Guilt-ridden over his failure to save his wife from a car crash, he has accrued $10,000 in gambling debts and loan sharks are circling.

Fay turns up at his office posing as a battered wife on the run from her abusive husband and offers him ten grand to fake her death so she can start a new life.

Jack falls for Fay and agrees to meet her later at her motel, but after ditching the evidence-filled car in a lake he returns to find she has fled to Las Vegas, along with the remaining half of the money she owes him.

Jack, believing Fay must have had a good reason to leave, prepares to follow her to Vegas, but is thwarted when the loan sharks return and take the rest of the advance she gave him.

Jack reaches Vegas and finds out from his partner, Alan, that Fay is staying at a hotel under an alias similar to the fake ID he gave her.

Jack finds her gambling at the hotel casino’s craps table, though not before the pit boss spots the mob money she is using and calls the gangsters.

The next morning they hear on the radio the police are seeking them for the murder of the mobster, who was part of a powerful crime family.

He stops to buy supplies at the Arizona border, thinks about driving away with the money, but decides to stick to the plan.

Jack proposes a deal: he’ll take Fay and half the money and let Vince know in two days where the rest is.

Through Steve Golin and Sigurjón Sighvatsson’s production company they reached a deal with PolyGram to produce Kill Me Again, with Dahl directing.

Variety gave it a mostly positive review, stating: "The tale of a down-and-out detective and a seamy femme fatale is a thoroughly professional little entertainment.

[5] Time Out gave it a mostly negative review, complaining: "Derived from assorted Hitchcocks and noir classics, the tortuous storyline of writer-director Dahl's determinedly sordid thriller has its moments," but was critical of the three lead actors and concludes: "Setting its study of betrayal and deceit in and around the gambling towns of the Nevada desert, the film sporadically achieves a truly seedy atmosphere, but there are too many symbols, too many loose ends, and too many vaguely sensationalist scenes.