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cockney British accent: ‘I prefer the Aussie accent myself, guv’nor, but, yes, let’s push on.’
     
    That puts him at ease. ‘Okay, continuing.’ He takes a breath. ‘Now, let me ask you a very important question: which do you prefer, vampires or zombies?’
     
    ‘Vampires.’
     
    ‘Ba-baum. Family Feud sound for wrong answer. The correct choice is both.’
     
    ‘Both?’
     
    ‘Exactly! You mash them together and get Zompire, the first movie to feature a vampire zombie as the main character. He’s undead, twice. People have always loved vampires and now they love zombies so it only makes sense to combine them in an irresistible collision of blood-sucking flesh eating. That’s all I’ve got so far.’
     
    Lola nods. ‘Not bad. “He’s undead - twice” is a good tag line.’
     
    ‘Great.’ He nods happily, then: ‘What’s a tag line?’
     
    ‘You know, the slogan on a movie poster.’
     
    ‘Oh. Of course. Right. So the idea’s not a complete shocker?’
     
    ‘It’s good, but if you want to take it to a studio you’ll need to think up an exciting plot that you can explain in twenty-five words or less, create vivid characters who grow and change over the course of that story, and create a compelling mythology that explains how and why Zompires exist. Also, consider what the subtext of the story is.’
     
    ‘I’ve never really understood what subtext is.’
     
    ‘It’s the underlying meaning of the film. Also, is there a love story? Where is it set? And when? Who’s the bad guy? You always need an interesting bad guy with a believable motivation. Is it a comedy or a drama? The title Zompire almost makes it sound like a comedy, but if, for example, it’s called VZ, shorthand for the vampire-zombie hybrid, suddenly it seems more serious. On a poster I can see the V in blood red and the Z in raggedy grey. It’s intriguing, and graphically they’re strong letters.’
     
    Corey studies her. ‘Now I know why you’ve got such a big house. You’re good at this.’
     
    ‘Well, yeah, it’s my business and I’ve had a lot of practice and I love movies. So, the takeaway is this: if you want people to take it seriously you need to flesh it out, no pun. Even little things, like is there a hero car of some kind?’
     
    ‘Hero car?’
     
    ‘You know, like the Tumbler from Batman Begins, or the Millennium Falcon from Star Wars, or the Minis in The Italian Job. It doesn’t have to be a car, just some sort of groovy transportation.’
     
    It makes perfect sense to him. ‘Of course.’
     
    ‘And think about who could be in it. Makes it easier when you’re pitching a studio if they have an actor in mind for the lead role.’
     
    He raises his hand. ‘Oh! I know who’d be great. That guy, the one in the tights —’ He can’t quite place the name. ‘You know, that movie about the bloke who turns into a tornado —’
     
    ‘The Blue Cyclone.’’
     
    ‘The Blue Cyclone! Yeah! Him. That guy. What’s his name? Steve…’
     
    ‘Scott. Scott Ford.’
     
    ‘That’s it. Scott! I guess everyone wants him in their movie.’
     
    ‘Oh. Well, yeah, they do. He’s, you know, a big star.’ She takes a moment, then gestures to the road ahead. ‘So, where are we going?’
     
    ‘Nearly there.’
     
    ~ * ~
     
    Lola’s flustered. When Corey mentioned Scott Ford she had to change the subject. Oh man. It’s not like she’s doing anything wrong being here, but, gee, it sure feels like it. She needs to deal with this ASAP.
     
    ‘Ta-da. We’re here.’ Corey’s voice pulls her from her thoughts as he directs the BMW onto a patch of grass that overlooks a deserted beach.
     
    She looks around. ‘Malibu?’
     
    ‘Yep, not far from Bowen’s place. I walk down here at night sometimes, look out at the ocean.’
     
    ~ * ~
     
    In fact, the house where Corey’s been staying, which belongs to Matty Bowen, Corey’s agent and Lola’s boss, is just up the beach a little way, in