Hello All:
I've actually had today's short story drafted up in my imagination since 2021. This would have been around the time I worked in a lab and saw some data point of 101.06. I started singing the string of digits to the song of One on One by Hall and Oates. Now, five years later, I compose it as a short story. Maybe we can develop this further into some future stories. We'll see....
The streetlights of the suburbs began to blur into a rhythmic strobe against the windshield of the white utility van. It was 6:45 PM, that stagnant hour where the exhaustion of twelve hours of stripping coaxial cable and crawling through attic insulation finally started to settle into the bones. The Cableman adjusted his grip on the wheel, his eyes heavy.
To combat the creeping lethargy, he reached for the dial. He’d recently discovered 101.06 FM, a rogue frequency that seemed to have a better grasp on the golden era of rock than any of the corporate stations in the city. A smooth, familiar bassline began to thrum through the van’s mediocre speakers. It was Hall & Oates—"One on One."
The Cableman settled back, waiting for Daryl Hall’s soulful entry. The intro stretched a little long, the percussion looping with a hypnotic crispness. Then, the vocals kicked in, but the lyrics had been hijacked.
"1-0-1... 0-1-0... 1-0-6... 0-1..."
The singer’s voice was a dead ringer for Hall, capturing that precise Philly-soul inflection, but he was chanting the station’s frequency in a rhythmic, staccato pattern.
"1-0-1-0-1-0-1-0-6-0-1... 1-0-1-0-6, it’s 1-0-1-0..."
The Cableman smirked. "Cute," he muttered, figuring it was a clever bit of station imaging. But as he turned onto the main highway, the song didn't progress to the chorus. The beat stayed locked in a tight, repetitive loop. The vocalist continued the numerical chant, his voice rising in intensity, layering over himself in a haunting harmony.
"10106... 10106... 10101010106..."
Two minutes passed. The repetition began to grate. It wasn't just a jingle anymore; it was an assault. The rhythmic delivery of the numbers started to sound less like a frequency and more like a sequence—a binary stutter that felt strangely cold despite the warm analog production of the track.
"Alright, enough already," he grumbled, reaching out to change the station.
His finger hovered over the 'Seek' button, but he hesitated. Something about the cadence had changed. The singer was no longer just repeating the numbers; he was whispering them between the beats, a frantic, breathless delivery that sounded like someone trying to communicate through a locked door.
1-0-1-0-6... help us... 1-0-1-0-6... he’s watching...
The Cableman’s heart gave a sharp thud against his ribs. He turned the volume up, leaning closer to the dashboard. The music behind the vocals was beginning to warp, the classic rock instrumentation melting into a high-pitched electronic whine.
What was the point of this? It was excessive, even for a low-budget indie station. But as a man who spent his life literalizing connections—hooking up the grid, ensuring the signal reached the home—he couldn't shake the feeling that he was listening to a diagnostic test for something much larger than a radio broadcast.
The numbers weren't just a station ID. 101.06. He ran the digits through his head. In the world of telecommunications, every number meant something. Was it a coordinate? A timestamp? Or was the "10106" a mask for a different kind of signal entirely?
Suddenly, the van’s overhead cabin light flickered on, then off, in perfect sync with the "101" chant.
The Cableman stared at the light fixture, then back at the dark road ahead. The radio wasn't just playing a song; it was talking to the van. And through the van, it was talking to him.
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