...

MELANIEIt’s been sixty years. Why...?

Helen removes an antique cane from the wall, grips it with two hands and yanks to reveal the blade inside.

HELENYou.

INT./EXT. MELANIE’S SEDAN – NIGHT

Helen navigates through city traffic while Melanie sits rigidly in the passenger seat. Passing streetlamps reveal conservative evening makeup, formal dresses, the sword-cane lying across the center console between them.

MELANIEYou’re angry.

HELENI’m worried.

MELANIEYou didn’t have to come. It’s an unnecessary risk.

HELENSeriously...? I should have thrown you in the trunk and driven to Quantico. Let Keith sit on you a week while I sort things out.

MELANIEMontclair... Keith lives in Montclair.

They ride in silence a few moments.

24.

HELENYou never told me what happened between you and Mike.

MELANIEWhat?

HELENHe might be there tonight Do I need to worry he’s one of the bad guys?

Melanie sighs.

MELANIEWe were all set for college. He had a football scholarship; I was fencing. Then a three-hundred pound left tackle took him out during the Homecoming game. I was on the sidelines...

She winces at the memory.

HELENYou left without him.

MELANIEWe were eighteen, two thousand miles apart...

HELENHe cheated on you?

MELANIEWe ended things amicably.

HELENBut?

MELANIEAnd then I met you.

Melanie takes Helen’s hand in hers. A large hotel / conference center looms ahead.

MELANIEUp here on the right.

25.

EXT. CONFERENCE CENTER – AUTO LOBBY – NIGHT

A sheltered turn-around, taxis waiting, Melanie’s sedan in the line for valet service.

Melanie barely has her door open, but Helen is already out, fiddling with the ACE bandage wrapped around her ankle while surreptitiously checking out the sight lines.

A lanky VALET (25) rushes over and Helen hands him a $100 bill with the key. He nods discreetly.

Cane in hand, Helen rounds the front of the car and falls into step with Melanie.

INT. CONFERENCE CENTER – ATRIUM – NIGHT

An opulently spare common area filled with business people and hotel guests. Helen navigates Melanie through the open space, acting more like a bodyguard than a friend.

INT. CONFERENCE CENTER - BALLROOM - NIGHT

Charity event. Overdressed couples eat, drink, mingle.

Melanie introduces Helen around to co-workers, colleagues, acquaintences. Helen gives them the smile/nod/handshake, but she is hypervigilant, watching the exits, noting the CHEF carving paper-thin slices of prime rib, a COP in an ill-fitting suit adjusting his shoulder holster...

INT. CONFERENCE CENTER – BALLROOM - LATER

Caldwell, wearing his gray suit and blue tie, is standing with his arm around the very pretty, clingy, TERRI (24), when Helen and Melanie walk up.

MELANIEYou made it.

They share an awkward half-hug.

CALDWELLAnd you must be Helen.

They warily shake hands, sizing each other up. Terri steps up enthusiastically shaking Melanie’s hand, then Helen’s.

26.

TERRITerri Kopinski... Terri Kopinski... Oh — you hurt your ankle.

HELENIt’s nothing.

TERRIUsing the cane on the side oppositethe injury, gives better support.

HELENGood to know.

She switches the cane to her other hand.

CALDWELLTerri’s a physical therapist —

TERRIAnd licensed masseuse. You know therapeutic massage has been shown to lower blood pressure, decrease stress, improve alertness and performance, and hasten recovery after an injury.

Helen has long since tuned Terri out and is scrutinizing a shapely BLOND (22) across the ballroom. The Blond’s face is turned just far enough that Helen can’t get a good look.

MELANIEFascinating. So how did you and Mike meet?

HELENBe right back —

Helen heads toward the Blond.

TERRI (O.S.)That’s actually a funny story. Mike came into the clinic on a case —

Helen works her way through the crowd, eyes never wavering from the Blond.

INT. RUSSIAN RAILWAY STATION - DAY (1887)

A platform crowded with Russian peasants.

27.

Serena, an innocent beauty before the change, turns, her face lighting up like sunshine.

INT. CONFERENCE CENTER - BALLROOM - DAY (PRESENT)

Helen reaches out, touches the Blond on the arm —

HELENSerena?

The Blond turns. She could be Helen’s sister — but isn’t.

HELENI’m sorry — You look like someone I used to know.

The Blond smiles genuinely.

BLONDNo problem.

Helen turns back the way she came, searching the crowd.

Till she sees Melanie — no longer with Caldwell and Terri —walking toward an exit with a man half-hidden by Melanie.

Helen starts toward them.

The man falls back a half-pace — Ambros.

Helen pushes through the crowd, trying to get to them... Knocking people aside.

WOMANHey!

Pushing them out of her way.

MANWatch it!

She catches a glimpse of Melanie at the exit.

HELENMel!

And then she’s gone.

A second later, Helen slams through the exit and into —

28.

INT. CONFERENCE CENTER – SERVICE CORRIDOR - NIGHT

A long concrete service corridor. The door at the far end swings slowly shut.

EXT. STREET – NIGHT

A busy downtown street Helen bursts through an emergency exit, looks frantically up and down the sidewalk.

Cars pass. Pedestrians meander here and there.

Melanie is nowhere to be seen.

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Kill Me Once -- Act I