Benny liked the sound of bottler, because he figured it for a factory job of filling soda bottles. Benny loved soda, but it was sometimes hard to come by. Some pop was old stuff brought in by traders, but that was too expensive. A bottle of Dr Pepper cost ten ration dollars. The local stuff came in all sorts of recycled bottles—from jelly jars to bottles that had actually once been filled with Coke or Mountain Dew. Benny could see himself manning the hand-cranked generator that ran the conveyor belt or tapping corks into the bottlenecks with a rubber mallet. He was positive they would let him drink all the soda he wanted. But as he walked up the road, he met an older teenager—his pal Morgie Mitchell’s cousin Bert—who worked at the plant. When Benny fell into step with Bert, he almost gagged. Bert smelled awful, like something found dead behind the baseboards. Worse. He smelled like a zom.
Bert caught his look and shrugged. “Well … what do you expect me to smell like? I bottle this stuff eight hours a day.”
“What stuff?”
“Cadaverine. What, you think I work making soda pop? I wish! Nah, I work a press to get the oils from the rotting meat.”
Benny’s heart sank. Cadaverine was a nasty-smelling molecule produced by protein hydrolysis during putrefaction of animal tissue. Benny remembered that from science class, but he didn’t know that it was made from actual rotting flesh. Hunters and trackers dabbed it on their clothes to keep the zoms from coming after them, because the dead were not attracted to rotting flesh.
Benny asked Bert what kind of flesh was used to produce the product, but Bert hemmed and hawed and finally changed the subject. Just as Bert was reaching for the door to the plant, Benny spun around and walked back to town.
There was one job Benny already knew about: erosion artist. He’d seen erosion portraits tacked on every wall of the town’s fence outposts and on the walls of the buildings that lined the Red Zone, the stretch of open land that separated the town from the fence.
This job had some promise, because Benny was a pretty fair artist. People wanted to know what their relatives might look like if they were zoms, so erosion artists took family photos and zombified them. Benny had seen dozens of these portraits in Tom’s office. A couple of times he wondered if he should take the picture of his parents to an artist and have them redrawn. He’d never actually done it, though. Thinking about his parents as zoms made him sick and angry.
But Sacchetto, the supervising artist, told him to try a picture of a relative first. He said it provided better insight into what the clients would be feeling. So, as part of his audition, Benny took the picture of his folks out of his wallet and tried it.
Sacchetto frowned and shook his head. “You’re making them look too mean and scary.”
He tried it again with several photos of strangers the artist had on file.
“Still mean and scary,” said Sacchetto with pursed lips and a disapproving shake of his head.
“They are mean and scary,” Benny insisted.
“Not to customers they’re not,” said Sacchetto.
Benny almost argued with him about it, saying that if he could accept that his own folks were flesh-eating zombies—and that there was nothing warm and fuzzy about it—then why can’t everyone else get it through their heads?
“How old were you when your parents passed?” Sacchetto asked.
“Eighteen months.”
“So, you never really knew them.”
Benny hesitated, and that old image flashed in his head once more. Mom screaming. The pale and inhuman face that should have been Dad’s smiling face. And then the darkness as Tom carried him away.
“No,” he said bitterly. “But I know what they look like. I know about them. I know that they’re zoms. Or maybe they’re dead now, but, I mean—zoms are zoms. Right?”
“Are they?” the artist asked.