Velocity - Novel

STEVE
WORLAND
VELOCITY
9781921901102_Velocity_pages_fnl.indd 3 7/6/12 3:42 PM

MICHAEL JOSEPH
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Cataloguing-in-Publication data:
Worland, Steve
Velocity/Steve Worland
9781921901102 (pbk.)
A823.4
penguin.com.au

STEELY-EYED MISSILE MAN
(phrase)
Place Of Origin: Houston, Texas.
Circa: Early 1960s.
Type: NASA slang.
Definition: An astronaut or aerospace engineer who

quickly devises an ingenious solution to a life-or-death
problem while under extreme pressure.

PROLOGUE
He’s smart and good-looking with a satisfying, desirable job. He

has a wonderful girlfriend, is liked and respected at both his place
of work and in the wider community, and he drives a DeLorean, his
all-time favourite car. Simply, Judson Bell’s life is awesome and he
couldn’t be happier about it.
Why, just a moment ago a man randomly high-fived him. A man
he didn’t even know. It happened as Judd returned to his office at
Johnson Space Center. As NASA’s youngest shuttle pilot he’d been
the face of its recent public-relations tour. It had been a rousing suc-
cess and garnered NASA a boatload of positive press, especially the
60 Minutes piece, hence the random high-five from an enthusiastic
coworker.
So thirty-year-old Judd Bell is walking on air. Rhonda Jacolby,
his partner, who’s just as smart and good-looking with the same sat-
isfying, desirable job, is right there beside him. Around NASA they
are considered the future of the space program and Judd can’t think
of a single reason not to agree.
Rhonda glances at her Seiko, turns to Judd. ‘The landing.’
‘Of course.’
‘There’s a monitor in here.’ She directs him to a nearby door,
pushes it open.
The television in Conference Room Two is already surrounded

4 STEVE WORL AND
by a crowd of back-office staff. Judd and Rhonda stand behind them

and watch the big Toshiba widescreen.
On its screen a small white dot followed by an elegant comet tail
rips silently across a faultless blue sky. The small white dot pulses,
then splits in two.
Judd blinks, to check his eyes aren’t playing tricks, then focuses
on the screen again.
Two white dots. No tricks.
‘Christ.’ The grief hits like a fist, overwhelms him. He doubles
over, puts his hands on his knees.
A woman within the small crowd says, to no one in particular,
‘Gee, that chase plane is high.’
‘It’s too high to be a chase plane.’
The woman turns to Judd. ‘What is it, then?’
He glances at her security pass. She’s a PR flack. Young, new. He
doesn’t answer, just looks at Rhonda beside him. Her elegant face is
stricken. She knows.
‘So what is it?’ The young flack’s voice betrays no sense of alarm,
no hint that she may not want to hear the answer.
‘Debris.’ Judd says it the only way he knows how to deliver bad
news. Simple and direct.
‘Debris?’ She still doesn’t understand.
‘It’s breaking up.’ He can’t believe he’s saying the words.
‘You’re not serious.’ The flack turns back to the screen. One of
the white dots pulses again and then there are three. The crowd cries
out in anguish.
Judd runs a hand through his cropped hair, his life no longer
awesome. Rhonda turns to him, her eyes wet with tears.
After years of training they all knew the risk, but only in the
abstract. No matter what they’d been told, or how often, nothing

V ELOCIT Y 5
could prepare them for this. For today.

The first of February 2003.
The space shuttle Columbia is lost and Judd Bell’s best friend is
dead, 60 kilometres above Texas, sixteen minutes from home.

1
Gerhard Krawl draws the long-handled wire-cutters from his back-

pack and slices into the tall chain-link fence.
As he works he takes in the Boneyard. He’d surveilled the place
for months but still found it spectacular. Row after row after row of
US military aircraft, over 4000 of them, all resting in the dry desert
air of Tucson, Arizona – the perfect place to dump a big lump of
metal if you didn’t want it to rust.
The Boneyard, or Aerospace Maintenance And Regeneration
Center (AMARC), had been the storage location for military air-
craft that were surplus to requirements since the end of World
War II. Some were stripped for parts, others sliced up and sold for
scrap, but most became home to rattlers and scorpions.
Gerhard carves a large slit in the chain-link, then pulls out his
iPhone. He taps the screen, sends a one-word text, then looks south
down Kolb Road. The full moon illuminates a Mack truck that
rumbles towards him. Headlights off, it tows a long cylindrical
tanker. Gerhard points at the hole in the fence and the Mack’s air
brakes hiss. It turns off the road, crunches over a small creosote
bush and nudges its radiator against the opening.
Gerhard climbs onto the driver’s step and peers into the cabin.
The towering Cobbin Wiseman is behind the wheel. Beside him
sits the man in charge, 56-year-old Frenchman Henri Leon.

8 STEVE WORL AND
Gerhard nods to him. ‘No problems.’

Henri signals Cobbin, who nudges the Mack through the hole in
the fence, the jagged wire scraping the length of the tanker’s matte
black paint. Gerhard follows it through then leaps back onto the
driver’s step and grabs the side-view mirror for balance. Cobbin hits
the gas and the Mack kicks up a rooster tail of dust as it accelerates.
Henri takes in Cobbin. Always reliable, he drives the way he
does everything: with a single-minded purpose. He’s not subtle, but
he gets the job done.
Henri’s eyes move to Gerhard. The jury’s still out on the young
Austrian. A new addition to the Frenchman’s crew, he’s willing
enough and has performed well in the simulations, but you never
could tell a man’s character until you observed him under pressure.
Gerhard’s future with the crew will be decided tonight.
Henri’s eyes flick to the horizon and he sees it, allows himself
a faint smile, the one his wife called the ‘Mona Lisa smile’.
In an increasingly XS world, the giant C-5 Galaxy is unasham-
edly XXXL. When released in 1968 it was the biggest aircraft in
the world. Still one of the largest today, it has been in service for
over four decades, the backbone of the US military. Henri was
twelve and playing on a beach in Guam when he first saw one.
As he splashed around in the warm clear water early one morning,
a Galaxy soared overhead, turning the sea black with shadow.
Three minutes later there was another, then another, like clock-
work all morning. In the afternoon they were back, approaching
from the opposite direction, shaking the beach, searing his ears
with their exquisite sound.
It would be many years before he realised those jets had been
ferrying men and supplies from Guam’s Andersen Air Force Base to
the misguided folly in Vietnam. He wonders if he saw this particular

V ELOCIT Y 9
plane as a boy. Henri knows it was one of the first built, delivered
to the air force in September 1970, the last of the ‘A’ models to be
retired. It landed at the adjacent Davis-Monthan Air Force Base
earlier that afternoon, was towed to AMARC and left at this spot.
Tomorrow air-force personnel planned to dismantle and inspect it
to determine the life expectancy of the remaining fleet.
The Mack pulls up beside the Galaxy’s fuselage and is swal-
lowed by the left wing’s shadow. To the right is a small hangar. No
lights on, nobody at home. Protecting thousands of acres of decom-
missioned aircraft, many in pieces, none airworthy, was not a US
military priority. During the day there were dozens of employees
at AMARC, but at night only three soldiers guarded the sprawl-
ing complex without the aid of video surveillance. Even so, Henri
knows there’ll be plenty of security soon enough.
The Frenchman checks his vintage Rolex GMT-Master, a for-
tieth birthday present from his wife, then turns to Cobbin and
Gerhard. ‘Ten minutes.’
They nod, no need for words. They have painstakingly
rehearsed exactly what will happen next. They each slip on their
two-way radio headsets then climb out of the Mack.
At the front of the tanker Cobbin unspools a long, thick hose
that’s attached to a Masport pump. The nozzle at the other end
is large and unwieldy, specifically machined for one job. Gerhard
heaves the hose to his shoulder and lugs it towards an area low on
the Galaxy’s fuselage above the landing gear. He tugs open the fuel
cover, slides the nozzle on to the vent – and can’t get it on. Cobbin
watches him struggle with it, then finally lock it down.
Cobbin flicks a switch and the pump whirrs to life. Type A avi-
ation fuel sloshes up the pipe into the Galaxy’s tanks. The tanker
holds 34 000 litres of avgas and it will take no more than eight

10 STEVE WORL AND
minutes to empty it into the Galaxy. It isn’t much compared to the

195 000 litres the jet carries when fully fuelled, but it’ll be enough
for tonight.
Henri scales a ladder to the Galaxy’s forward-entry hatch, swings

the door open and extends the built-in ladder to the ground. It’s
heavy but he has no trouble with the weight.
He draws a P7 Lenser torch from the pocket of his flight jacket,
illuminates the empty 37-metre cargo bay, exactly 30 centimetres
longer than the Wright brothers’ first flight at Kitty Hawk in 1903,
then climbs the internal ladder to the flight deck and slides into the
copilot’s seat. He takes in the aircraft’s controls: nothing digital here,
just a sea of analogue switches, buttons and gauges. A nightmare of
options if you didn’t know what you were doing. Henri knows, feels
right at home, yet he has never sat in a Galaxy before. Bill Gates
was rich beyond the dreams of avarice because his company had
created, amongst other things, the Flight Simulator software that
taught Henri how to fly this beast.
He flicks switches, turns dials, runs through a pre-flight checklist
he knows by heart. The flight deck lights up, gauges spring to life,
a muted glow from above illuminates his thinning pate. He glances
at his GMT-Master then speaks into his headset’s microphone.
‘How long?’
Cobbin’s voice crackles in his ear. ‘Three minutes.’
Behind Henri, in the walkway that connects the flight deck to
the troop bay, a figure appears, silhouetted against the darkness.
Henri swivels, a Glock pistol in hand, finger tense on the
trigger – then lowers the weapon when he sees who it is. ‘You’re late.’
‘But I’m here.’ Kelvin Atwater slides into the pilot’s seat and

V ELOCIT Y 11
they continue the pre-flight checklist in silence.

Though outwardly impassive, Kelvin is in fact a bundle of nerves
and regret. This is not how he expected his life to pan out, but then
who expected to be diagnosed with inoperable prostate cancer and
told they had six months to live?
Kelvin loved being a member of the air force, loved flying this
elephantine jet, but after the diagnosis he realised how little he had
to show for his life of service. He’d flown for his country for over
thirty years, had done everything asked of him, indirectly, by five
presidents, and yet he had only $4163 to his name and a little house
in Central Louisiana that, thanks to Katrina and then the GFC, was
worth peanuts. So he had agreed to help the Frenchman and take
the million dollars on offer – he wanted to retire in style, hopefully
die somewhere in the Pacific. An island resort would be nice, a piña
colada in one hand and a tanned native girl in the other, staring at
a glistening ocean as the sun baked his life away.
‘We’re in.’ Cobbin’s voice buzzes in Henri’s ear. ‘Fuelling com-
plete.’
‘Copy that.’ Henri turns to Kelvin. ‘Ready?’
‘As I’ll ever be.’ Kelvin triggers a sequence of switches. Far
behind him the turbofans churn to life as a light shudder vibrates
the cabin. His left hand eases the throttle levers forward. The engine
note builds and the jet rolls.
At the Galaxy’s open hatch Gerhard pulls a large black remote

control from a backpack. He extends its aerial, flicks a switch and
a green LED illuminates. He presses a red button and looks back
at the Mack.
He can’t hear its starter motor over the Galaxy’s turbofans but

12 STEVE WORL AND
he can see smoke blast from the exhaust stack as the diesel engine
cranks to life.
‘Remember it’s sensitive. Don’t stall.’
Gerhard doesn’t need Cobbin to remind him that the remote is
sensitive, he built the thing. He pushes the throttle lever forward.
The Mack rolls – then lurches to a stop. ‘Shit!’ It stalled.
Cobbin throws Gerhard a dark look. The Austrian ignores it,
wipes his forehead, presses the red button again. Black smoke bursts
from the Mack’s exhaust stack. He eases the throttle lever forward
again. The Mack rolls. Gerhard exhales, more relieved than happy.
He delicately moves the remote’s control wheel and feeds in more
throttle. The Mack speeds past the Galaxy.
The strange convoy turns south-west onto the taxiway and rolls
on through the cool night.
Henri must lean forward to see the taxiway through the Galaxy’s
windscreen. Directly in front of the Mack is the 70-metre-long,
six-metre-high motorised gate that separates the Boneyard from
Davis-Monthan Air Force Base. To the left of the gate is a small
guardhouse. Inside a soldier shouts into a telephone.
Henri speaks into his headset. ‘Do it.’
The Mack accelerates hard, strikes the centre of the gate even
harder. A section catapults right and spins into the night like a
deranged frisbee. Another section catches hold of the Mack’s grill
and jams there as the truck continues on its merry way. Yet another
section flips left and slams into the roof of the guardhouse.
The giant aircraft rolls through the new gap in the fence, the
stubby guardhouse passing under its left wing just as it was designed
to. Then the jet wash from the turbofans hit. The guardhouse, made

V ELOCIT Y 13
of little more than painted plyboard, glued and screwed together by

the lowest bidder, loses its roof as the guard cowers inside, hands
clamped over ears to protect his hearing from the shrieking engines.
Gerhard strains his neck to keep his eyes on the Mack as he works
the remote. The truck leans into a wide turn and the slab of metal
fence slides off its nose and clatters to the tarmac. Then the Mack
slows and falls in behind the Galaxy. The pair trundle past the alert
pads and head towards the runway.
Henri turns to the right and locks eyes on a pair of taxiing
fighter jets on the far side of the airfield. They’re F-16 Fighting
Falcons from the 120th FIG. Each week they rotate from their home
in Great Falls, Montana, to Davis-Monthan. They can scramble
from their hangar in under five minutes to identify, intercept, and,
if necessary, destroy any airborne threat to the USA. As the Galaxy is
a very large threat they will not let it take off.
They’re too far away to fire yet but Henri knows they’ll soon
be in range. They’ll use the 20-millimetre Gatling guns first, hop-
ing to stop the Galaxy before it leaves the ground. If that fails they’ll
launch the wingtip-mounted AIM-9 Sidewinders and blow it out of
the sky.
Gerhard plays the remote, eyes glued to the Mack truck. It’s 150
metres behind the Galaxy. He steers it to the left to avoid the turbo-
fan’s jet wash as the jet rolls onto the runway’s threshold, its tarmac
scarred black by decades of tyre rubber.
Henri’s eyes stay fixed on the taxiing F-16s. Bobbling over the
uneven tarmac they pass behind a line of parked Hercules C-130s.
In thirty seconds they’ll clear the aircraft and have an unimpeded
shot at the Galaxy.

14 STEVE WORL AND
Henri speaks into his headset’s microphone. ‘Gerhard, are you

in position?’
‘Yes, sir.’
‘Good.’ Henri looks across at Kelvin. ‘Do it.’
Kelvin feels sick to his stomach. He knows those approaching
F-16s mean to blow this jet out of the sky. Only now does he fully
appreciate what he’s a part of.
‘Now.’ The Frenchman’s firm command yanks Kelvin back to
reality. He pushes the throttle levers forward. The four General
Electric turbofans bite the air and jolt the Galaxy onto the runway.
Gerhard braces himself within the open hatch as Cobbin straps
in to a nearby jump seat. ‘Make sure it’s in position. And easy with
the throttle —’
‘I know what to do.’ Gerhard fails to disguise the anxiety in his
voice as he pushes the throttle lever forward. The Mack gathers
speed, rumbles towards the runway’s threshold – then lurches to a
stop.
No! Too much throttle. Fear slices through the Austrian. His
hand shakes as he stabs the red starter button and focuses on the
truck’s exhaust stack, watches for the burst of smoke that will tell
him the engine is running.
He sees no smoke. The truck’s out of position and its engine is
dead. In fifteen seconds everyone on this plane will be too.
The Galaxy accelerates as 164 000 pounds of thrust shove
350 000 kilograms of aircraft down the runway.
‘What’s happening? Is it in position?’
No, it isn’t. It’s not even close. Gerhard ignores Cobbin and
pushes the red button again, looks back at the Mack truck.
Diesel smoke blasts from its exhaust stack. The engine’s running.
There’s no time to be relieved. He very gently presses the throttle

V ELOCIT Y 15
lever forward. The Mack accelerates towards the runway.

The Galaxy’s nose tips up and Gerhard’s view of the truck is
obstructed by the jet’s wing. He looks right.
The F-16s clear the line of parked C-130s. Side by side they
pivot, bring their weapons to bear on the Galaxy as it rushes along
the tarmac.
The fighter jets’ Gatling guns erupt. Blurs of white light streak
across the airfield. Gerhard involuntarily flinches as the rounds
thump into the Galaxy’s fuselage.
The big jet’s wheels leave the tarmac and it lumbers into a steep
climb, engines whining in four-part harmony. Gerhard’s thumb
touches the green button at the top of the remote. His eyes find the
Mack as it races onto the runway. He can’t press the button until it’s
in position, and it’s not there yet.
A flash from the wingtip of the closest F-16. A Sidewinder mis-
sile rockets towards the Galaxy. Gerhard sees it and knows he’s out
of time. He closes his eyes and mashes the green button and prays
it works.
The earth quakes and the first half-kilometre of runway disap-
pears. In its place burns a crater the size of a football field. Chunks
of dirt and bitumen rain down from the mushroom cloud that bil-
lows into the sky above.
The F-16s make it into the air, but not in the way they were
designed. The explosion picks them up and flips them over like
leaves in a summer breeze, scuttles them across the taxiway on their
canopies, slams them into that line of parked C-130s.
Halfway to the Galaxy, the Sidewinder missile is enveloped by
the explosion and vaporised.
The blast wave hits the Galaxy like a runaway locomotive, vio-
lently shoves up its tail. Its vast wings flex to the edge of their design

16 STEVE WORL AND
parameters and the airframe groans like a prehistoric beast in its

death throes.
‘That’s me!’ On the flight deck Kelvin seizes control of the air-
craft. Jeez-us! The Galaxy’s nose points at the ground, the view
beyond the windscreen showing nothing but suburbia, row after
row of sleeping houses, not what you want to see when travelling at
320 kilometres an hour, barely 2000 feet off the ground.
He has ten seconds to get the jet level. Feet stroke the rudder
pedals, right hand caresses the throttle levers, left hand plays the
flight stick. He works the controls with finesse.
The Galaxy’s nose pulls up, but rises too far. In an instant it
wipes off the plane’s speed. The air stalls under the wings and steals
their lift. The engines scream but the aircraft isn’t moving forward.
It hangs in the ink-black sky, nose pointed at the stars.
Tail first, the aircraft drops in a lazy arc towards the houses
below. Kelvin goes in search of lift. Finesse abandoned, he fights
the controls, tries to bring the nose down, get the jet horizontal and
reset the wings’ angle of attack.
He kills the power. The plane falls. He works the stick. The nose
tilts down, but slowly. It’s 700 feet off the ground. He plays the
flaps. The nose drops again, the aircraft almost horizontal.
Close enough. Kelvin jams the throttle levers to full power.
The engines run up, shove the aircraft forward. It gathers speed. The
wings grab air, regain some lift. The Galaxy slips out of the stall, but
it’s low. A hundred feet above the rooftops, if that. He’s about to
drop this thing into some poor schmuck’s swimming pool.
The Galaxy skims the rooftops. Jet wash blows off tiles like
they’re confetti. He’s certain he hears a dog bark. He eases back on
the stick. Nothing. He does it again. ‘Come on!’
The heavy nose rises. Slowly, then faster. The Galaxy climbs.

V ELOCIT Y 17
‘Christ.’ He hasn’t taken a breath in what feels like a week. He

exhales, his right hand gripping the control stick so tightly it’s numb.
He releases it and looks at the Frenchman.
Henri’s unruffled, like the whole thing was no big deal. He turns
to Kelvin with that strange half-smile and nods. Kelvin’s sure this is
Henri’s version of high praise, but right at this moment he doesn’t
care. He turns back to the controls and scans the instruments with a
practised eye. ‘Doesn’t look like we picked up any serious damage.
I’ll check once we’re on the ground.’
‘Good.’ Henri speaks into his headset’s microphone. ‘Cobbin,
how’d it go down there?’ Kelvin can’t hear Cobbin’s reply but he
can hear the Frenchman. ‘Okay, close the hatch.’
Kelvin sets the Galaxy on a southward track. Saving their arses
had momentarily taken his mind off his situation, but now all he
can think about is how these people just blew up an air-force base.
An air-force base! He knew they were up to no good, but christal-
mighty! He had no idea. Yes, Kelvin wants the million bucks but not
like this. He needs to find a way out of this, but how does he escape
these people without bringing his already shortened life to an even
more premature conclusion? He doesn’t know, but needs to find
a way. Fast.
Gerhard stands by the open hatch and watches the mushroom cloud
shrink into the distance. The 100 kilograms of C-4 plastic explo-
sive strapped to the underside of the Mack’s tanker had worked as
planned, or almost as planned. The Mack was supposed to detonate
in the middle of the runway, but Gerhard didn’t quite get it there.
Still, no one would be following them from that runway tonight,
which was the point. He turns to Cobbin and grins. ‘So, I did okay?’

18 STEVE WORL AND
Cobbin answers by gently pushing Gerhard in the chest. He falls

out of the hatch, his mouth open in a soundless scream.
Cobbin watches Gerhard drop into the darkness then turns and
hits a button beside the hatch. The door swings shut and settles into
the fuselage as he speaks into his headset’s microphone. ‘It’s done.’
Henri leans back, closes his eyes, and his thoughts, as they so often
do, lead to his wife. On this mission he will push the envelope as far
as he can because he does not fear death. Death cannot be worse
than the pain he endures every day since she passed.
He knows he should he happy with this success but he isn’t.
He’s struck by the unease he always suffers when things go too well.
Where will the error occur? The error that derails the whole enter-
prise.
Le doute fou. That’s what she called it. Foolish doubt. With a
quiet word she could always dispel his concerns. If he concentrates
hard enough he can almost hear her say it.

2
The sea of glass LCD screens lights up the flight deck of space shut-
tle Discovery like it’s a Christmas tree, albeit the most expensive and
complicated Christmas tree ever devised.
A gloved hand holds the rotational controller, moves the joy-
stick firmly to the left. The hand belongs to Judd Bell. He wears a
flight suit, a helmet and his game face.
The Discovery cabin smoothly tilts right and maintains the steep
angle of its roll-reversal turn. Judd’s eyes flick to the console and find
one of those five LCD screens. Discovery is at a height of 180 000
feet, travelling at 13 350 kilometres an hour.
Judd looks out the windscreen. The view is breathtaking, the
pitch black of space fading into a dark-blue sky that brightens
before it touches the curvature of the Earth. He speaks into his hel-
met’s microphone: ‘Control, this is Discovery. Do you copy? Over.’
There’s no response.
Twelve minutes ago Judd kicked Discovery out of orbit and back
into the clutches of Earth’s gravity. The little shuttle slammed into
the upper atmosphere at a touch over 27 000 kilometres an hour, the
soft silica tiles glued to its underside and the carbon-carbon leading
wing edges doing a perfect job of deflecting the 1500 degrees Celsius
it generated on re-entry. That intense heat strips the electrons from
the air around the spacecraft and blocks all communication with

20 STEVE WORL AND
the ground, causing loss of signal, or LOS. Communication will be

restored once the shuttle drops into the lower atmosphere’s thicker
air and the heat dissipates.
Judd knows Columbia didn’t make it this far. Moments after
launch a chunk of insulating foam the size of a briefcase fell off
the external tank and punched a hole in the leading edge of its left
wing. With that the crew’s fate was sealed, ten days before the shut-
tle broke up over Texas. The crew didn’t know about the hole, and
even if they had there was nothing they could have done about it.
During re-entry the superheated air blew straight into the wing and
within seconds those 1500 degrees melted the spacecraft’s structure
from the inside out.
‘Control, this is Discovery. Do you copy? Over.’
A burst of static in his ear, then: ‘We copy, Discovery. All systems
nominal. Over.’ The capcom’s voice is female, all business. ‘Institute
speed braking.’
‘Copy that.’ Time to bleed the speed. Judd grasps the speed
brake handle and moves it until the LCD indicator shows 100 per
cent. The speed brake splits the shuttle’s tail rudder in two, disrupt-
ing the air travelling past. Combined with the roll-reversal turns it
helped to slow the shuttle from its current hypersonic speed to a
more manageable 350 kilometres per hour for landing.
Judd glances at his copilot, Severson Burke. His eyes are locked
on a screen before him and an anxious furrow creases his 44-year-old
brow. It’s no cause for alarm, he always look like that when he flies.
Judd turns back to the console. He eases the controller to the
right and the shuttle slides out of the left turn and tips gently into
a right turn, bleeds more speed.
If navigating the upper reaches of the atmosphere in the shut-
tle is a relatively simple endeavour, landing one is a heart-in-mouth

V ELOCIT Y 21
exercise. It’s not like bringing in a regular aircraft. You can’t abort,
throttle up, fly around and take another crack at it. The shuttle’s
engines are only operational at launch. After that, it’s a very heavy
glider that doesn’t glide very well because its swept-back delta wings
don’t generate much lift. When it’s gliding in to land it drops to the
ground at an angle seven times steeper than a commercial aircraft
of the same size. Even the northern flying squirrel does a better job
than that.
Landing is Judd’s least favourite part of the mission. The only
thing comparable is putting an F-14 Tomcat on the heaving deck of
a carrier in rough sea, something he’d done many times as a naval
aviator before he was recruited by NASA.
Judd looks through the windscreen as the sky lightens and the
first wisps of cloud slip past. His eyes move back to the LCDs and he
lies back the speed brake to 65 per cent.
Severson leans forward and hits two switches. ‘Air data probes
deployed.’
‘Thank you, Mr Severson. Four minutes to landing.’ The air
passing by outside is loud. Judd takes a breath, eases the shuttle out
of its right turn.
Through the windscreen he can see the shuttle landing facility
in the far distance, three kilometres of runway sitting in a Florida
swamp, glistening in the afternoon sun. Gators often strayed onto
the runway to catch a little shut-eye in the baking heat. There was
a dedicated team to move them along whenever a shuttle was due.
‘Control, this is Discovery. We are at TAEM interface. How are
the crosswinds at Kennedy?’
‘Crosswinds nominal. Everything looks fine.’
Judd leans, triggers a switch. ‘Control, we have acquired auto-
land, over.’

22 STEVE WORL AND
‘We copy, Discovery —’

The cabin shudders. It stops as soon as it starts. Judd glances at
Severson. ‘What was that —’
The cabin shudders again but this time it doesn’t stop. Severson
reads an LCD. ‘Autoland system alarm. We’ve lost glidescope.’
‘Initiate backup.’
Severson flicks a series of switches, studies the LCD. Bad news
blinks back at him. ‘Autoland system failure.’
Judd takes it in, breathes out. He’s a steely-eyed missile man.
He can fix this.
The vibration intensifies. The wind now a roar. The radio crack-
les in Judd’s ear: ‘Discovery, this is Control. We read autoland
failure. Confirm. Over.’
‘Autoland failure confirmed. Over.’
‘Discovery, assume manual control for approach and landing.
Over.’
Judd’s eyes are pulled to the windscreen. Past the cloud cover
he can see the ground approaching fast.
Severson reads an LCD. The altimeter spirals down. Thirteen
thousand, three hundred feet. Eleven thousand, seven hundred.
Ten thousand, four hundred. ‘Altitude drop rate warning. Velocity
critical. Engaging speed brake.’
Severson’s hand moves to the speed brake. The cabin convulses
again and his head jolts right, slams against the side of the flight
deck. Judd looks across at him. ‘Severson? Severson!’
There’s no response. He’s out cold.
‘Christ!’ Judd stares at his copilot, horrified. How could the situ-
ation unravel so quickly?
The radio buzzes in Judd’s ear again: ‘Discovery, disengage
autoland and assume manual control.’

V ELOCIT Y 23
Judd doesn’t do it. He freezes. Brain lock.

‘Discovery! Do you read!’ The capcom’s voice now a shout.
It snaps Judd out of his daze. He blinks hard and with one hand
pulls the speed brake to 100 per cent, with the other moves the con-
troller, chases the pitching and yawing spacecraft, tries to level it
out. Through the windscreen the last cloud races by and the runway
looms before him. It’s close.
‘Discovery, engage landing gear.’
Judd triggers a switch. The landing gear lowers and locks with
a clunk below him.
‘Discovery, you’re flying to the right, realign.’
Through the windscreen the heaving runway rushes towards
him. It’s way off-centre. Judd wrestles the controller, tries to catch
hold of the lurching spacecraft. He can’t do it; he’s always one step
behind.
‘Discovery, landing attack angle is too steep. Pull up!’
It’s too late. The runway fills the windscreen.
‘Discovery, pull up!’
A door flies open, slams against the side of the motion-based crew
station, one of two shuttle mission simulators at Johnson Space
Center in Houston. Judd steps out and yanks off his helmet, his face
wet with sweat. He looks younger than his thirty-eight years, a light
crazing of lines around his eyes the only thing that distinguishes him
from the tall, dark-haired guy who watched Columbia break apart
eight years ago.
Judd clanks down the grey metal stairs to ground level. He’s
furious. With himself. With the sim that caught him out. With the
world. He wants to get away from here as fast as he can, away

24 STEVE WORL AND
from the scene of his latest, and greatest, failure. He strides past the
giant hydraulic rams that support the white, angular simulator. The
machine, built in 1977 for one hundred million dollars, was created
to test shuttle pilots in over 6000 malfunction and emergency sim-
ulations, and to do it with hyperaccurate cabin movement, sound
effects and visual representations. It was money well spent. Better to
buy the farm here than fly a shuttle into the ground for real and dig
a three-billion-dollar barbecue pit.
He realises, unhappily, that he is now, officially, that guy. Every-
one knows one: a guy who did the most interesting and meaningful
thing in his life when he was young. Judd is the one who flew into
orbit once but never did it again, the aerospace equivalent of a one-
hit wonder.
The harsh fluorescent lights get in his eyes as he moves along the
ground-floor corridor, kick-starting a pain behind his right temple
that he knows will become a migraine within the hour. He should
deal with it now, head it off with a tablet of Zomig, get out of the sti-
flingly hot, bright-orange flight suit and take a shower. He doesn’t.
He shoulders open the nearest exit and steps outside.
As he leans against the side of the building a light breeze makes
his head feel a little better, but the migraine is still coming. He unzips
the flight suit, reaches inside and pulls out a zippo and a Marlboro
softpack. There’s one crumpled cigarette inside. He slips it in his
mouth and flips open the lighter. He knows the cigarette will make
him feel better, but only for seven seconds. That initial draw of
smoke, mixed with the lingering aroma of zippo fluid, is heaven.
Then it’s all downhill. He’ll feel sweaty and nauseous and anxious
about dying of cancer, but those first seven seconds, well, they were
just the ticket.
‘You can’t smoke in a flight suit.’

V ELOCIT Y 25
He turns. It’s Severson, trying to lighten the mood.

‘Oh, fuck off.’ Judd exhales, turns to Severson with an apolo-
getic grimace. Severson nods an acceptance, does not take offence.
Judd rubs his temple, the unlit cigarette jammed between his
teeth. ‘Well, we’re dead.’
‘I know, and I was a helluva guy. How’d you like my perfor-
mance as unconscious copilot number one? I thought it delightfully
subtle.’
‘Sorry, missed it. I was too busy crashing a space shuttle.’ Judd
turns and stares into the distance, still perplexed by the turn of
events. ‘Christ, how did I let that happen?’
He thinks about it and his hands ‘go Rubik’, which means they
face each other and pivot, as if working an invisible Rubik’s cube.
He does it unconsciously whenever he’s trying to figure something
out. ‘I mean, Jesus. Autoland failure? Really? It’s the simplest thing
to fix.’
Severson nods. ‘Well, yeah.’
Judd knew exactly how to remedy the situation but he’d frozen.
Actually, it had been more like total brain lock.
‘Everyone’s going to find out.’
Severson nods slowly. ‘They probably know already.’
It’s true. News, especially bad news, specifically bad news about
an astronaut, travels fast on the NASA grapevine. There are many
astronauts and they’re very competitive, always looking for the
advantage. It’s worse than dog-eat-dog. It’s ‘winner dog gets to fly
into space while loser dog gets to show the honourable congressman
from Dickweed, Nebraska to his seat at the launch’. Judd knows
that if you want to pilot the shuttle you have to prove yourself above
and beyond. Crashing the simulator, even once, won’t cut it. This
was number three for Judd.

26 STEVE WORL AND
‘They handed me the keys to the castle and I dropped them in

the moat.’
Severson exhales. ‘Pretty much.’
Today had been Judd’s final latte at the last-chance cafe. The
crew for the last mission, slated to launch in mid-2013, won’t be
announced for another two weeks. The end date for the shuttle
program had originally been late 2011, but the Obama administra-
tion had extended it for two years. There were ‘misgivings’ about
relying on the Russians to safely transport NASA astronauts to
the International Space Station, considering the countries’ strained
relations over the US-backed missile shield in Poland and Putin’s
predilection for rigging elections. But now Judd’s final opportunity
had evaporated because he’d screwed the pooch.
He flips opens the zippo, dinged and scarred so the brass shows
through. It had belonged to the legendary Deke Slayton, one of the
original Mercury 7 astronauts. At least that’s what the description
said on the eBay auction.
Severson looks at him. ‘Thought you quit?’
Judd slams his thumb down on the zippo’s wheel but it doesn’t
ignite. He tries again. No sale. Not even a spark. No sign of life, like
his career. Judd snaps the zippo’s lid shut, frustrated. ‘I did.’
Judd stares at the ceiling. He can’t sleep. He blames Richard Nixon.

Judd’s paternal grandfather, who lived alone, deep in the woods
of upstate Michigan, and never met a conspiracy theory he didn’t
like, once told his young grandson that if he ever needed to discover
the root cause of a problem he should examine every step that lead
up to it and ‘work it backwards’.
Grandpa Bernie swore by ‘work it backwards’ and used it to

V ELOCIT Y 27
answer all manner of questions, from who’d been siphoning gas

from the tank of his Chevy pick-up (the Johnson kids from down
the way), to who really shot John Lennon (novelist Stephen King,
apparently).
So, as Judd tries to work out why he can’t sleep, he dusts off
Grandpa’s old chestnut and decides to work it backwards.
So why is Tricky Dicky to blame for his sleepless nights?
Work it backwards.
Judd can’t sleep because his career is on the skids. Actually, that’s
too kind. His performance in the simulator today was the straw that
gave the camel lumbago.
Why is his career on the skids?
He lost his nerve.
Why?
Backwards once more.
He saw his best friend die as Columbia broke up on that brisk
February morning and now he’s afraid. The fear crept up on him,
slipped in through a side window, just a little at first. He became
used to it, made allowances for it, didn’t realise it was growing,
infecting his every decision, until he could no longer make one. It’s a
surprise to him because he’s never felt anything like it before.
Why is Judd afraid?
Backwards.
He doesn’t trust the machine.
Why?
The shuttle is unsafe. He watched it break apart and kill his best
friend.
Why is the shuttle unsafe?
It is a flawed design.
And why’s that?

28 STEVE WORL AND
Backwards once again.

Because Richard Nixon made it that way. After basking in the
success of the Apollo moon landings between ’69 and ’71, gladly
accepting plaudits for something he had nothing to do with, the
president felt, incredibly, that the public had grown bored by the
feat of safely transporting human beings to and from another world
and that the political advantages of manned space flight had been
exhausted. Simply, he didn’t think space travel was worth the money.
So he made a decision that, at the time, was obscured by the fog
of the Watergate investigation and allowed the Senate to slash the
NASA budget.
Nixon also thought he might have trouble with McGovern in
the 1972 presidential election. He felt he needed votes in the Sun
Belt, where most of the aerospace industry was located. Without a
new NASA mission there would be no new technology to design and
build and test. Massive job losses, and the attendant political fall-
out, would follow.
So he decided to spend the minimum necessary on NASA’s
next endeavour: the space shuttle. Instead of an intelligent design
that would cost more to develop but would be cheaper and safer
to use, he allowed Congress to choose the opposite – a design that
was cheaper to build but more expensive and dangerous to oper-
ate. So the space shuttle, complete with solid rocket boosters and an
expendable external tank, was born.
The alternative – a totally reusable space plane that would fly
the shuttle close to orbit, launch it, then return home under its own
power, just like a passenger jet – didn’t employ the frail solid rocket
booster that could burst an O ring and burn a hole in the external
tank (the cause of the Challenger explosion), and it didn’t use a frag-
ile external tank that could shed foam at lift-off and punch a hole in

V ELOCIT Y 29
the shuttle’s wings (the cause of Columbia’s break-up), but it wasn’t

the one chosen.
So it’s Richard Millhouse Nixon’s fault Judd can’t sleep.
But is it really? How did Nixon even become president? Wasn’t
there a viable alternative?
Yes.
Backwards one last time.
Chappaquiddick.
Ted Kennedy’s failure to navigate a wooden bridge while driv-
ing a young teacher home on Chappaquiddick Island. His inability
to save her from the upturned car in Poucha Pond. And his decision
not to alert police about it for ten hours.
Without Chappaquiddick, Teddy would have run for presi-
dent in 1972 and won. As president, even considering the Senate’s
pressure to cut NASA’s budget, he would not have skimped on the
funding NASA needed to build a safe spacecraft. After all, NASA’s
challenge to land on the moon by the end of the 1960s was his
brother’s greatest legacy.
So Judd blames Ted Kennedy for not being able to sleep.
He pulls himself up in bed and looks around. He knows that
wasting time with idle conjecture is just his way of distracting him-
self from the truth of his life. Just enough moonlight steals in through
the blinds to illuminate the bedroom he’s shared with Rhonda for
the last decade. He finds no joy in the pictures and commendations
proclaiming his past success. He wishes he did.
Rhonda. She’s working late tonight, won’t be home for a while.
He takes a swig of water from the bottle on the bedside table,
grabs the remote control and flicks on the TV. CNBC news flickers.
The voices, like white noise, sometimes help him fall asleep
on nights like these. He turns over, buries his face in the pillow.

30 STEVE WORL AND
He hears fragments. A jet was stolen from an air-force base in

Arizona. He doesn’t think anything of it as he closes his eyes and
wills himself towards the land of nod.
Rhonda quietly eases open the front door, then just as quietly eases
it shut. The Ghost and The Darkness greet her and immediately
slump onto their sides in a plea for affection. She’d heard ragdoll
cats had a dog-like demeanour but she’s constantly amazed at how
gregarious they are. She kneels, tickles their bellies and does her best
cat-lady whisper: ‘Ooo, hello there, my little fatties.’ She checks they
have enough food and water in their bowls then turns to climb the
staircase.
‘Hey.’ Judd stands in the half-light on the landing above.
‘Hey. Didn’t wake you, did I?’
‘No, no. Couldn’t sleep.’
Couldn’t sleep. She knows that’s code for I want to talk. She lets
the words hang, unaddressed, then climbs the stairs. As she passes
by she leans in and gives him a kiss-hug. ‘I’m bushed, got a killer day
tomorrow. Up at four-thirty. I might sleep in the guestroom. I need
a solid five and you were a bit restless last night.’
‘Was I? Sorry ’bout that.’
She continues up the stairs.
‘Things didn’t go too well in the sim today.’
She stops, breathes out, turns to him with a sympathetic expres-
sion.
‘You know, it’s just, I can’t seem to get it right. I used to be really
good at this stuff . . .’ He trails off.
‘I want to hear all about it, sweetie, but I need to get some sleep.
Can we talk about it tomorrow?’ She stifles a yawn.

V ELOCIT Y 31
He looks at her, then nods. ‘Sure. That’s fine.’

That’s not fine, she can see that much even in the half-light.
‘Okay. Night.’
‘Night.’ Rhonda continues up the stairs, feels awful at blowing
him off, but relieved too. She has not the time nor energy for another
extended dissection of his career tonight.
Judd watches her go. She pulled the ‘sleepy face’, the one where
she crinkles her mouth into a yawn, one eye half-shut, and feigns
tiredness. It didn’t look anything like a genuine yawn but it served
its purpose. It was her I-don’t-want-to-talk expression and when she
flashed it Judd knew better than to attempt conversation. It hadn’t
always been this way. There was a time when they would stay up
half the night talking about anything, everything. That hasn’t hap-
pened for a long while.
When Judd first met Rhonda, during a NASA ‘meat & greet’
barbecue, she was the toothy young blonde student from Caltech.
She asked Gordo Cooper, another of the original Mercury 7 astro-
nauts, a vexing question about fluid dynamics and their application
to the design of the Mercury capsule. Judd was instantly smitten.
Lucky for him, once they’d had their first date, so was she.
They worked well as a team, shared information freely, filled
in each other’s knowledge gaps, bolstered each other at every turn.
They were the epitome of one plus one equals eleven. That their
work schedules were extreme beyond anything they’d previously
experienced only made the relationship more intense.
Even though Rhonda had started at NASA before Judd, his
career ascended first. She was sure, and he agreed, that it was
because he’d been a naval aviator – a bias carried over from the
early days of NASA, when every astronaut was a male from the ser-
vice and the idea of a female civilian scientist like Rhonda flying into

32 STEVE WORL AND
space was only possible in the realms of science fiction. That Judd
was chosen ahead of her to pilot the mission to the International
Space Station only fired her up, motivated her to do better. The com-
petition between them was cordial yet fierce and added a similar, not
unwelcome frisson to their bedroom. It was the best time of his life.
That all changed in 2003. One of the astronauts aboard
Columbia had started his NASA career at the same time as Judd.
The two had worked side by side for three years and bonded during
the shared experience of doing something only a handful of people
ever do. They were each other’s confidants and comrades and then
Columbia broke up and, just like that, Judd had lost his best friend.
Judd slides back into bed and stares at the ceiling. It wasn’t long
after the loss of Columbia that he first noticed Rhonda would peri-
odically drift away from him, become remote in mind and spirit, if
not body. It didn’t happen that often, and when it did she wasn’t
gone for long. He attributed it to the stress of work and didn’t worry
too much about it. She always found her way back to him.
But over the past few months her remoteness had become more
frequent and lasted longer. Whatever kept them connected – a
shared history, a shared ambition, a shared house, a shared bed –
it now stretched longer and thinner with each absence. As he rolls
over to find sleep he wonders how long it will be before it breaks.

3
‘You. Stay. Here. This is very important so let me repeat it so it’s per-
fectly clear. You. Sta-a-ay. Here.’ Corey Purchase sits in the doorless
cockpit of the small, beaten-up Huey OH-6A Loach helicopter and
stares at the passenger in the seat beside him. ‘Don’t give me that
face. I can’t have you in there making a scene, okay? Sta-a-ay here.
Are we clear?’
The recipient of the lecture is not a wilful child or a recalcitrant
teenager but a strikingly homely blue heeler named Spike. He’s a
large white dog who looks like he’s been splattered with navy-blue
paint but never hosed off. He barks.
‘Okay. Good.’ With a nod, Corey turns to exit the cockpit, then
stops. ‘I don’t need to tie you up, do I?’
A bark.
‘I’m not having this conversation now.’ He points at the animal.
‘Stay.’
The tall Australian pilot slides out of the day-glo-yellow, tear-
drop-shaped chopper and turns to a small, decrepit building at
the edge of a desert. A single-engined Beechcraft and an old Bell
Jet Ranger helicopter are parked in a sandblasted hangar nearby.
In the middle distance, two passenger jets, a Boeing 737 and an
Airbus A320, are parked beside a runway near a simple termi-
nal building. This dusty little aerodrome is Alice Springs Airport,

34 STEVE WORL AND
gateway to Australia’s Northern Territory.

Corey does his best to pat off the fine film of red dust that covers
his clothes, which include a faded blue T-shirt, Levi’s 501 and black
Justin boots. He pushes his Randolph Engineering sunglasses to the
top of his head, revealing blue eyes, then enters the building through
a grubby glass door, propped open with a milk crate in the hope of
encouraging air circulation in the sweltering heat.
The building doesn’t look any better on the inside. At the rear
of the long, basic office three men play poker around a small card
table, the ceiling fan above working overtime. Corey forces a grin
and approaches the warped and buckled reception desk that cuts
the space in two. ‘Fellas.’
The first guy, Harry Kelsy, a tub of lard in his mid-forties, ignores
him and keeps his eyes on his cards. The second guy, Roy McGlynn,
thin, thinning and thirty, glances at Corey, releases a ‘woof’ under
his infamously pungent breath, then looks back at his cards.
Corey ignores them and pushes on. ‘Les, can I have a word?’
The third guy rises from the card table. In his mid-fifties, Les
Whittle has a pinched and unhappy expression until he smiles,
which he does for Corey. ‘Sure, what’s up?’
‘Sorry to disturb. Look, I was wondering if – if there was, if you
could see your way clear to maybe throw a little work my way?
If you have anything spare. Sightseeing, or runs out to the remote
communities, whatever’s going.’ Corey tries his hardest not to sound
desperate.
Les considers the request. ‘Aren’t you workin’ for Clem Alpine
at the moment?’
‘Been doing some odds and ends for him but it’s —’
‘Woof.’
Corey ignores Roy. ‘It’s not really making ends meet —’

V ELOCIT Y 35
‘Woof.’
Les turns and fastens Roy with that pinched and unhappy
expression. Roy doesn’t meet his eyes, just studies his cards. Les
turns back to Corey. ‘Sorry ’bout that. Look, this is difficult. You
know I’m subcontracted by the operators.’
Corey nods a little too eagerly. ‘Yeah. Sure.’
‘So the problem is, if I hire pilots they don’t want then they don’t
hire me.’
‘It happened once. Once! Three years ago. Can’t they get past
it?’ The desperation finally shows.
‘Everyone remembers it, mate.’
‘I know, but jeez. Maybe you could talk to them? I guarantee it
won’t happen again.’
Roy pipes up. ‘No one wants the crazy dog guy flying them
around. It’s not that difficult to understand.’
Tub-o-lard Harry adds his two cents. ‘Maybe his dog could
explain it to him —’
‘Woof!’ This bark doesn’t come from Roy. They turn.
It’s Spike, standing by the open front door.
Mortified, Corey moves to him, his voice a low, hard whisper.
‘I told you to stay in the chopper. Get out!’
Spike barks.
‘I don’t need your help.’
‘I think you need a lot of help.’ Harry twirls his finger beside his
head in case anyone didn’t grasp the mental health inference.
Spike leaps over the reception desk in one muscular bound,
flies past Les and lands in front of the card table where Harry and
Roy sit. Teeth bared, a sinister growl emerges from deep within the
animal.
Harry and Roy leap from their chairs and take refuge behind

36 STEVE WORL AND
the table. ‘Get that mongrel out of here!’ Over the course of the
sentence Harry’s panicked voice rises an octave.
‘Spike!’
The dog turns, barks at Corey.
‘Get behind!’
Spike turns back to Harry and Roy and growls again.
‘Now!’
The blue heeler pivots, leaps the counter and takes up a position
behind his master. Suddenly it’s very quiet. Corey looks at Les, mor-
tified by the turn of events. ‘Sorry about that – I – please don’t let it
affect —’
‘You should probably leave, mate.’
Corey nods resignedly. ‘Yep. Probably should.’ He doesn’t want
to. He wants to stay and persuade Les to hire him. Unfortunately,
the pinched and unhappy expression tells him it’s not going to
happen.
Corey turns and heads for the exit. Spike growls at Harry and
Roy one last time then follows him through the door and outside
into the vivid afternoon light. They crunch across the red earth to
the day-glo-yellow Loach.
Spike barks.
‘Yes, I’m pissed off. I had it under control. I was guaranteeing
it would never happen again and then you turn up and it happened
again!’
He climbs into the chopper and Spike jumps in beside him.
Corey begins the process of firing up the turbine then stops, slumps
back in the seat and runs a hand through his short, mouse-blonde
hair. ‘Man.’
A bark.
‘Because I’m too pissed off to fly right now, is why.’ Corey

V ELOCIT Y 37
watches the sun as it gently slips behind the horizon, astonished

he’s reached this low point. ‘These are meant to be the best years of
my life.’
But they aren’t and the reason is panting on the seat beside him.
Soon after buying Spike as a pup three years before, for the not
inconsiderable sum of $215, Corey realised he could speak to the
animal. Now ordinarily, speaking to dogs was no big deal, people
did it all the time. What set Spike apart was that he answered back.
At first Corey wasn’t sure what to make of it. No one else seemed
to know what the dog was saying, yet Corey understood him per-
fectly. Corey thought he might have some kind of ‘brain issue’ so he
went to see his doctor on Bath Street, who ran all manner of tests
and took X-rays and scans, all of which came up negative. The first
doctor referred him to a second, who asked him all sorts of weird
and quite frankly inappropriate questions, some about his long-
dead parents. After five visits the second doctor was still unable to
come up with an explanation, so Corey stopped worrying about it
and quit going.
He liked the dog and enjoyed the conversations. Then Cameron,
one of his oldest mates, noticed what was going on and asked him
about it. Corey, who always believed truth to be the best policy,
explained the situation. Bad idea. Perhaps his worst ever and he’d
had some shockers. His life was never the same again.
Alice Springs is a small town and Corey quickly became known
as ‘that crazy dog guy’. Suddenly everyone was giving him a wide
berth. He was shunned, and it was both upsetting and depressing.
Then things took a turn for the worse.
Corey’s bread and butter was flying tourists around the Northern
Territory. He was a safe, reliable pilot who was frequently hired
by Les, who in turn was contracted by the small group of tourist

38 STEVE WORL AND
operators who worked out of Alice Springs Airport. On a flight to

Uluru, the big red boulder that used to be called Ayers Rock, Corey
was carrying a group of four elderly Rotary Club members from
Illinois. Spike wanted to see the rock so Corey decided to bring him
along, for the first time on a work flight. He’d have to sit in the front
and keep quiet, but it wasn’t a long trip so Corey was sure it would
be fine.
Another bad idea. The Jet Ranger Corey was flying developed
turbine trouble halfway to the rock and during the emergency Corey
held a quick conversation with Spike about procedures if they crash
landed, which they did. One of the Rotarians broke a hand and the
other three were a little bruised and scratched up, though it would
have been much worse if not for Corey’s expert handling of the situ-
ation. Unfortunately the injured Rotarians linked his conversation
with the dog to the accident, even though shoddy maintenance work
performed by one tub-o-lard Harry Kelsy was to blame.
Disaster didn’t strike until the Rotarians arrived back in Illinois.
Instead of thanking his lucky stars it hadn’t been worse, the Rotarian
with the broken hand tapped out a stern letter about the ‘crazy dog
guy’ pilot and sent it to the travel agent who had booked their out-
back tour. It probably would have ended there except the travel
agent was the largest operator in the Midwest and its CEO was a
dyed-in-the-wool Rotarian.
Subsequently, Les Whittle and the other flight contractors were
warned to keep ‘that crazy dog guy’ away from tourists in the future
or they wouldn’t be hired again. The operators readily complied as
they couldn’t afford to alienate the Americans who sent them over
half their business.
So, just like that, Corey’s career flying tourists was done and
dusted. Since then he’s had to scrounge for work wherever he could

V ELOCIT Y 39
find it. At the moment that meant occasionally mustering livestock

or moving hay bales for Clem Alpine on his cattle station, and he
only had that job because no one else wanted to work for the cranky
old coot.
Corey knows he could have made his life easier if he had lied
when first asked about Spike. He could have kept quiet and hid it
from view. The problem with that is that he didn’t like to lie, so on
the rare occasion when he did it didn’t come naturally. He could
never keep track of who he’d told what to and was inevitably caught
out.
Spike barks.
Corey drags his eyes from the burning horizon and looks at the
dog. ‘I know, mate. Apology accepted.’
The dog barks again.
‘Yeah, let’s go home.’ Corey works the controls and the Loach’s
turbine screams to life. With a blast of red dust the little chopper
rises off the desert and thumps towards that blazing horizon.
Corey glances at the dog. He’d lost his friends and his job and
had been an outcast for three years because of this animal and yet he
would never think of getting rid of him, the irony being that Spike
was now the only one he could talk to who didn’t think he was
crazy.

4
Henri is flying by ear. Before departure Kelvin had disconnected a

series of circuits so the Galaxy would be invisible to commercial and
military air-traffic controllers and couldn’t be tracked. Unfortunately
that also means the jet is invisible to other aircraft. So, as it’s the
middle of the night and pitch black outside, the Frenchman listens
for the Galaxy’s Traffic Alert and Collision Avoidance System alarm.
The TACAS is set to its maximum range of 50 kilometres but
even that will give Henri little time to react if the alarm sounds. The
combined closing speed between the Galaxy and another jet will be
approximately 1800 kilometres an hour and he’ll have less than a
minute to disengage the autopilot and change course.
To minimise the chance of a midair collision the Galaxy is on
a track 3000 feet higher than the regular commuter corridors. It’s
not the commercial airliners that concern Henri, though. It’s the
rich guys in their Lears and Grummans, flying their own routes.
Slamming into Greg Norman’s G-V or John Travolta’s 707 as they
tool around the Pacific is not how Henri wants this night to end.
So he waits and listens for the alarm.
The Frenchman has the flight deck to himself as the others catch
some shut-eye in the troop compartment behind him. They deserve
the rest as they’ve had a busy few days. The Galaxy’s fifty-five-
minute hop from Davis-Monthan Air Force Base across the border

V ELOCIT Y 41
to Mexico was uneventful. With Davis-Monthan out of action and

the Galaxy out of US airspace within forty minutes, the authori-
ties had scant time to locate the jet, let alone attempt a shoot-down.
Henri was happy to confirm that over a decade after 9/11, America’s
air defences were as thin and porous as they’d ever been.
It was just past one a.m. when the Galaxy touched down in a
remote area north-east of Nuevo Casas Grandes, the Sierra Madre
Occidental looming to the west. The dusty, makeshift runway had
been prepped perfectly and Kelvin parked the Galaxy near the fuel
tankers Dirk and Nico had brought with them. For its next trip
the big jet would be filled to the brim. As the Galaxy was juiced
up Henri’s crew covered it with three enormous beige tarpaulins,
camouflaging the shape of the aircraft to match the arid landscape
as a precaution against a spy satellite identifying it from above.
Fuelling the aircraft took almost three times as long as the flight
from Davis-Monthan, but by sun-up it was done.
Henri then connected his MacBook to the internet via a satel-
lite phone. If he’d been surprised by the non-existent air defences
in the American south-west and the ease of their escape, he was
stunned by the lack of media interest in the Galaxy’s theft. The story
barely registered, and was greeted with an almost universal shrug
of indifference. That the aircraft could be used as an instrument of
mass destruction was raised on a handful of news websites, but it
seemed to Henri that America had become complacent about the
threat of another terrorist attack in the decade since 9/11. It didn’t
help that the air force, to save their blushes, played down the explo-
sion at Davis-Monthan, describing it as a fuel truck that had caught
fire then exploded during the theft. In the name of base security all
photography of the site was banned.
The story may have gained greater traction in the news cycle

42 STEVE WORL AND
if Lady Gaga hadn’t crashed her Mercedes AMG into Rihanna’s

Aston Martin while leaving the Viper Room that morning. Camera-
phone footage of the fender bender dominated news websites.
In comparison, the Galaxy’s theft just didn’t cut it. There were no
photographs or videos of the plane being taken, or of the damage
at Davis-Monthan. Without images, the story became just another
military screw-up in a long line of screw-ups that would be investi-
gated in due course by the relevant authorities. That was just how
Henri wanted it.
After sundown they removed the tarpaulins and the Galaxy took
wing with enough avgas in its tanks for the sixteen-hour journey
across the Pacific. Now, through the windscreen, Henri sees flecks
of light on the horizon that tell him the journey is drawing to an
end. It’s the first time he’s visited this country. He’d always planned
to take a holiday here with his wife, but, inevitably, something pre-
vented it. Then she was murdered.
He speaks into his headset’s microphone. ‘Okay, everybody up.
We’re here.’
Brisbane International Airport Security Officer Owen Solness has

lost his keys. And they’re not just any keys, they’re the keys to the
airport. He has no idea where he left them. He thought he may have
locked them in his Hyundai, but no, they’re not there.
He retraces his steps from the car, every scrap of rubbish in the
car park giving him hope they are about to be found, but, ultimately,
no joy. At least he has plenty of opportunity to look for them. At
this time of night Brisbane International Airport is a ghost town.
It’s the second thing that’s gone wrong tonight. Half an hour
earlier his mobile phone battery up and died on him. That’s no great

V ELOCIT Y 43
disaster. There’s only one person who’d be calling him. Deirdre.

Wanting to chat. Recently his fiancée’s calls have ended with a verbal
prod for him to work on his application to the Federal Police detec-
tive training program whenever he has a spare moment. It needs to
be lodged in two weeks. She’s right, of course, he should work on
it, but the application worries him. He’s better than he appears on
paper but he doesn’t know how to show it. The training program is
highly selective so he needs to find a point of difference, something
that will really make him stand out. He just doesn’t know what it is.
Kelvin banks the Galaxy over Moreton Bay. Through the windscreen
the main runway at Brisbane International Airport slides into view.
To Kelvin the word ‘international’ conjures images of a bus-
tling metro hub like O’Hare or Heathrow. But this place looks like
a hopped-up country-town aerodrome. The runway is empty and all
the lights are off. Henri’s man on the ground has monitored the air-
port’s aircraft movements for the last three months. From this Kelvin
knows the next flight is not due until six-fifteen a.m., almost three
hours from now. Until then they’ll have the place to themselves.
Kelvin drops the Galaxy towards the runway. ‘Make it short’ is
Henri’s sole command. It’s a smooth landing, as smooth as an air-
craft that weighs 181 500 kilograms empty can be. Kelvin quickly
pulls the jet up.
Henri points. ‘Left taxiway.’ Kelvin makes the turn, the Galaxy
moving at a fair clip, shuddering as it rolls across the imperfect
tarmac.
‘There.’ Henri points at a large hangar to the far left. The
Frenchman’s brusque economy with words is starting to annoy
Kelvin but he angles the jet towards it. He has no idea what’s inside

44 STEVE WORL AND
the hangar but he’s certain it won’t be good. He resolves to extri-

cate himself from this situation as soon as possible but appreciates
he must pick his moment wisely. He’s sure he’ll only get one chance
at an escape.
A howl and rumble cuts across the airport’s empty car park. Owen
glances at his watch, confused. The first jet to land each morning
is the FedEx DC-10 out of Honolulu and that’s not due for three
hours. He listens. This jet sounds different to the DC-10, its engine
note deeper, harsher somehow. He’s no expert but it doesn’t sound
like any jet he’s heard before. He decides to hoof it over to the pas-
senger terminal, which overlooks the runway, and take a peek.
Kelvin eases the Galaxy to a stop 30 metres from the hangar. Henri
turns to Dirk, Nico and Cobbin behind him. ‘You know what to
do.’ They nod, stand and move out. Henri’s eyes move to Kelvin.
‘Raise the visor and kneel.’ He nods and works the controls.
The sharp whine of hydraulics pierces the night as the visor, the
Galaxy’s nose section, unlocks from the fuselage and rises, like a
ghoul peeling off its face to reveal an empty skull behind.
Dirk Popanken, a towering, blond German in his late forties,
stands at the mouth of the aircraft’s cargo bay. Beside him is Nico
Trulli, same age but a short, dark-haired Italian.
They stare down at the lean figure of Claude Pascal, who
stands inside the open hangar as its roller door trundles open. The
Frenchman grins at the sight of his old friends.
Within seconds the Galaxy’s visor is fully open and the aircraft’s
nose gear retracts into the wheel well with a low moan. The front

V ELOCIT Y 45
of the aircraft kneels, tipping its gaping maw towards the tarmac.
It looks like the jet is curtsying. Nico works a hand controller and
the ramp in front of him extends, its servos complaining all the way.
The ramp gently touches the tarmac and locks in position, creates a
direct roadway into the belly of the aircraft.
Dirk and Nico trot down the ramp and the German greets
Claude with a clap on the shoulder. ‘Good to see you, Claude. How
are you?’
‘Well. Very well. So we’re speaking English?’
Dirk nods. ‘The commander prefers it.’ The multinational com-
position of Henri’s crew means English is the only language everyone
fully understands.
Nico loops an arm around the Frenchman. ‘Is everything set?’
‘Absolutely. This way.’ He turns, leads them towards the open
hangar. ‘How is the commander? Is he pleased with preparations?’
Nico smiles. ‘You worry about the old man too much. You only
have to remember one thing: if you’re alive then he’s happy with
your work.’
The anxious Claude doesn’t find it funny. ‘So, what’s the job?
Has he told you anything?’
‘All will become apparent in the fullness of time.’
Henri appears behind Claude, dressed in jeans and a black crew-
neck. He looks younger out of the flight suit.
‘Of course, Commander. I didn’t mean to —’
‘It’s fine, Claude. Where are they?’
‘This way.’ Claude turns, leads them into the brightly lit hangar,
where they see them, sitting on the cement floor.
Two Tigers.
The Tiger MBH is a state-of-the-art, two-crew, multi-role battle-
field helicopter. Its stealthy design incorporates a composite airframe

46 STEVE WORL AND
to minimise radar cross-section and its integrated suite of sensors

includes the Top Hawk target identification and acquisition system.
Its weapon package combines 30-millimetre Giat guns and missiles
capable of defeating all current and projected armoured vehicles.
And they’re black, Henri’s favourite colour.
After being built on this site by Pacificspatiale, a division of the
French-owned Aérospatiale, both Tigers were packed, racked and
stacked, ready to be shipped on pallets to the Australian Army’s
Aviation Centre in Oakey later that week. Once there, they would
undergo final assembly before entering service. At least that was the
plan. These choppers will never make it to Oakey.
Henri turns and smiles his half-smile at Claude. ‘Well done.’
Claude grins. Henri’s content, so that justifies the twelve months
he spent employed at Pacificspatiale as a member of the flight test
team, and the two security guards he’d terminated earlier this even-
ing to gain access to the Tigers.
Henri nods at the Volvo tractor parked by the far wall. ‘Okay,
let’s get them into the Galaxy.’
Owen sprints across the wide, unlit passenger terminal and pulls
up at the main window. He scans the runway with his mini Nikon
binoculars and searches for the aircraft that just landed. It doesn’t
take long to find. It’s a C-5 Galaxy, one of the largest jets to ever fly,
parked near a hangar at the far end of the airfield.
‘Christ.’ He knows immediately that it’s the one stolen from that
air-force base in America a few days ago. He’d seen the FAA bulletin
alerting airports worldwide to the big jet the Yanks had misplaced
and would kindly like returned. The tail number matches the one
quoted in the email.

V ELOCIT Y 47
Owen’s chest tightens, not because he’s scared but because he’s
excited. He realises that if he plays it right this can be the point of
difference that sets him apart from all the other applicants to the
detective training program.
His right hand moves to the holstered Glock pistol on his hip.
He touches its handle, mustering the courage to do what he must do
next. He turns and runs.
Cobbin stands under the Galaxy’s tail and surveys the airport, an
RPG-7 in the open canvas bag at his feet. The thirty-year-old Brit is
itching to use the grenade launcher. There’s just one problem. There’s
nothing to fire it at, no sign of anyone, anywhere. He was expecting
a security force of some type, but no. He waits with interest to see if
any turns up.
It’s quick and painless. They’re a tight fit but within five minutes all
three pallets, two containing the choppers and one their armaments,
are secured within the Galaxy’s hold.
Kelvin works on the pallet closest to the open nose of the Galaxy.
He throws a strap over the chopper’s tail section then shifts position
to tie it down on the opposite side. He squeezes between the fuse-
lage and the pallet, grabs the strap to thread it through the ring in
the floor and stops.
He’s alone. No one can see him. He turns, looks out the open
visor. This is his chance. Five steps and he’s out of the aircraft,
another forty and he’s in the hangar. He can then pass through the
building, make it to the road beyond and steal a car.
Except he doesn’t know the way through the building, or if

48 STEVE WORL AND
there’s a road beyond, or how to steal a car. He’ll be dead before

he reaches the hanger. A bullet in the back from Henri or Cobbin
or Dirk is not how he wants his life to end. He puts the plan out of
his mind and ties off the strap.
He finishes and looks up. There’s still no one around. He glances
out the open visor again. The hangar is just there. So close. Even
though the plan is half-arsed he’s going for it! Tingling with
excitement he takes three steps —
Henri steps from behind the pallet and blocks his path. Kelvin
tries not to appear surprised. He fails.
‘Return to the flight deck and report to Claude.’
‘Will do.’ Kelvin turns to the crew access ladder. He can feel
Henri’s eyes drill into his back. The only consolation is that it’s bet-
ter than a bullet. He scales the ladder to the flight deck, settles into
the pilot’s seat beside Claude and turns to him with a forced smile.
‘So, where to?’
Owen’s feet slip on the polished floor as he sprints past the check-
in area. He overbalances, throws out an arm, stays upright, powers
on.
He has no misgivings about his course of action. Terrorists could
be on that plane, actual terrorists. At his airport. If he can single-
handedly pull off something heroic today, like taking them into
custody, or thwarting whatever they’re doing at the hangar on the
far side of the runway, then that will make his selection to the detec-
tive training program a formality. A formality!
He aims at the far side of the building and lifts his pace.

V ELOCIT Y 49
The Galaxy’s turbofans run up as it swings around. Its right wing

narrowly clears the front of the hangar, then it rolls towards the run-
way, its jet wash whipping up a blizzard of dust.
From the shadows beside the building, Henri, Dirk, Nico and
Cobbin watch it go. Henri had entrusted Claude to deliver the
Tigers and he’d succeeded admirably. It again vindicated his belief
that he should never micromanage his crew. All he needed was to
pick them well, train them correctly, give them a clear goal and set
them on their way. ‘Okay, let’s get ready.’
From a canvas bag Cobbin draws out an RPG-7 grenade
launcher and passes it Dirk. He does the same for Nico, then takes
a third for himself. They raise the weapons to their shoulders. Dirk
points his to the left, towards a security gate 500 metres way. Nico
points his to the right, at the corner of the main terminal building,
another gate concealed behind it. Cobbin’s is ready to be aimed
wherever it is needed.
Henri pushes a pair of small Nikon binoculars to his eyes and
focuses on the Galaxy as it trundles towards the runway.
Owen sprints. His lungs burn and he feels like he’s about to be
sick. He hasn’t run this far in the decade since he left school.
He’s suckin’ in the big ones as he leaps down a flight of stairs and
lands at the bottom of a stairwell. He drags a keycard through the
reader, punches a four-digit code into its keypad and pushes the
door open.
The howl of the Galaxy’s turbofans echoes across the airport.
Owen looks through the chain-link security gate to his left and
sees the jet is on the move. It rolls towards the end of the runway,
lights blinking in the dark, illuminating its hulking outline.

50 STEVE WORL AND
He has to stop it from taking off. He guesses pumping a few

bullets into an engine or two will bring proceedings to a screech-
ing halt. He’s never fired his weapon on duty but this seems like the
perfect time to start. Of course, before he can fire anything he must
first pass through the security gate. He races towards it.
‘Movement. Left gate.’

Henri sees a uniformed guard run towards the security gate.
Dirk, Nico and Cobbin swing their grenade launchers towards him,
take aim.
Henri flicks the binoculars right, to the Galaxy as it rumbles
towards the runway’s threshold, then pulls them back to the uni-
formed guard.
‘If the gate opens, firing order is Dirk, Nico, Cobbin.’
They each squeeze the RPG-7s’ triggers.
‘On my mark.’
Owen swipes his keycard through the security gate’s reader and
punches the four-digit code into its keypad. The gate has a triple-
lock security system. Swipe the keycard. Enter the code. Insert the
key and turn. He reaches for his keys . . .
‘Oh fuck!’
He lost them earlier. He grasps the chain-link in frustration,
watches the Galaxy leisurely roll away.
A moment later the whine of its turbofans twists into a high-
pitched roar. Through the locked gate Owen watches the jet sweep
past then lift into the black sky.
He’s in no rush to get on with the rest of the day. He knows that

V ELOCIT Y 51
a member of the public, some anal plane-spotter, will call one of the
local radio or television stations and report seeing the stolen Galaxy
arrive or depart the airport this morning. It might take until mid-
afternoon but his superiors will eventually realise that he somehow
let the jet land then take off without, at the very least, alerting any-
one. He’ll be unceremoniously fired. It’s not the point of difference
he was looking for, but it’ll make damn certain his application to the
detective training program is dead on arrival.
All this will happen because he lost his keys. It will never occur
to him that those lost keys are the only reason he’s still alive.
Henri watches the Galaxy disappear into the night. ‘Let’s go.’ The
four men move quickly. They wipe down the RPG-7s, deposit
them in a dumpster beside the hangar, navigate the airport build-
ing using the keycard and numeric codes in the envelope supplied
by Claude, then make their way to the white Citroën C4 parked on
the street outside.
Dirk drives as Henri leans back in the passenger seat and gazes
out the window at the streetlights that whip past overhead. It’s
hypnotic. The Tigers are safely ensconced in the Galaxy’s hold,
on their way to their destination, just as planned. Tonight has
gone well but it will only become more difficult from here. He must
stay the course. He must not falter. He owes his wife that much —
‘Commander?’ Dirk’s voice wrenches Henri back into the pre-
sent. ‘Is everything in order?’ The German gestures to the glove
box. Henri opens it and finds it stacked with documents. He picks
them out and flips through them, nods to Dirk. Claude has pro-
vided everything they need for their next journey.
The Citroën takes a right turn into Brisbane International

52 STEVE WORL AND
Airport’s long-term parking station. It certainly will be long.

They’ll never return for this vehicle.
Three hours and forty minutes later Henri, Dirk, Nico and Cobbin
have checked in, passed through immigration and now relax in
the Qantas Club. From the leather sofas they watch the distant
Pacificspatiale hangar on the far side of the airport. Only now, long
after the fact, does there seem to be any activity around the hangar.
Aboard the 747 ten minutes later, Henri pulls down the window
shade beside his business-class seat, sets the GMT-Master his wife
gave him to the time of his destination, slips on an eye mask and set-
tles in. He has many hours to sleep, and dream of her.

5
Someone has to cook the meals and clean the house and wash the
clothes and pay the bills and feed the cats. Rhonda can’t do it, she’s
too busy preparing to command Atlantis, and there’s no spare cash
to hire someone. Astronauts don’t get paid that much. So the job
falls to Judd as he doesn’t, currently, have a mission to train for.
Sure, he works in the Astronaut Office part-time and has a role in
the White Room during launches, but that still leaves him with a
relaxed schedule.
Judd opens the lid to the washing machine and dumps in today’s
load of dirty clothes.
Clink, clank, clunk. Something clatters into the machine’s
stainless-steel drum. He reaches in, snags it. It’s loose change. Six
coins. All quarters. They fell out of Rhonda’s jeans.
He continues to load the washing machine and doesn’t think
about the coins for another seven minutes.
Judd cuts his thumb as he chops up chicken for tonight’s din-
ner. At the sink he runs cold water over the gash and stares out at
the small back garden. The Ghost and The Darkness wrestle on the
grass, roll into the overgrown hedge, disappear from view.
Rhonda never wears jeans. Rarely, anyway. She doesn’t think them
appropriate for the office. They accentuate her hips too much. She
only wears them when she’s going out. When she wants to look good.

54 STEVE WORL AND
She wore them the day before yesterday. Saturday. She’d gone to
JSC for another meeting on the external tank’s foam-shedding saga,
the longest-running soap opera currently playing on the NASA
channel. The shuttle will be decommissioned and that problem will
not have been solved.
So she wore them on Saturday. Jeans were fine on a Saturday.
He continues to run his thumb under the cold water and doesn’t
think about the coins for another five minutes.
Judd has almost completed pruning the overgrown hedge in the
back garden. The Ghost and The Darkness rumble at his feet.
Why did she need six quarters? In all the years he’s known her
he’s never once seen her buy a chocolate bar or a bag of corn chips
or anything from a vending machine. She never eats junk food and
always carries her own water.
Why would she need six quarters?
He continues pruning and doesn’t think about the coins for
another three minutes.
Judd triggers the spray gun and waters the flowers. It rained earlier
but the flowers look like they could do with a little more hydration.
Rhonda never carries change in her pockets. It annoys her, coins
jamming into her thighs every time she sits down. And it’s not like
she doesn’t have a purse. She doesn’t need quarters for tollways and
she doesn’t need them for parking meters because everywhere she
parks is free, either at home or at JSC.
He can’t stop thinking about the damn quarters. What’s that
saying about idle minds? He can’t remember exactly but it has some-
thing to do with overthinking everything if you’re bored, and maybe
there’s something about the devil in there too.
The quarters were in her jeans. But she never wears jeans. Unless
she wants to look good . . .

V ELOCIT Y 55
‘No.’ He releases the spray gun’s trigger and stares at the rho-
dodendron in front of him, its petals bobbing under the weight of
water.
Judd drops the spray gun and strides into the house. His heart
thumps, his face suddenly flush and clammy. He finds his iPhone,
dials Rhonda’s number. Voicemail answers. He doesn’t leave a mes-
sage.
He grabs his wallet and keys, locks the front door behind him
and moves to the ’82 DeLorean parked in the driveway. It was fully
restored and upgraded by DMC Houston two years ago, and is
worth enduring every Doc Brown–Flux Capacitor–Marty McFly
joke. He slides inside but doesn’t feel better, the way he usually does
when he sits behind its wheel. Instead an icy sliver of dread turns
in his chest.
‘It can’t be.’
He starts the DeLorean to find out if it can.
Dusk.
Judd parks the DeLorean beside the curb. To his right is a park-
ing meter. It only takes quarters. This is the only street in Houston
he knows of that has yet to be upgraded to include a credit-card
payment system.
He still has Rhonda’s quarters in his pocket. They dig into his
thigh. He turns, looks across the quiet street at a parked Toyota
RAV4. Rhonda’s RAV4. There’s a parking ticket on its windscreen.
Guess she didn’t have enough quarters for the meter because she left
them in her jeans.
He’s not sure what to do next. He dials her number again,
glances at the time on his iPhone’s screen. 6.02 p.m. She told him

56 STEVE WORL AND
she’d be at JSC until seven. Yet there’s her RAV4 in the middle of a
leafy Houston suburb, nowhere near JSC.
Her phone goes to voicemail. Judd hangs up, opens the
DeLorean’s door and steps out. He takes four of Rhonda’s quarters
and slips them into the parking meter. It gives him half an hour. He
doesn’t think it’s going to take that long, whatever he’s about to do.
He walks towards the apartment block he’s been to just once
before. It was eight months ago and he was attending a forty-
sixth birthday party for Will Thompkins, short but good-looking
in a midget-Hasselhoff kind of way. He’s also an introspection-free
robo-exec with the easy charm and unblinking expedience perfectly
suited to the upper reaches of NASA management. He had been a
test pilot of some note and, oh yes, he’d piloted the shuttle. Twice.
He’s a frontrunner to take over the Astronaut Office, where crew
assignments are decided and careers are made and broken. His cur-
rent duties include managing the external tank’s foam-shedding
team. Rhonda’s been spending some time with him on that project.
Judd moves down a flight of wide steps to the apartment’s open
entrance. He pauses. Does he really want to do this? He can leave
now and go home. No one will be the wiser. Sure, Rhonda’s been
more distant that usual but that’s because she’s been busier than
usual. Or has she been more distant than usual because she’s been
getting busy with Thompkins?
He steps into the open walkway. It’s gloomy, the opaque saucer-
shaped lights overhead all but useless, the dark-grey astroturf still
wet from this morning’s rain. His heart thumps in his chest as he
devises a plan, tries to remember where he’s going.
He remembers. He moves down the walkway to the right, jumps
the waist-high barrier and drops into the garden below. He wades
through a row of big-leafed plants and reaches the corner of the

V ELOCIT Y 57
building. It has three levels with three apartments on each. The rear
balconies overlook a steep, grassy slope that drops away to a garden
30 metres below. An expansive view of downtown Houston is laid
out in front of them. Will Thompkins’ place is on the ground level,
third balcony along.
He moves past the first balcony. His feet skid on the narrow strip
of wet grass at the top of the slope. He grabs the balcony’s iron rail-
ing to stay balanced. One wrong step and he’ll slide straight down
the hill.
He takes baby steps, looks into the first apartment. The sliding
glass door is closed, the lights are off and nobody’s home. He edges
onwards, navigates the gap between balconies, reaches the second
apartment.
A tubby, middle-aged guy lies slumped on a sofa. He wears a
T-shirt but is naked from the waist down. He holds a Corona bottle
in one hand and a remote control in the other. The only light in the
room comes from the flicker of the television he watches.
Judd ducks down, inches along the balcony – and then he
hears it. Wafting towards him like pollen on a breeze. The Doobie
Brothers. Rhonda loves the Doobies. She always listens to seventies
West Coast yacht rock when she wants to relax. And unwind. And,
he remembers sourly, get busy.
Judd leaves the tubby guy behind and edges towards the third
and final balcony. ‘What A Fool Believes’ grows louder. He reaches
the last balcony and looks inside the apartment. The lights are low
and the glass doors are open. A long black leather sofa blocks his
view of the living room. He can’t see what’s happening but he can
hear faint voices over Michael McDonald.
A laugh. Her laugh. The laugh he fell in love with. The sound
jars. It’s strange to hear it when he isn’t the one making it happen.

58 STEVE WORL AND
Rhonda’s a serious woman, not humourless but, well, earnest much

of the time. She doesn’t just laugh at any old thing. You have to
work at it, so when she does laugh it means something. When was
the last time he made her laugh like that? He doesn’t remember but
it was a long while ago.
He grabs hold of the balcony’s railing and pulls himself up.
His feet slip on the grass but his arms take the weight and he peeks
over the railing. He can see her hand, draped across the back of the
sofa, the white-gold ring he gave her visible on her finger. He can’t
see anything else. The back of the sofa is too high. Leather creaks.
Something’s happening on the sofa.
Adrenaline takes over. Judd pulls himself up and over the rail-
ing, drops quietly to the balcony, crouches low, the back of the sofa
providing cover, and edges forward. What is this feeling in the pit
of his stomach? Fear, at the thought of losing the woman he loves.
He stands, to reveal his presence and learn the truth.
Rhonda lies on the leather sofa, head and shoulders propped up
by a pillow. She’s alone, reading a report. She shifts and the leather
creaks. In front of her the coffee table is a mess of paperwork.
Will Thompkins is in the kitchen, his back to her and Judd.
They’re in the middle of a conversation. ‘Think so?’
Rhonda doesn’t look up from the report. ‘Worth investigating.’
‘It just adds so much weight.’
‘— it might be the trade-off we need to make. There must be a
lighter compound in the works that could do it. If it had the right
elasticity it could be an option —’
Judd ducks down behind the sofa, unseen. Christ! There’s noth-
ing untoward going on. From the tone of Rhonda’s voice she’s deep
in work mode. That’s why she’s been distant. She’s been busy doing
her job! But then why are they at Thompkins’ place?

V ELOCIT Y 59
As if on cue Rhonda speaks: ‘Thanks for doing this. I’m sorry

about the conference room being double-booked this week.’
‘Not your fault.’
‘I’ll get going in fifteen. Judd’s cooking and I don’t want to be
late. We’ll have to pick this up after the mission. I won’t have time
before that.’
‘No problem.’
Judd again feels fear, but this time it’s about whether he can find
a way out of this. He’s made a huge mistake, except it’s neither a
mistake nor huge until somebody finds out about it.
He hears Will walk from the kitchen and sit on the sofa. Good.
It means they’re both facing away from him. Judd backs up until his
left heel touches the balcony’s railing. He stands and climbs over it
in one swift, silent movement, lowers himself to the ground below,
his arms taking the strain. His feet touch the ground and he holds
the railing tight; doesn’t want to take an inadvertent trip down the
hill. He waits a moment. No movement at the sofa. They didn’t hear
him. He’s going to get out of this! He turns to go, then stops dead.
The tubby guy is now standing on the next balcony, still naked
from the waist down. He sways from the effect of the Corona in his
right hand as he looks out at the twinkling lights of Houston and
takes a monster leak over his railing, making exuberant figure eights
in the air with the stream.
Judd draws himself into the shadow of Thompkins’ balcony as
the leak goes on. What’s the saying? You don’t buy beer, you just
rent it for an hour. Tubby finally runs dry, puts the Corona down on
top of the railing and makes to zip up his pants. Shocked to find he’s
not wearing any, he turns and walks unsteadily into the apartment,
presumably to find them.
Judd breathes out and edges his way past Tubby’s balcony.

60 STEVE WORL AND
Halfway along and everything’s going swimmingly. In his mind

he’s already navigated the balconies, vaulted back onto the walk-
way, hot-footed it to the DeLorean, high-tailed it home and plated
dinner —
‘Who the hell are you?’
Tubby has pulled on a pair of Y-fronts, albeit back to front, and
returned to the balcony to retrieve the half-full Corona from the
railing. He glares at Judd. ‘What the hell you doing down there?’
The sentence is shouted in a toneless slur, like he’s speaking while
listening to music on headphones.
Judd glances back at Will’s balcony, hopes they didn’t hear
enough over the music to prompt a trip onto the balcony. No one
emerges. Thank God for the Doobie Brothers. He gets moving.
Tubby doesn’t like it. ‘You’re trying to rob me!’ His voice is very
loud.
‘I’m not robbing anyone.’ Judd keeps his low.
‘This man’s a-robbing me!’ Now the guy is shouting.
‘Shhh.’
‘Don’t shush me!’
Judd keeps moving. There’s no greater waste of time than argu-
ing with a drunk. You’ll never change their mind, and even if you do
they won’t remember it in the morning.
‘Nobody shushes me!’ Tubby lunges at Judd, grabs a handful of
collar. Judd karate chops his wrist and the guy lets out a yelp that’d
make a schoolgirl blush. ‘Don’t let him get away!’ He shouts it as if
to a crowd.
Judd moves fast. He wants to put as much distance between
himself and Tubby as quickly as possible. Unfortunately he can’t
move too fast, the ground is slippery.
‘What going on?’ Christ, that’s Thompkins’ voice.

V ELOCIT Y 61
‘He’s robbing us!’

Judd ups his pace, reaches the last balcony.
‘Call the police.’ Oh, man. That’s Rhonda. Her voice cuts
through him like a knife. He instinctively ducks his head.
‘I’m on it.’ That’s Thompkins.
‘Fast, h-he’s getting away.’
Judd shuffles along the last balcony. He’s ten steps from the
camouflage of those big-leafed plants. Seven steps. Five. Almost
there —
He feels a sharp pain in the fleshy area where his neck meets his
skull, then darkness envelops his vision and his legs give out from
underneath him.
‘Nobody shushes me!’ is the last thing he hears.
Rhonda’s impressed. The drunk guy is almost too loaded to stand

yet he throws the half-empty Corona bottle with pinpoint accuracy.
It connects with the back of the robber’s head and he crumples to
the ground, then begins a slow slide down the incline, head first. He
travels a good twenty metres in this position then comes to a halt as
his head conks into the large tree at the bottom of the slope. Quite
clearly he should never have shushed the drunk guy in the back-to-
front Y-fronts.
Rhonda studies the man, then looks closer. Will walks onto the
balcony, portable phone to his ear. ‘Cops. I’m on hold —’
She takes the phone from him and hangs up.
‘What are you doing?’
She doesn’t answer, just dials a number.
Da Da Da – Da Da – Da Da Da – Da Da.
The sound emanates from the man. It’s the theme from

62 STEVE WORL AND
Terminator 2, Judd’s favourite movie. She remembers the day he

bought the ring tone. She hangs up and the theme cuts off. She stares
at the man who is, in fact, her man. But is he? It’s like she doesn’t
know him.
‘What’s going on?’
Rhonda doesn’t look at Will. ‘It’s Judd.’
‘It’s – what?’
She’s not embarrassed. She’s not even angry. She’s flabbergasted.
She’s never liked the word, always felt it fake, made up, a word
that didn’t represent a genuine emotion she’d ever experienced, but
damn if she didn’t feel it now.
The sun has almost set, throws a pale-orange sheen across the gar-
den and the unconscious Judson Bell. Rhonda kneels beside him,
lightly pats his face. ‘Judd.’ He doesn’t rouse. She pats him a little
harder. ‘Judd!’ Nothing.
Flabbergast finally gives way to anger. ‘Wake up!’ She tees off
and slaps him across the cheek. Judd’s eyes blink open. She won’t let
herself be worried about his concussion, or the likely contusion on
the back of his head from the Corona bottle, until she knows what’s
going on. ‘What are you doing here?’
He stares at her. ‘I – I needed to see you.’
Hope. Maybe this whole thing is just an innocent misunder-
standing. Maybe there’s been an emergency and he needed to find
her but her phone has been turned off and he didn’t know Will’s
number so he came to his home. It’s a long shot but it’s possible.
‘Why did you need to see me?’
Judd looks at her and says nothing. He can’t tell her he thought
she was having an affair with Will Thompkins but then he doesn’t

V ELOCIT Y 63
need to. She works it out on her own. He sees it happen, watches the
change, first in her eyes, then in her expression, as she processes
the truth.
She stands, turns and walks up the incline.
‘Rhonda —’
‘Don’t.’
‘But I —’
‘No.’ She doesn’t look back.

6
They haven’t spoken since ‘the night of the quarters’. That’s what
Judd’s been calling it. Rhonda moved out that evening and hadn’t
answered a call or replied to a text or email in the three days since.
Judd tilts the T-38 into a tight bank over the Indian River.
He’d picked up this ‘B’ variant at Ellington Field in Houston and
is minutes away from wheels down at Patrick Air Force Base, just
a stone’s throw from Cape Canaveral. He looks left, to Kennedy
Space Center, then launch pad 39A. On it stands Atlantis. The early-
afternoon sun glints off the white solid rocket boosters, burnishes
the rust-coloured external tank to a bright orange, illuminates the
stubby shuttle.
His eyes flick right, to the towering box that is the Vehicle
Assembly Building, big enough to fit four Empire State Buildings
inside. He remembers being in it on one particularly humid day,
watching as Discovery was joined to its external tank two months
before his flight. As impressive as the shuttle external tank mating
ritual was, the spacecraft hoisted high by a crane then gently wed-
ded to the ET, what he remembers most about that day were the
clouds that formed on the VAB’s ceiling, then the light mist that wet
his face as it rained inside the building. It was so big it formed its
own weather system.
The VAB is his destination today. It’s where he’ll see her again.

V ELOCIT Y 65
Judd brings the T-38 down onto runway 2B at Patrick with a

minimum of fuss. He parks the jet, completes the relevant paper-
work then finds his silver BMW 2002 quietly rusting in the parking
lot.
The old Beemer is the car he drives in Florida. It’s seen better
days, its forty-year-old body putting up a valiant if futile attempt to
ward off the humid, salty air of the Cape. He’s more than happy to
leave it in the Patrick car park for the extended periods he’s away
because he can’t imagine anyone would want to steal it.
He wheels the Beemer out of the car park, heads towards
Kennedy Space Center and wonders what Rhonda’s expression
will be when she sees him. He’s scheduled to work the White Room
for Rhonda’s flight and tonight is their first Terminal Countdown
Demonstration Test. It simulates the final hours of a countdown and
serves as a rehearsal for launch day procedures, culminating in a
simulated ignition of the shuttle’s main engines. During the evening
the ground staff will also run a tanking test. That involves filling the
external tank with liquid oxygen and liquid hydrogen propellants
and evaluating how all systems perform under cryoload. Even after
decades of service the shuttle is still an experimental vehicle that is
continually tested and assessed.
The launch is tentatively scheduled for late next week if every-
thing goes smoothly and the weather cooperates. Judd enjoys
White Room duty because, even if he isn’t able to fly the shut-
tle, even if the damn thing scares him, he still wants to be close to
it. Like Rhonda. He’s a little scared of her too, mainly because of
how unsentimental she is. He’s seen her erase people from her life
before, has consoled surprised ex-friends who found themselves
cut out of the loop after a single misstep. He just never imagined
it’d happen to him. Yes, he did royally screw up but it was an

66 STEVE WORL AND
anomaly. He’s never done anything like it before. She didn’t care,
wasn’t interested in hearing his reasons, excuses or apologies and
instantly pulled the pin on a ten-year relationship.
‘Christ.’ It hits him. The ‘night of the quarters’ isn’t the reason
she moved out. It was the trigger, of course, but not the reason – he’s
sure of it. He just doesn’t know what the reason is.
He turns into the Kennedy car park, parks the Beemer as close
as he can to the VAB and tells himself to stop thinking about her.
He needs to concentrate on the job ahead.
The elevator opens and Judd steps into the hallway. A tap on his
shoulder. His chest tingles. Rhonda? He turns.
It’s Severson Burke. ‘Hey.’
‘Hey yourself.’
‘Could you look any more disappointed?’
‘What? Disappointed? Who?’
Severson studies Judd, left eyebrow arched. He knows all about
Judd’s excursion to Thompkins’ place. Judd had confessed all in a
late-night call.
‘Right, like you haven’t been thinking about her.’
‘Not for the last seven minutes, I haven’t.’
Severson fastens Judd with a steady gaze. ‘You’ve already
dropped the ball twice this week. Make sure it doesn’t happen
again.’
Judd knows Severson has good reason for not wanting any
trouble in the White Room tonight. The ex-astronaut, who had
graciously agreed to accompany Judd on his last simulator run, is
launch director for this test. That means it is his responsibility. The
last thing he needs is Judd’s personal issues gumming up the works.

V ELOCIT Y 67
Judd nods. ‘Of course.’ They walk on, reach Briefing Room
Three and enter.
Rhonda’s the first person Judd sees sitting at the large oval table.
She looks right through him, like he doesn’t exist. She’s in full ‘blank
mode’. Judd knows it well, has witnessed her use it on many a hap-
less individual in the past. Essentially, she blanks people she’s not
interested in interacting with and pretends they don’t exist. Though
it sounds like a strategy that wouldn’t even work in a kindergarten
playground, it proved to be a surprisingly successful tool for navi-
gating the byzantine NASA bureaucracy.
Judd finds a seat as far from her as possible. He works hard
to keep his eyes on Severson as the launch director addresses the
thirty-strong crowd from the head of the table. The only positive to
come out of ‘the night of the quarters’ is that Thompkins and the
tubby guy hadn’t filed any complaints against him. Judd guessed
that Rhonda had asked Thompkins to keep it quiet and Thompkins
had asked the tubby guy to do the same. Surely she didn’t want to go
through the embarrassment of an official hearing into his conduct
where she would be the star witness.
Not having a hearing won’t change anything for Judd, though.
When Thompkins surely, inevitably, took over the Astronaut Office,
Judd’s certain the guy who stalked his home won’t be at the top
of Thompkins’ list when he decides the next round of crew assign-
ments.
Judd steals a look at Rhonda, takes in the heart-shaped face, the
blonde hair flecked with golden highlights, the ski-jump nose with
the little bump at the top, the result of a mountain-biking accident
years ago. She’s as breathtaking as the day they met.

68 STEVE WORL AND
Rhonda ignores Judd. Commanding Atlantis is a crucial step

towards being first so she must not be distracted by personal issues,
no matter how difficult that might be, and she’s been finding it very
difficult. Not just leaving the relationship but leaving the house had
been —
Stop it. She can’t think about that now. She must stay focused
on the job ahead. She cannot make any mistakes tonight. If Judd’s
career has taught her anything it’s that you cannot afford mistakes.
They don’t let people who make mistakes be first.
First. First is her goal. At the age of thirty-nine, having already
piloted one shuttle mission and about to command her second,
Rhonda is perfectly positioned to be first.
First on Mars.
With the shuttle fleet set to be mothballed within two years,
NASA planned to send a manned mission to Mars within fifteen.
Of course no launch date had been set and there wasn’t funding in
place, but she was working towards the goal as if it were set in stone.
She doesn’t want to be first for glory or kudos. She thinks, as Neil
Armstrong did forty years ago, that dealing with fame is a waste of
time and energy. No, she wants to be first because she believes that
reaching Mars is the single most important challenge facing human-
kind. She’s convinced humanity needs an event bigger than itself
to focus on, to force it to consider the greater universe rather than
petty regional issues. She hopes the sheer effort necessary to reach
another planet will be that event. And, after careful consideration,
she thinks she’s the best person to lead the mission.
Rhonda knows she has the skill set, the leadership qualities and
the disposition to do it right. She just has to make sure the powers
that be know it too. So that means no mistakes. She can’t let any-
thing divert her attention from the job at hand. Like Judd.

V ELOCIT Y 69
She turns and her eyes find Martie Burnett on the opposite side
of the room. The payload specialist for this mission, Martie is a tall
southerner with flowing auburn hair and a strong, chiselled face. She
looks thirty-five but is actually forty-four. Martie widens her eyes
to say ‘hey there’. She’s Rhonda’s best friend in the program and,
as Rhonda doesn’t have a life outside the program, that makes her
Rhonda’s best friend, full stop. Rhonda hasn’t told Martie about the
break up with Judd because she finds the whole thing not-wearing-
underpants-when-your-skirt-blows-up embarrassing. The fact that
the two women had first bonded by sharing NASA personnel gossip
didn’t help matters. She’ll tell Martie once the mission is completed,
including the truth about why she left. As annoyed as she was about
Judd coming to Thompkins’ home, that wasn’t why she moved out.
There was another reason, something that had been playing on her
mind for a while —
Stop it. She’s doing it again, thinking about the wrong stuff. She
pulls in a deep breath, blinks hard and forces herself to focus on the
job she must do tonight.

7
Henri grabs the handle and yanks the door open. He leans into the
roaring wind and looks down at the slate-grey clouds, illuminated by
a three-quarter moon. Through a break he can make out the Atlantic
ocean, twinkling 34000 feet below.
The icy wind doesn’t affect him. A matte-black helmet, a head-to-
toe triple-layer Nomex suit and thermal gloves keep out the cold. He
takes a deep breath from the oxygen mask strapped over his mouth
and nose, connected to a canister on his hip. He checks the backlit
screen of the small, circular GPS unit attached to his chest. They’re
almost in position.
He takes in his team. Dirk and Nico and Cobbin, then further
along the fuselage Tam and Gerald, all dressed as he is. He speaks into
a microphone located within the oxygen mask. ‘Big Bird, it’s time.’
Big Bird sits at the controls of the Canadian-built Twin Otter air-
craft. His response crackles in their helmet headsets: ‘Ready when
you are.’
Henri’s eyes flick to the GPS unit. He studies the information that
blinks and changes on the screen, then looks at his GMT-Master and
waits for the sweep hand to pass twelve, for ten p.m. exactly.
‘Go.’ Henri steps out of the aircraft and the others follow in quick
succession. The two-metre-wide, delta-shaped wings strapped to their
backs seize the air, wrench them to a horizontal position and catapult

V ELOCIT Y 71
them across the sky at 180 kilometres an hour.

They slice across the upper atmosphere, as high as a commercial
jetliner on a transatlantic flight, like a cloud of giant bats on their way
to a night feeding. The wings’ matte-black colour make them invisible
against the night sky while their size and carbon-fibre construction
make them invisible to radar detection.
What was the sales pitch? Red Bull gives you wings. Years
before, on CNN News, Henri watched the Austrian daredevil Felix
Baumgartner, festooned with Red Bull sponsor logos, jump out of an
aircraft then fly across the British Channel with one of these delta
wings strapped to his back. It was a revelation. The Frenchman stole
Felix’s wing idea then spent $300 000 improving it. He needed to go
further than the 35 kilometres Felix flew that day, so he redesigned
the wing and tested it over the following two years to increase its lift-
to-drag ratio. All for tonight.
Henri’s wing hits an air pocket and shudders. The Frenchman
looks down at his chest. The GPS unit shows five streams of informa-
tion, constantly updated. Right now the most important is the large
arrow that points in the direction he must travel. When he’s on course
it glows green, when he’s off course, it glows red. It’s now red.
His arms are by his side. Each hand holds a handle that operates a
hydraulic ram. The ram activates a flap on the corresponding wing’s
trailing edge. Twist the handle left to lower the flap, twist it right to
raise it. He works the handles and the wing banks right. He glances at
the GPS reader and the arrow blinks green.
Two bat-men arc away to the left. Henri watches Tam and Gerald
shrink into the distance, knows their duties lie along a different path
to his tonight.

72 STEVE WORL AND
Big Bird can’t be late. Folded uncomfortably into the tiny cockpit of
the Twin Otter, the six foot seven Robby Muller pulls the aircraft
into a steep descent.
Robby, or Big Bird to friends and neighbours because of his
predilection for yellow T-shirts, guns the twin Pratt & Whitney tur-
boprops. The German needs to get this aircraft on the ground and
swap it for something more practical asap. He can’t be late.

8
The silver astrovan trundles towards launch pad 39B. It is essentially

a pimped-out RV with plenty of room for the five crew members
of Atlantis, and the two White Room guys who accompany them
in case they need anything. The crew members are easy to recog-
nise, dressed in bright-orange flight suits. Judd, as one of the White
Room guys, sports, unsurprisingly, a white jumpsuit.
Martie Burnett sits opposite Rhonda. As payload specialist,
Martie is responsible for the transfer of supplies and materials from
the shuttle’s cargo bay to the International Space Station using the
Canadarm 2, the spacecraft’s $150 million robotic grappling hook.
Judd always thought she’d fit right in with the regulars at the salon
in Steel Magnolias, swapping down-home truisms and hard-earned
love advice with Dolly Parton. The truth is that Martie has a PhD in
astrophysics and an IQ of 157, some four points higher than Judd’s.
Judd forces himself to stare at the van’s dark-grey carpet so he
doesn’t look at Rhonda. He’d prefer to stare out the window but he
can’t because there isn’t one. That’s to give the astronauts privacy
and to make sure that if some loon took a pot shot at the van they’d
hit bullet-proof Kevlar instead of glass. Given NASA is the perfect
canvas for a terrorist organisation or lone gunman to scrawl a state-
ment, it’s always a possibility.
On launch day, with the world’s media in attendance, the

74 STEVE WORL AND
astrovan will be escorted to the pad by Kennedy’s own private army,

the KSC SWAT team in their black, box-shaped van, while a brace
of Jet Rangers swirl and chunter overhead, men toting M-16s hang-
ing from the open doors like life guards searching for sharks. But
that’s on launch day. Tonight there’s limited security because it’s an
unpublicised test and the budget won’t stretch to anything more.
When they reach launch pad 39B, Rhonda’s first out. She strides
across the rust-stained concrete, past the flame trench, towards
the imposing, grey-steel Fixed Service Structure that’s topped by a
towering lightning mast. The rest follow.
Judd looks up and takes in Atlantis, sitting proud on the crawler.
It shimmers, moves, comes alive as the crew’s outsized shadows play
across it, thrown by the high-wattage arc lights that illuminate the
pad after dusk. For all the shuttle’s failings and frailties, when he gets
close to one he can’t help but marvel at the damn thing. His work-
place tonight is the White Room, connected to the spacecraft at the
end of the crew access arm. It’s a long, narrow compartment where
the astronauts make final adjustments before entering Atlantis.
Judd approaches the elevator that will transport them to the
crew access arm. Everyone is already inside, facing out, and he sees
there’s nowhere for him to stand – except in front of Rhonda. He
instinctively pauses midstep then realises that looks a bit awkward
and walks on. For a moment he thinks about engineering a turn and
backing into the elevator so he doesn’t have to face her, but quickly
recognises that’ll look even stranger than the midstep pause from
a moment ago so he enters the elevator normally and takes up a
position in front of her.
They study each other. There’s nowhere else to look. He searches
her eyes, the bluest of blue. In that moment he remembers why
he loves her – because she believes she can do anything. Then he

V ELOCIT Y 75
remembers why he sometimes doesn’t – because that belief is some-

thing he no longer possesses. He’s envious she has the career he so
wants, that she can live her dream while he waits back on Earth.
Is that jealousy the reason she left? He never wanted it to show but
sometimes it slipped out. He wasn’t proud of it.
He opens his mouth to speak, but she shakes her head, mouths
‘not now.’ Is that a flicker of warmth he sees? A sign of rapproche-
ment? He wants it to be, hopes that after this test, or her mission,
they can somehow, someway, repair this imperfect relationship.
The door slides shut and the elevator rises towards the crew
access arm and Atlantis above.

9
Kobi ‘Tam’ O’Shea tips his delta wing into a steep turn and finally
loses sight of Henri, Dirk, Nico and Cobbin.
One hundred metres to the left, the Japanese-Irishman sees
Gerald Sanchez, his partner for this evening. Tam glances at the
swamp below. He knows it’s infested with alligators, recalls reading
something about alligator attacks usually happening in waist-deep
water – or maybe that was sharks. Either way, he must be careful
when he touches down.
Tam tips into a dive and the swamp rushes up to meet him. His
eyes flick to the GPS unit. The green arrow has been replaced by a
white X. He’s on top of his target. He pulls his hands from the wing
controllers and pulls a lever on the wing’s leading edge. The wing
separates from the frame attached to his back and he freefalls. His
right hand grabs the cord at his chest and yanks hard. The chute
zips from its pack, licks the air like a dragon’s tongue, then explodes
open, seizes the air, stops him dead.
He takes control of the black ram-air chute and works the con-
trol lines. The carbon-fibre wing dangles below, connected via a
strap to the frame on his back. To the left he sees Gerald’s silhouette.
Chute open, he’s slightly higher and 200 metres away.
Tam pinpoints the only patch of grass in the vicinity, 20 metres
square, lighter in tone than the surrounding brush. He works the

V ELOCIT Y 77
control lines, hooks into a tight dive, feathers the chute then drops
to the ground.
The tall grass pads the landing. In a flash he’s up and out of the
chute’s harness and wing frame. The helmet’s off next. The gloves
are too thick to work with so he peels them off, pulls out a P7 Lenser
torch in the same motion, clicks it on.
He finds the carbon-fibre wing with the beam. Sequestered inside
the wing’s hollow structure are the tools he’ll need tonight. He picks
it up . . .
‘Christ!’ The pain in his right hand is bright and hot. He shines
the torch, finds two bloodied puncture wounds on his thumb, then
plays the beam across the ground to find what’s responsible. A thin
tail slides over the wing then disappears into the grass. He recognises
the markings. It has many names. Cottonmouth. Viper. Water moc-
casin. Call it what you will, only one thing matters: it’s an extremely
venomous snake. He can’t believe it. After worrying about alligators
on the way down he gets bitten by a snake as soon as he lands.
He hopes it wasn’t a cottonmouth. They aren’t the only snakes
in this area, he knows that much. Water snakes look just like their
cottonmouthed cousins but aren’t venomous. Failing that, he hopes
that if it was a cottonmouth then the bite was dry and no venom
was injected. Then he realises two things. He’s doing a lot of hoping
and the bite’s not feeling so great. It’s swelling fast and the pain is
intense. ‘Shit!’ He doesn’t have time for snake bite.
He needs to get it wrapped. Now. Tam carries a basic first-aid
kit but Gerald will need to apply the pressure bandage that slows
the toxin. Beyond that, professional medical assistance will have to
wait.
Leaves thrash and branches crack behind him. It’s Gerald,
touching down, a little off course but close enough. Tam turns to the

78 STEVE WORL AND
sound, aims the torch at the scrub. He can’t see anything through
the dense foliage. He glances at the GPS unit on his chest. They have
just under sixteen minutes to complete their mission.
He sets off towards his partner but doesn’t rush. That’ll just
increase his heart rate, accelerate the poison’s journey through his
system. He moves deliberately but quickly, the carbon-fibre wing
under his left arm, the torch held lightly in the bitten right hand.
‘Gerald?’ No answer.
Tam pushes through the scrub, plays the torch’s beam across the
tangled vegetation. Leaves rustle above. Tam points the torch up.
The beam splashes over Gerald. He’s hung up, high in a pine tree,
his eyes wide open in a surprised expression.
‘You won’t believe what happened —’ Tam stops and looks
closer. A branch has impaled Gerald through the chest. No won-
der he looks surprised. His right foot twitches, kicks a branch, then
stops. Suddenly getting bitten by a cottonmouth feels like the deal of
the century.
Nausea sweeps over Tam. He doesn’t know if it’s the snake’s
toxin working its dark magic or the dreadful realisation that his
partner is dead and he must complete tonight’s mission on his own.
Whatever the reason, he bends over and throws up.
He hasn’t got time to hurl, or cut down Gerald either. He must
get moving or this whole exercise will be for nothing. He straightens
and wipes his mouth. His body aches, his skin’s clammy and his legs
are weak. He ignores it and studies the GPS unit on his chest. The
green arrow points to the north-east. He has thirteen minutes and
forty-two seconds to complete the mission. He moves quickly, tries
to push the dreadful image of his dead partner from his mind.
One minute later the white X on the GPS unit tells him he’s
standing right on top it. He plays the flashlight’s beam across the

V ELOCIT Y 79
leaf-strewn ground, searches for it —

There. A square outline. He places the wing on the ground and
kneels, scrabbles at the square with the fingers of his unbitten hand,
pulls away leaves and dirt, hits steel. It’s a grate, one metre square,
made of thick steel forged in a lattice design. He flips the wing over,
unlatches a compartment door, grabs the long plastic cylinder vel-
croed inside. He unscrews one end, slips out two grappling hooks,
positions himself over the grate, slides the hooks into the lattice and
pulls up.
‘Jesus H!’ It’s as heavy as a truck. That’s why two men were
sent to move it! He pulls again, uses everything he’s got. The grate
scrapes on the cement surround, slowly clears the hole. He lets go of
the hooks and it thumps to the dirt. Light-headed, he sucks air as he
looks down the air shaft. It disappears into darkness.
He glances at his GPS unit. Nine minutes, forty-nine seconds.
He sits hard, reaches into the wing’s open hatch and grabs another
cylinder, opens it and slides out a white, rectangular device. What
looks like a school ruler is attached horizontally to the top. A
smaller ruler is attached vertically at one end. Fastened at various
points over the cylinder are six lipstick-sized cylinders. A canister
with a nozzle at one end is fastened to the left side. Tam places the
device on the ground. It stands on four wire legs that end in suction-
cap feet.
Tam reaches into the wing again, grabs a padded envelope and
a smaller box. He unzips the envelope and draws out a MacBook
Air. He flips open the laptop and it wakes from sleep. He pulls a
Logitech joystick from the box, plugs it into the MacBook’s USB
port and squeezes its trigger.
Both rulers on the device spin to life with a shriek. They’re actu-
ally rotor blades that turn five hundred times per minute. The little

80 STEVE WORL AND
chopper rises a metre off the ground and hovers in place, its fuselage
glowing white from a light source within. With the shrill buzz of the
rotor blades it resembles a gigantic albino wasp, ready to strike.
Tam moves the joystick. The chopper flies towards the air vent,
then lurches past. ‘Come on!’ Tam’s trembling hand is vibrating the
joystick too much, making it difficult to control. He clenches his
hand to tame the shaking then moves the joystick again. The chop-
per hovers to a position above the air vent. He releases the joystick’s
trigger a fraction and the chopper drops into the shaft. He watches
it descend. It took him six months to develop but he has less than
eight minutes to use it.
Tam’s eyes move to the MacBook’s screen. It’s divided into six
separate windows. Each lipstick-sized cylinder attached to the chop-
per’s exterior is a video camera that transmits live images of its
surroundings, the glowing fuselage emitting enough light to illumi-
nate a metre around it. He squeezes the joystick’s trigger and the
chopper hovers in place, just above the bottom of the shaft. There’s
a thin, rectangular air vent in front of it.
The Japanese-Irishman wipes his forehead with his free hand
and drags off a sheet of sweat. His face is blanched white and his
body shivers. He grips the joystick hard to stop his hand shaking,
then eases it forward. The chopper flies into the vent, has five centi-
metres clearance on each side.
He glances at his GPS unit. The numbers are fuzzy. He blinks,
focuses. Seven minutes, thirty-six seconds. He’s behind schedule. He
turns back to the MacBook. To the chopper’s left is another lattice
grate. Tam pivots the chopper towards it then presses a button on
top of the joystick.
White foam shoots from the canister on the side of the chopper’s
fuselage. It looks like shaving cream, except you should never put it

V ELOCIT Y 81
on your face. The foam hits the grate and expands fast, doubles then
quadruples its size. Tam works the joystick, backs the chopper away
from the grate as fast as it will go.
He hears the muted explosion through the shaft beside him.
The six windows on the MacBook’s screen flash white then show a
mist of fine particles. The air clears and he edges the chopper back
towards the grate, except the grate is no longer there. Used for det-
onating unexploded mines, the nitromethane foam has done its
work. Tam had reconfigured its composition so it would combust
after being exposed to oxygen for ten seconds. He grips the joystick
hard and eases the chopper through the jagged opening. He glances
at his GPS unit. Four minutes, fifty-two seconds. He hasn’t got long.
Dirk feathers his delta wing, knocks off some speed, looks at his
GPS unit. The arrow is green and the clock reads four minutes and
forty-nine seconds.
He glances at Henri, 200 metres to the left. He can’t help but feel
a deep loyalty towards his commander. Henri had been the one who
turned Dirk’s life around, beginning on that morning two decades
ago when he recognised an ‘intriguing potential’ in the German.
There had been a time when Dirk was recognised every hour of
every day, stopped in the street for a photo, an autograph or a prop-
osition, or all three at once. Then it ceased. Abruptly. After he cut
down the oak.
He hasn’t thought about that tree for the longest time. It stood
in the centre of the driveway in front of his newly acquired castle,
a castle bought with earnings from an outrageously successful piece
of Europop ear candy called ‘Tango in Berlin’.
Dirk told everyone he wanted to cut down the tree because it

82 STEVE WORL AND
blocked his view of the Düsseldorf countryside from the master

bedroom. In truth, even with the curtains drawn, the tree’s gnarled
branches made unsettling shadows on the ceiling above his bed at
night that gave him nightmares.
Dirk decided that the best solution was to cut down the tree.
That it was a 470-year-old oak, over 30 metres in height and 100
tonnes in weight, did not deter him. So, late one night, Dirk took to
it with an axe. The oak, far from being the healthy, towering mega-
lith it appeared to be, was, in fact, rotted to the core with water
mould. After just seventeen spirited swipes the tree keeled over,
crashed to the ground and flattened Dirk’s new Bentley. It was no
great disaster. It was insured and if the insurance company didn’t
pay up he could afford another.
Next morning the salvage team he employed to remove the tree
uncovered two naked bodies in the car’s wreckage. It was clear
that the couple had died in flagrante. The bodies belonged to Olga,
Dirk’s supermodel girlfriend, and Raffi, Dirk’s best friend and band
mate. While Dirk sang and was the face of Big Arena, their pop duo,
Raffi was the brains of the outfit, the one who wrote and produced
the music. He wasn’t sure what was worse, the fact that his best
friend and his girlfriend had an affair or that he was accused of their
murder.
The court case lasted four months. Dirk was cleared but
quickly became Germany’s OJ Simpson, proved innocent yet con-
sidered guilty, and ostracised because of it. He was also broke,
forced to liquidate his assets to pay for his defence and settle the
civil cases bought by Raffi’s and Olga’s families. He couldn’t even
record music any more as no one wanted to work with the guy
who cut down the oak.
So Dirk changed his name and disappeared. He worked his

V ELOCIT Y 83
way around the globe, primarily on freighters, though he wasn’t

choosy and would do whatever was on offer as long as he was paid.
Whenever he was recognised he would start a fight, his aim being to
alter his face so there was no visual connection to the pixie-featured,
flaxen-haired lead singer of Big Arena. After six years of drifting and
fighting this bargain-basement plastic surgery had worked beauti-
fully. He now resembled Billy Ray rather than Miley Cyrus and was
rarely recognised. He was also living hand-to-mouth on the streets
of Paris.
That was when he came to the attention of one Henri Leon.
Early one morning twenty years ago the Frenchman identified an
‘intriguing potential’ in the man who cleaned his windscreen at a set
of traffic lights not far from the Arc de Triomphe and Dirk’s life was
changed forever.
Everyone in the crew had a similar story of Henri’s positive inter-
vention in their lives, that’s why they were so dedicated to him, and
willing to go above and beyond for the man.
Dirk glances at his GPS unit once again. Four minutes, twenty
seconds. Not long now.
The cement room is lit by a dull yellow safety light positioned above
the only door, a solid-steel item locked from the opposite side.
Beyond the door lies a five-kilometre passageway with a locked and
guarded entry point. The now destroyed air vent was the sole means
of ventilation for the room, the only way to let heat out while mak-
ing sure none of those alligators or vipers found their way in.
The heat is generated by a large grey junction box that sits in
the centre of the room and hums with a deep vibrato. Out of the left
wall run three cables that terminate at the grey box. From the right

84 STEVE WORL AND
wall three similar cables enter the room and terminate at the box
too. From the middle of the box emerges a set of three large con-
duits. They disappear into the far wall.
Tam flies the chopper to a position above the large conduits then
releases the joystick’s trigger. The chopper’s blades stop and it drops
onto the central conduit. The suction-cap feet at the end of its metal
legs grab the PVC casing and hold fast. With a shaking forefinger
Tam types on the MacBook’s keyboard.
CUT
The underside of the chopper’s fuselage slides open and a tiny
circular saw flips out and spins to life. It slices into the cable’s PVC
casing and cuts an incision. The saw then pivots and cuts another
incision at a right angle to the first. A camera buried within the
chopper’s fuselage shows Tam what the saw is doing.
He reaches into the box that housed the joystick and pulls out
a right-hand glove. Five thin computer circuit ribbons sprout from
a matchbox-sized terminal at its wrist and connect to its fingers at
the first knuckle. A USB cable emerges from the rear of the termi-
nal. Tam pulls the glove onto his swollen right hand. It’s tight but
he ignores it, plugs the cable into the MacBook’s second USB port.
He glances at his GPS unit. Two minutes and fifteen seconds remain.
The saw pivots again, starts its third cut, parallel to the first,
then pivots again, cuts to the point where it started, a small square
now sliced into the conduit’s PVC cover. Tam then, with his unbitten
hand, pecks on the keyboard.
HAND
The saw slides into the belly of the chopper and out flips ‘Thing’,
named as such because Tam couldn’t think of anything better. It
resembles the skeleton of a small hand, except instead of bone the
fingers are titanium alloy, the muscles are microactuators and the

V ELOCIT Y 85
knuckles are bidirectional hinges. Each finger has a hook at its end
and its wrist pivots on a motorised ball joint.
Tam wiggles his fingers in the shaking glove. On the screen,
Thing’s fingers move in unison. He extends its index finger towards
the cut section of PVC and flips it away to expose a myriad of wires.
He studies them. There are dozens of different colours and sizes.
He needs to find the wire with yellow and red stripes. He works the
glove and Thing delves into the mass of spaghetti, pulls away wire
after wire. It’s all been for naught if Tam can’t find it.
‘There!’ Thing grabs it, pulls it towards the camera. It’s not yel-
low and red! It’s orange and purple. Tam releases the wire, glances
at the GPS unit. Forty-one seconds to go.
He continues the search. ‘Where the hell is it?’ There. He’s sure
this time. He works the trembling glove and Thing snags the wire.
It slides off. He grabs at it again, hooks it, lifts the wire towards the
camera. Yellow and red stripes. ‘Yes.’ He glances at the GPS unit.
Twenty-three seconds. His free hand pecks at the MacBook’s key-
board.
CUT
The saw flips out of the chopper’s belly and spins to life. Tam
moves the glove and Thing jams the wire against the saw, slices it
in two. Tam’s fingers work the glove and Thing pushes one end of
the wire towards one of four numbered slots on the underside of
the chopper. It’s difficult, his hand shakes so much. He’s practised it
a thousand times before but never after he’d been cottonmouthed.
He glances at the GPS unit. Ten seconds.
He guides the quivering wire into slot number one. One more
to go. His eyelids sag. He forces them open, works the glove. Thing
picks up the second piece of wire, pushes it towards slot number
two. It misses.

86 STEVE WORL AND
‘Come on!’ He tries again. It slides home. He types three letters

on the MacBook’s keyboard:
OFF
Every light on Launch Complex 39B blinks out and Atlantis

disappears into darkness. A thousand feet above and a thousand
feet to the east, Henri and his three bat-men approach. Henri
checks the GPS unit on his chest and grins. Tam and Gerald com-
pleted their assigned task with exactly one second to spare.
A smattering of emergency lights blink on and outline the
Launch Complex with a muted yellow glow. It’s enough light for
the job ahead but not enough for the Frenchman’s team to be seen.
He tips the delta wing into a steep dive and plunges towards the
complex. The other bat-men follow suit.
A thousand feet instantly becomes 700 then 400. Henri
unlatches the delta wing, pulls the ripcord and a black ram-air par-
achute explodes open behind him. It stays that way for exactly five
seconds, just long enough to break his fall.
He lands hard beside the hammerhead crane atop the Launch
Complex and rolls to a stop. In quick time he yanks off his hel-
met, flips off the oxygen mask, unstraps the wing’s frame, pulls in
his chute and picks up the delta wing. Ten seconds later Nico
lightly touches down beside him. Five seconds after that Dirk
lands next to the Italian. They quickly perform the same routine
as Henri.
Cobbin is last down. He comes in too hot, almost horizontal,
and slams into the middle of the lightning mast. The sound rever-
berates. He falls, then his chute snags, jolts him to a stop. He’s
hung up, 15 metres from the ground.

V ELOCIT Y 87
The Frenchman exhales, the expletive ‘merde’ buried within

the expelled air.
Cobbin lurches, drops four metres. Henri, Dirk and Nico move
to the base of the mast. As he goes the Frenchman reaches to his
waist, unclips his Glock’s holster. If Cobbin is incapacitated, be it
a ruptured cruciate or a heavy concussion or a broken foot, then
Henri will use the weapon swiftly and without remorse. They will
not carry an injured man and endanger the mission or the rest of the
crew.
Cobbin drops again, five metres from the base now. Then again.
Faster this time, he plummets towards the deck then jolts to a stop,
half a metre from the surface.
He’s physically fine, has cut the chute’s cords and let his weight
pull him down. He slices the last cord and drops to the deck.
Embarrassed, he doesn’t make eye contact with the others. ‘Sorry.’
He removes the helmet and oxygen mask then notices Henri’s
unclipped holster. ‘The needs of the many outweigh the needs of the
few, right, Commander?’
Henri clips the holster shut. ‘You will do the same for me if
necessary.’
‘Of course.’
Henri has a comprehensive disdain for American culture, rails
against an imperialism that makes rap the preferred music of youth
in his beloved Paris, yet he venerates one quintessentially American
icon. Star Trek. What he admires about it is the code under which
the characters live and work.
The needs of the many outweigh the needs of the few is that
code crystallised, a line of dialogue he heard in a movie many years
ago, on a first date with the woman who would become his wife.
It’s an ideal he has painstakingly instilled in his men. He’s always

88 STEVE WORL AND
wondered if it would have the same resonance if they knew he’d

borrowed it from Mr Spock.
Henri looks up at Cobbin’s parachute, still snagged on the mast.
‘Let’s get it down.’ They each grasp a severed line and pull. The
chute rips away, drops to their feet, leaves only a small patch of
material halfway up the mast, not enough to draw attention.
Henri turns to the others. ‘Be ready to move in ninety seconds.’
They nod, kneel and open their delta wings.

10
The White Room’s emergency lights cast a dull yellow pall that
makes everyone look like they’ve spent too long in the solarium.
Judd had been halfway through checking the seals on pilot Rick
Calvin’s flight suit when the lights, and everything that runs off
mains power, went bye-bye.
A beam of light plays across the White Room’s ceiling. The torch
is held by Sam ‘the Walrus’ Schulman, leader of the Closeout Crew,
the guy who runs the White Room. Sam does look like a walrus,
though it’s not his weight that draws the comparison so much as the
jowls and grey, drooping mustache.
Sam speaks into his headset’s microphone but can’t raise anyone
in the Launch Control Center. Not surprising. The communications
relay is powered off the pad and the pad has no power. Sam pulls his
headset to his neck and pushes a walkie-talkie to his ear. The subse-
quent conversation with Launch Control is short and sweet because
they don’t know what the problem is either.
Judd realises they could be in for a long night. All power and
communications run from the Launch Complex to the Launch
Control Center five and a half kilometres away along a series of
conduits buried deep underground. If the problem is in one of those
conduits they could be waiting here for hours doing sweet FA, then
be back tomorrow. On the other hand, if the glitch is localised in the

90 STEVE WORL AND
new Firing Room they might be able to locate the problem quickly
and get on with it.
‘What’s going on?’ Rhonda’s frustrated voice echoes out of the
shuttle’s flight deck, swirls through the open hatch and thumps
into the White Room. Inside Atlantis, she’s already strapped in,
as are Martie and Dean Steinhower, the second mission specialist.
‘I haven’t even got comms. Sam?’
‘Travelling.’ Sam starts towards the shuttle’s open hatch to
update her. He kneels, crawls through the hatch’s narrow circu-
lar aperture, head ducked, arse high. Not a dignified look. That’s
why the media were never allowed to photograph astronauts doing
it. On the pad the White Room covered it and on the runway the
Egress Vehicle did the same.
‘It’s getting stuffy in here.’ Rick says it to no one in particular.
‘I’m going to step outside, take a breath.’
Poor old Rick, a world without air-conditioning is a world he
can’t tolerate. Judd rolls his eyes. God forbid an emergency forced
him to land a shuttle somewhere unseasonable.
Judd pulls down a folding seat attached to the wall and takes a
load off. He sits with a sigh that says he has better things to do than
wait around. The frustration is, in fact, all studied. Truth is, he likes
being here because it means he’s close to the action.
Severson sits on the riser at the front of Firing Room Four in the
heart of the Launch Control Center, stares at the monitor in front of
him and tries his best to look cool. It’s not working.
He should know how to fix this problem, he’s in charge, after
all, but he doesn’t have a clue. The screen in the console gives him
nothing, no information about the state of the shuttle or its myriad

V ELOCIT Y 91
systems. All power, video and communication with the spacecraft

have been cut off, bar Sam’s walkie-talkie.
Severson stands and looks out the two-storey-high windows to
the right, tries to appear thoughtful, like he’s working on a solu-
tion. Out the towering window he should see the shuttle lit up like
Broadway. Instead it appears like an apparition, a ghostly outline
courtesy of the pad’s emergency lights.
‘Shit a brick.’ He says it then instinctively checks that the switch
on the comms box at his hip, which is attached to his headset and its
microphone, is off. It is. ‘Hurry up, you fools.’ The ‘fools’ in ques-
tion are Jake Asprey and his band of techno-dorks one floor down
in the Shuttle Data Center. They’re responsible for transferring
information from the shuttle to this Firing Room and are currently
searching for a solution. Severson’s sure they’re to blame for this
foul-up.
‘Come on, pricks!’ He doesn’t check his comms box this time.
He knows it’s off.
Every operator on the floor turns and looks at him. He realises
he’s been flicking the comms box switch on and off, a nervous habit,
and spoke while his headset’s microphone was momentarily live.
He ignores the staring operators, doesn’t let on that he said any-
thing, or that he’s anything but cool.
Severson knows he isn’t as smart as people think he is but he
also knows how to work the system and, crucially, he’s blessed
with an abundance of charisma. So he has used those abilities to
rise through the ranks to become a shuttle pilot and then a launch
director. Who knew where it’d end? This was America and he’d
been an astronaut. America loved astronauts. Loved them. He
could run NASA someday and then what, public office? The world
was his oyster. He just has to make sure he’s perfect every step of

92 STEVE WORL AND
the way, or, more accurately, he has to make sure he’s seen to be
perfect every step of the way. He has to look cool, and make sure
his secret never goes public.
Severson flicks the switch on his comms box. ‘Jake, it’s the
launch director. How’s it going down there?’
A voice buzzes in his headset. ‘Still working it.’
‘What’s the time frame?’
‘We’ll get back to you.’
What Severson wants to say is: ‘Hurry up, dickhead! You’re
making me look bad!’ What he actually says is: ‘Sooner rather than
later, please.’ He knows it won’t go down as one of history’s great
inspirational radio communiqués, but he also knows that losing his
temper never looks cool.
‘Turn the lights back on but don’t show them video yet.’
The words are distant and soft, like they’re tumbling down a
long tunnel coated with molasses. Tam finds it relaxing, soothing.
His eyes flutter closed and his head nods forward . . .
‘Tam, Gerald! Do you read?’ The voice again. Louder. Insistent.
Familiar. Henri.
Tam’s eyes blink open and his unbitten hand moves across the
keyboard, types two letters.
ON
The White Room’s lights blink on.

‘We’re back.’ Judd can hear Severson’s relieved voice over his
headset. ‘We don’t have video yet but let’s continue as planned.’
Sam speaks into his headset’s microphone: ‘Roger that.’ He

V ELOCIT Y 93
turns to the others. ‘Okay, we haven’t got all night. Let’s get ’em
on board.’ Speaking into the mic again, he says: ‘Rick, we need you
back here now.’
There’s no response. Sam breathes out, shakes his head, mum-
bles something that begins with ‘f’, tries again. ‘Rick? You there?’
No response. He turns to Judd. ‘Find him, please.’
Judd nods and steps through the White Room’s door onto the
crew access arm. Judd’s never been a huge fan of 48-year-old Rick
Calvin. When he moved to Houston after recruitment, the New
Jersey native adopted a southern twang and came over all evangeli-
cal to curry favour with a couple of influential people within the
program’s hierarchy who leaned that way, faith-wise. It wasn’t so
much the shameless act of stunt religiosity that annoyed Judd, but
that the strategy had worked so brilliantly. This was Rick’s third
flight aboard the shuttle.
‘Come on, Rick, time to work.’
He’s not there. The narrow crew access arm is dark and empty.
At the far end, where it connects to the Fixed Service Structure,
a shadow moves. Annoyed, Judd pads down the access arm, which
is covered overhead but open on both sides from waist height. ‘Tell
me, Rick, is your religion the one where Jesus and the Devil are
brothers? Or is it the one where everyone used to ride dinosaurs to
church?’
There’s no answer.
‘Rick, where are you, buddy?’ Judd turns the corner towards the
elevator. It’s open and Rick stands in front of it, right hand cover-
ing the left side of his chest like he’s pledging allegiance to the flag.
‘Be – be – be – ’
Judd stares at him. ‘What are you doing, man?’ Then he sees
blood smeared under Rick’s right hand. ‘What the hell —?’

94 STEVE WORL AND
‘Be – be – behind you.’

‘What?’ Judd turns. A figure stands in the shadows, a silenced
pistol raised.
Judd runs, tackles Rick as the weapon spits. Judd’s right hip
burns with a bright pain as they crash into the open elevator.
Rick slumps on top of Judd, a dark-red bullet wound where
his left eye once was. ‘Oh Jesus!’ He’s dead. Horrified, Judd turns,
watches the figure with the pistol step out of the shadows and stride
towards him. It’s a blond man, tall, in his late forties, his face some-
how familiar.
‘Big Arena.’ Judd says it without thinking.
The man pauses, shocked.
‘You cut down the tree.’
The man’s expression morphs from shock to anger and he raises
the pistol. Judd gets behind Rick’s body, pushes it up. The pistol
spits. Bullets slam into Rick’s back. Judd drives the body out of the
elevator. It slumps onto the man, knocks him back a step.
Judd jams his right thumb against the elevator’s CLOSE button.
The door slides shut as the man pushes Rick’s body aside and fires
through the narrowing gap. Judd pivots behind the closing door as
the bullet thunks into the back of the elevator.
The door judders to a stop, five centimetres from closing. Judd
looks down. Rick’s left foot blocks it. Judd reaches to push it clear,
feels a bullet pass his hand, sees the hole it leaves in the elevator’s
floor. He pulls back, keeps his thumb mashed against the CLOSE
button, tries to work out what to do next.
The pistol slides through the gap. Its lone eye swings towards
Judd. He turns side on as it fires and the bullet slams into the wall
behind him. He steps forward, brings a fist down and a knee up on
the man’s wrist, hard as he can.

V ELOCIT Y 95
The man cries out and the pistol is jarred from his hand. Judd
catches it and the man yanks his hand out of the elevator.
Judd bends, flips out Rick’s foot in one sharp movement and the
door clunks shut. He jams his thumb against the DOWN button
and the elevator descends.
‘Christ.’ Judd sucks air, arms tingling from adrenaline. He tries
to process the last twenty seconds. Rick Calvin is dead. Dead. A
blond man tried to kill him, a man he’s sure was once the lead singer
of the German pop group Big Arena.
The adrenaline eases and Judd notices the pain at his hip.
He inspects the bloodied wound where his comms box once hung.
It’s not so bad, more a graze with delusions of grandeur than any-
thing serious. Not like poor Rick Calvin. Shit.
How in hell did this happen? How did that guy get up there?
It doesn’t matter how, what matters is that he’s still up there. With
Rhonda. Any relief Judd feels at his escape vanishes. He must get to
her. Now.
He hits the STOP button. The elevator jolts to a halt. He hits the
UP button. The elevator rises. He studies the pistol in his hand, feels
its weight. Even though he’s never held a gun before he’s sure it gives
him the advantage.
A loud thud from the elevator’s roof. Judd looks up at the
ceiling. He’s not sure he still has the advantage.
Dirk watches the elevator rise. While researching this mission Dirk
had heard all the stories about astronaut Judson Bell. Apparently
when Columbia broke up he pussied out. Yet here he is, rising
towards the danger, doing the exact opposite of ‘pussied out’.
The last thing the German needs tonight is some guy running

96 STEVE WORL AND
around the Launch Complex screwing things up, so ten seconds ago
he wrenched open the shaft’s outer door, ripped the pin out of a frag
grenade and dropped it onto the roof of the descending elevator.
Problem solved.
Except the grenade landed on top of the elevator as it began to
rise. The fuse is set to twenty seconds. Dirk wanted it to be near the
ground floor when it detonated to minimise any chances of damag-
ing the shuttle. Now it’ll be right beside where he currently stands.
‘Scheisse.’ He lets the outer door slide shut and takes cover.
Judd jams the pistol into his suit pocket, braces his left foot on the
handrail that rings the elevator at waist level and drives himself
upwards, right fist extended.
He punches the hatch in the ceiling with everything he’s got.
It’s made of light alloy and flips open. He jams his foot down on the
handrail and launches himself through the hole, pulls himself onto
the roof.
A grenade lies on the roof in front of him, just as he thought.
He bats it away with his left hand and it thumps into the shaft’s
metal wall.
It detonates and the shaft flashes vivid orange. The explosion is
massive, amplified in the enclosed space. The elevator convulses and
its roof gives way. Judd’s ears ring as he grabs the cable in front of
him, cool and slick with grease.
A fireball rolls past as the elevator drops. Judd hangs in space,
35 metres above the ground – then he doesn’t. The cable is yanked
upwards, attached to the elevator via a pulley system at the top of
the shaft. Judd’s on an express ride to the roof.
He glances down as the burning elevator hits ground level and

V ELOCIT Y 97
blows apart. He looks up as he reaches the shaft’s metal ceiling,

slams into it. It knocks the wind out of him and his hands slide off
the greasy cable.
He tumbles down the shaft, throws out his hands to grab some-
thing, anything . . .
He jolts to a stop. The three middle fingers of his left hand are
hooked into the lattice of a grille in the shaft’s wall. The grille cov-
ers an air-conditioning duct two metres below the elevator’s outer
door. The lattice is sharp, slices into his fingers. It hurts like hell but
he doesn’t care. He’s alive.
He reaches up, grabs the grille with his right hand to alleviate
the pressure on his left. The grille strains within the duct, Judd’s
85 kilograms a weight it was never designed to bear. His left foot
thumps against the shaft’s metal skin and the sound reverberates.
‘Tango in Berlin’! That was the name of the German’s song.
Details flood back to Judd. The lyrics, phrased in a stilted, English-
as-a-second-language cadence. The lead singer, the guy who just
tried to kill him, with his shrill tweeter-in-woofer’s-clothing fal-
setto. And the snare. For some reason Judd remembers the snare
drum. It had the sonic power of a face slap. Judd loved the song
despite its shortcomings and even bought Tango Time, Big Arena’s
one and only album. He remembers being upset when the lead
singer squashed the keyboard player with a tree.
A sliver of light cuts across his arm. He looks up. Above him is
the elevator’s outer door, buckled from the explosion. Hydraulics
protest as it is forced open. The shaft of light grows wider. He’s
going to need a plan and quick.
The grille pops out of the duct and Judd thumps against the
side of the shaft. It is only held to the bottom of the duct by two
implausibly small hinges.

98 STEVE WORL AND
The forced opening of the door becomes more urgent. Judd real-
ises he needs to get out of this shaft asap. His hands are under the
grille. He works his left hand around to the top, then does the same
with the right, carefully climbs it like it’s a very small ladder, makes
sure not to twist it and snap the hinges that secure it to the duct.
The pistol sags in his suit’s pocket, the weapon too heavy for the
flimsy material. It rolls out, thumps down the shaft. Instinctively
Judd turns to watch it fall.
Bad idea. The shift in weight twists the grille and the hinges snap.
Dirk hears the noise and jams his left knee into the gap, uses it
to bully the door open. Did the astronaut live through the explo-
sion? No one has recognised the German in three years. Before that,
maybe three people in the last decade had identified who he was.
But that astronaut knew him instantly.
Another reverberation echoes from the elevator shaft. It’s unmis-
takable. The astronaut’s alive. Dirk draws his backup Glock from
inside his jacket then pushes his head and arm through the gap and
looks down.
No astronaut. He’s sure he heard him. Then he takes in the ele-
vator’s smouldering wreckage below. It must have been the metal
shaft contracting after the heat of the explosion.
A sound behind him. He swivels, pistol raised.
It’s Henri. He glances at the dead body. ‘I heard an explosion.
Everything okay?’
Dirk nods, lowers the Glock. ‘There was trouble. It’s been dealt
with.’
‘It wasn’t the woman —’
‘No. Where are the others?’

V ELOCIT Y 99
‘Finishing their sweep.’ The Frenchman glances at his Rolex.

‘They’ll be one minute.’
Judd lies dead still. As the hinges gave way he caught the edge of the
air-conditioning duct with his hands. It was the chin-up from hell
but he pulled himself inside without, he hopes, being seen or heard.
He now waits and listens to the voices above him. There are two.
A German, he presumes Mister Tango in Berlin, and someone who
sounds French.
In movies air-conditioning ducts are spacious and clean and
well lit and Bruce Willis has no trouble quickly navigating them.
The reality is quite different. It’s cramped and dark and filled with
a thick layer of dust that’s easily disturbed and makes Judd’s nose
itch. It is, however, better than lying dead at the bottom of the
elevator shaft —
He sneezes. The voices above him stop abruptly. Christ! A god-
damn dust mite flew up his nose. He holds his breath and waits for a
volley of bullets to strafe the duct.
The voices resume. There’s no volley, no strafing. He exhales. He
knows the duct runs the length of the crew access arm all the way to
the White Room. If he can get there and find a way inside then he’ll
be right beside the shuttle – and Rhonda. He quietly eases himself
forward, moves as quickly as he can.
Henri and Dirk hear a sound and swing their pistols towards
the stairway beside the elevator shaft. Nico and Cobbin emerge,
weapons raised. They all grin, lower their pistols.
‘How’d it go?’

100 STEVE WORL AND
Nico answers the Frenchman. ‘All clear. Two guards. They’ve

been dealt with.’
‘Good.’ Henri knew security would be less stringent during a
test. What the NASA hierarchy thought made its launch complex
so secure, its remote location at the edge of Cape Canaveral, hadn’t
been difficult to overcome with their Red Bull–inspired wings.
Henri looks at his GMT-Master. ‘It’s time.’ Together they move
down the crew access arm towards the White Room. Henri speaks
into his headset’s microphone: ‘Tam, stop the tanking.’
Tam’s heartbeat has slowed dramatically, the poison from the

cottonmouth hammering his respiratory system into submission.
He’s crashing and there’s nothing he can do about it.
His eyes flicker open and he speaks into his headset’s micro-
phone: ‘Roger that.’ He slowly types on the keyboard.
TANK

11
To Rhonda it’s a symphony. A symphony that feeds her soul and

makes her forget about any troubles she may have. It is the sym-
phony of the shuttle.
The symphony’s bottom layer is the hiss and gurgle of super-
cooled liquid hydrogen and oxygen as they are pumped from their
vast reservoirs beyond the pad then circulated through the shuttle’s
engines until they are deposited in the external tank. The central
layer is the hum and whine of the shuttle’s flight deck and its pro-
cessors and hard drives and cooling systems. The top layer is the
chit and chat of Launch Control and the White Room boys and her
crew, all filtered through her digital headset.
This symphony, and the fact she is its conductor, make the shut-
tle Rhonda’s favourite place to be. That she’s strapped sideways to
the explosive power of a one-kilotonne bomb never enters her mind.
Rhonda looks up through the cockpit’s windscreen at the beanie
cap that sits atop the external tank. Normally she doesn’t give it
much thought. The device prevents the supercold oxygen vapours
that exit the tank from condensing water vapour in the surrounding
air into ice that could strike the shuttle at lift-off. It’s always in place
when the external tank is being fueled and only retracts moments
before lift-off, when tanking has ended.
So why’s it moving now? Tonight’s simulated launch is still a

102 STEVE WORL AND
good hour away. She’s about to ask someone when she notices that
the bottom layer of her symphony, the hiss and gurgle, and the top
layer, the chit and chat, have both disappeared. Her headset is again
filled with a low static. ‘Launch Control, do you copy, over?’
No response.
‘Severson, do you copy?’
Nothing.
‘Sam? Can you hear me?’
He doesn’t respond. Rhonda turns to Martie Burnett and
Mission Specialist Dean Steinhower, both strapped into their seats
behind her. ‘You got white noise in the cans?’
Martie nods. ‘Must be the electricals again.’
Rhonda looks back at the beanie cap, which continues to retract
from the external tank. ‘Beanie’s on the move.’
‘We’re going to be here all night.’ Steinhower makes it clear he’s
anything but impressed with the latest stuff-up. ‘Anyone seen my
pen?’ Annoyed, he searches his flight suit’s pockets and then the sur-
rounding area for any sign of the ballpoint. ‘It’s silver. A Fisher. My
daughter gave it to me.’ Both Rhonda and Martie shake their heads.
Rhonda turns to the square opening in the flight deck’s floor
behind her. A ladder leads from it down to the mid-deck where the
hatch is located. She shouts into it: ‘Sam, we have no comms again.
And why’s the beanie moving?’
Someone scales the ladder to the flight deck. It’ll be Sam. She lets
him have it before she even sees him: ‘What on earth is going on —?’
A short, stout, balding man in his early fifties rises through the
opening. He is not Sam. Rhonda stares at him. ‘Who the hell are
you?’
‘If you speak again you die.’ The man has a French accent and
holds a silenced pistol in his right hand.

V ELOCIT Y 103
Rhonda’s first thought is that it’s a prank, a bad one, something

Sam and the White Room boys had cooked up for her because she
could be a pain-in-the-arse hardarse.
‘We haven’t got time for this —’
The pistol spits.
Henri turns to Nico and gestures at the two remaining crew
members. ‘Tie them down then get started.’ Nico nods and moves
into the flight deck.
The Frenchman triggers his walkie and speaks into it: ‘Tam,
show them.’ He then pulls a black ski mask from his pocket and
slides it on.
Tam is slumped on his side, eyes closed, breathing shallow. The

cottonmouth’s poison has all but completed its assignment. All he
wants to do is rest but he can’t until he completes one final task. He
slowly moves his hand across the MacBook’s keyboard and types
three letters.
VID
Now he can sleep.
The video monitors in Firing Room Four blink out of grey hash and
all 180 people gasp as one.
Severson steps forward and studies the monitor. It shows a high,
wide-angle image of the crew access arm. Two men stand, wearing
black ski masks and holding silenced pistols. On their knees in front
of them are astronaut Nigel Dunderfield, Sam ‘the Walrus’ and tech-
nician Baz Kay. Their wrists and ankles are bound together with
thick zip ties and their mouths are taped shut. To Nigel’s left, lying

104 STEVE WORL AND
face down, is Rick Calvin. Severson can see he’s dead.

The White Room’s door judders open. A third man, also wear-
ing a ski mask, backs out onto the crew access arm. He’s short and
stout and drags something behind him. Severson can’t see what it
is – then he can.
Another body. One of the shuttle crew.
Christ, it’s Rhonda.
No, Steinhower. It’s Steinhower. Severson is horrified. The
poor bastard. Steinhower could be an annoying whiner but no one
deserves that – a bullet in the chest, from the look of it. The short
guy deposits the body next to Calvin’s.
Severson rubs at his face, horrified by what’s happening, any
thought of being cool a distant memory.
The short man takes the comms box and headset from
Steinhower’s body, pulls them on, triggers the switch and talks
directly into the security camera. ‘Mr Burke, I am now the com-
mander of Atlantis and its remaining crew.’
‘Who the hell is this?’ Severson tries to invest the question with
authority. It doesn’t work. His voice cracks and flutters like a nerv-
ous fourteen-year-old who’s thrown caution to the wind and asked
out the prom queen in front of her quarterback boyfriend.
‘I’m sure you remember the Challenger fiasco in 1986 and
the Columbia disaster in 2003. They will seem like minor foot-
notes in the history of this space program unless you obey my
every word.’
Severson’s sure the accent is French. The man gestures to the
hostages kneeling on the catwalk. ‘Do not speak unless you are
answering a question. For each command you disobey one of these
men will die. Is this clear?’
‘Yes.’

V ELOCIT Y 105
‘Allow no security or SWAT personnel to approach pad 39A.

Is this understood?’
‘Look, I don’t know what you expect will happen —’
The Frenchman fires his pistol into Nigel Dunderfield’s temple.
The young man slumps to the ground.
‘I said do not speak unless you are answering a question. Now,
once again, allow no security personnel to approach pad 39A. Is this
understood?’
‘Yes.’
‘Stand by for further instructions.’
Severson stares at the monitor, stunned, his face blanched. His
first thought is for the dead men and the remaining crew. His second
thought is for how he’s worked too long and hard to let his career
end like this. He must fix this, and quickly.
The launch team murmur, in shock. Someone sobs. Every eye
in the room is on Severson as they await their director’s guidance.
Severson’s hand moves to his comms box switch, the other moves to
his headset microphone. He wants to rally the troops, to outline a
course of action, to lead. He opens his mouth to speak – but doesn’t
say a word. He’s got nothing.

12
Shooting that man was not something Henri enjoyed, but the launch
director needed to understand that dissent would not be tolerated.
Henri believed the message had now been clearly received.
With Dirk in tow Henri leaves Cobbin with the hostages and
quickly enters the White Room. He pulls off the ski mask, swings
off his backpack and takes out a black flight suit. It’s similar to the
orange Advanced Crew Escape Suit NASA astronauts wear, includ-
ing a ventilation and cooling system and integrated pressure bladders
to stop blood pooling in the legs during high-G-force manoeuvres.
Henri swaps his Nomex suit for the flight suit and deposits the
pistol in his backpack. As planned, Rick Calvin’s helmet and gloves
hang on the White Room’s wall, awaiting their late owner. Henri
twists them onto the suit’s locking rings then flips up the helmet’s
visor. The whole procedure takes less than ninety seconds.
Backpack in hand, Henri slides through the shuttle’s circular
entry hatch. Once inside he turns to Dirk. ‘See you soon.’
‘Happy trails, Commander.’ They clasp hands and share a grin,
then Henri disappears into the belly of Atlantis.
Judd watches the German seal up the shuttle’s hatch. The astro-
naut has crawled along the horizontal duct, squeezed through the

V ELOCIT Y 107
air-conditioning junction then up the long vertical duct that runs

parallel to the White Room’s inner wall.
He lies on a short horizontal section of duct that ends at a mesh
screen that pulls air out of the White Room. His legs dangle down the
vertical shaft as he peers through the vent, placed high on the White
Room’s wall, opposite where the German seals the hatch. Judd’s sur-
prised the man knows how to do it, it’s a complicated process, but of
more interest to him is why. Why is he sealing the hatch?
Ockham’s Razor. The principle, devised by a fourteenth-century
Franciscan friar named William of Ockham, postulated that, all
things being equal, the simplest explanation is usually correct. And
the simplest explanation is that this group is trying to hijack the
shuttle.
Judd doesn’t believe it can be done. It’s not even something NASA
considers a serious possibility. Someone blowing up the shuttle, yes,
that’s a possibility; a ground-to-air missile would do the trick. Or
someone taking astronauts hostage, yes, that’s a possibility. But
someone stealing a space shuttle off the pad? Launching it into orbit?
That was Hollywood nonsense.
The shuttle is the most complicated vehicle ever built. You need
years of training to understand its myriad systems. Even an astronaut
who understood the ship would need someone in Launch Control
willing to push the right button at the right time. So Judd’s certain
there must be another reason the German’s sealing the hatch. He just
doesn’t know what it is.
And where’s Rhonda? The simplest explanation is that she’s
still inside the shuttle. From where Judd lies he can’t see anyone
except the German. He doesn’t even know how many buddies
Tango brought to this party, apart from the older guy with the
French accent who’s now inside the spacecraft. Simply, he knows

108 STEVE WORL AND
nothing so he needs to stop wasting time and find out.

He takes a deep breath, readies himself for the trip down the duct,
then through the vent and into the White Room where he will tackle
the German, knock him out and, if all goes well, end this thing.
Ready. Set. He doesn’t go. He needs the element of surprise, the
only advantage on offer tonight. He must wait until the German
turns his back.
Henri works his way across the flight deck like a kid scaling a jun-
gle gym then settles into the commander’s chair. He glances at his
female hostages, both strapped into the seats behind him. Helmets
on, their wrists are ziplocked to the seat’s alloy frames with thick
cable ties. They do not speak. They have seen firsthand the penalty
for that transgression.
Martie Burnett’s head is bowed and she stares at the ventilation
hose attached to her flightsuit’s waist. Her body language is obvi-
ous: she is cowed. Not so Rhonda Jacolby in the chair to her left. As
he expected, her eyes are locked on him. She takes him in, weighs
him up, searches him out. She seeks a weakness. An oversight. An
opening. A way to regain control of her ship. He finds her defiance
admirable, if misguided.
Henri buckles in and turns to Nico beside him. The Italian stud-
ies the MacBook Pro clamped to the side of the instrument panel.
Its Thunderbolt port is linked via cable to an open panel beside the
LCD screens in front of him. ‘How long?’
Nico works the MacBook’s keyboard, reads its screen: ‘One
minute.’

V ELOCIT Y 109
If they launch this shuttle the manned space program will cease
to exist. Rhonda’s sure of it. First Challenger then Columbia then
strike number three, this colossal screw-up. They’ll pull the plug on
the whole damn thing. She can’t let that happen. This is her ship so
it is her responsibility.
She strains against the fat plastic cable tie that encircles her
left wrist. It doesn’t budge. She tries the same with her right arm.
It moves, opens. She tilts her head, studies it. The cable tie has
been placed on the wrong way around, so the teeth aren’t engaged
with the locking mechanism. When the guy with the Italian accent
strapped it down he did it wrong. If she pulls on it her arm will come
free. She doesn’t get excited, just thinks about what to do next. She
saw the Italian place his pistol in the backpack that rests beside him,
which is, at a stretch, within her reach. If she can get her hand on
that gun, fire it if needed, then this ends here. She knows it’s easier
thought than done but she can’t see another option. She must try.
She turns to Martie. Their eyes meet and Rhonda takes in her
friend’s face. It’s the drained visage of a person unaccustomed to
death, who has just witnessed a friend slaughtered before her eyes.
It is the polar opposite of Rhonda’s resolve.
Rhonda moves her left arm, shows her friend the tie. Martie
stares at her. Rhonda silently mouths the words: ‘Get ready —’
‘Henri, her left arm isn’t tied down properly.’
‘What?’ Nico turns, grabs the pistol from his backpack, studies
Rhonda’s arm. He’s mortified by the mistake.
Rhonda stares at Martie. It’s the second time she’s been flabber-
gasted this week. ‘You’re with them?’
‘I’m sorry, sweetheart.’ The apology sounds genuine.
‘Thank you, Ms Burnett.’ Nico unbuckles his belts, leans back,
yanks off the cable tie, straps it on properly, makes sure it’s secure.

110 STEVE WORL AND
He slides back into his chair, nods a chastened ‘sorry’ to Henri.

Rhonda’s eyes drill into Martie. ‘What the hell’s going on?’
‘You won’t understand.’
‘Understand what?’
Henri turns to the southerner. ‘Maybe she will.’
‘No, she won’t.’ Martie looks at Rhonda. ‘But even if you under-
stood the reason you’d never agree with our course of action so
there’s no point discussing it.’ Her voice is calm, measured, like she
long ago found justification for the actions she would take tonight.
Rhonda has no words. She’s never had her feelings for some-
one she held close turn so abruptly. She’d seen it happen in movies
and on television, but had always thought it a lazy contrivance. Yet
here she was, hating a woman who had been her best friend just
moments ago. ‘Why are you strapped into the chair?’
The Frenchman answers. ‘Because we knew you’d try something
and would confide in your friend.’
‘I’m sorry, darlin’.’ Again, Martie sounds genuine.
Nico turns from the MacBook to Henri, nods. ‘We’re ready.’
The Frenchman triggers his comms box and speaks into his head-
set’s microphone. ‘Mr Burke, you have fifteen seconds to untether
the umbilical or another one of your people will die.’
Henri knows that if the shuttle is tethered it can’t fly. The umbil-
ical fuel lines that link the spacecraft to the gigantic ball-shaped
bottles at the far corners of the pad need to be disconnected before
launch, otherwise they will rip free and spew liquid hydrogen and
oxygen across the launch complex, after which the noxious chemi-
cals will be ignited by the heat of the shuttle’s engines and the whole
kit and caboodle will explode.

V ELOCIT Y 111
Severson wishes he could stop time. He’d then be able to plan a

course of action. Instead he has fifteen seconds. Less, because he’s
wasting precious seconds wishing he could stop time.
Should he untether the umbilical? He doesn’t know. What he
does know is what’s displayed on the monitor in front of him. One
of the masked men holds a gun to Sam the Walrus’s head.
‘Five seconds, Mr Burke.’
Severson has the power to decide the old man’s fate. To play
God. He turns to Jeremiah Wexford, who sits to his right. The
bearded technician stares at him and waits for his order, fingers
poised over his keyboard.
Severson nods.
A low clunk. Judd knows the sound. The fueling umbilical is being
untethered from the shuttle. He still doesn’t believe the shuttle can
be launched but now thinks this group just might try. Considering
the explosive power contained within the external tank and solid
rockets, it makes what he needs to do now all the more urgent.
The German turns around.
That’s the advantage Judd needs. He punches the mesh screen in
front of him, grabs the end of the vent with both hands and hauls
himself into the room head first, the sound of his body sliding along
the narrow metal duct nothing short of deafening. He drops and hits
the floor. His injured hip screams in protest but he blanks out the
pain, scrambles to his feet and charges the German.
The German thinks the sound is coming from the crew access
arm outside. He pivots towards the White Room’s door and com-
pletely turns his back to Judd.
Yes! Judd now has the element of surprise. And, even better,

112 STEVE WORL AND
a pistol is shoved into the German’s belt behind his back. If Judd can
get that gun this all ends now. He lunges towards it.
Tango in Berlin realises his mistake and pivots and Judd misses
the pistol. The consolation prize is that he hits Tango hard, drives
him into the far wall. They bounce off and thump to the floor.
Judd lands on top of the German, their faces so close he can
smell his breath, which is surprisingly fresh. Judd headbutts him.
Tango’s head flicks back and whacks the thin carpet. Judd scrambles
to his knees and wrenches at the German’s torso, to turn him over
and get the pistol.
Tango’s fist connects where Judd’s jaw meets his skull. The pain
is exquisite. Stunned, Judd keels over and slumps to the ground
without throwing out a hand to break his fall. If the situation wasn’t
so dire it’d be comical. His head hits the carpet with a dull noise.
The German finds his feet, drags the Glock from his belt and
swings it towards his attacker.
Nico works the MacBook’s keyboard.

‘IMU pre-flight alignment, GPC and BFS complete.’
Henri nods as Nico hears a sharp intake of breath from behind
him. Clearly Ms Jacolby’s surprised they have control of the space-
craft.
Running a software package of Nico’s own design, the MacBook
is linked via a high-speed USB2 cable to a port on one of Atlantis’s
five IBM AP-101 flight computers. Years ago, when the tender went
out to convert the shuttle fleet’s old-style analogue flight deck to an
entirely digital ‘glass’ flight deck, Nico hacked into the server of the
bidder with the weakest security and downloaded the specs. After
three months of studying the plans and writing code, he created a

V ELOCIT Y 113
software package that allows him to control all the spacecraft’s sys-
tems from his MacBook without interference from Launch Control.
Unfortunately, taking control of some launch pad functions,
such as untethering the fuel umbilical and retracting the catwalk,
had proved to be impossible. The only way that can happen is
through the good graces of the man in charge of Launch Control.
Dirk aims his pistol at Judd Bell. He wasn’t dead after all, but he
soon will be. He won’t be able to expose Dirk’s true identity and the
German couldn’t be more relieved about that.
The astronaut flicks up his right foot. It hits the fleshy underside
of Dirk’s left hand and the pistol is knocked upwards.
‘Scheisse.’ Dirk’s so busy being relieved he takes too long to
pull the trigger. He re-aims, but the astronaut swings his foot again.
It has more power this time and kicks the weapon clean out of Dirk’s
hand. The Glock loops across the room and hits carpet a metre from
the door.
Dirk sprints for it but the astronaut swings his foot again, trips
him. Dirk thumps to the ground. He clambers to his feet but the
astronaut lands top of him, knees first, and drives him into the
ground. Pain shoots across Dirk’s back. He ignores it and looks up.
The pistol’s five metres away.
He swings a fist up and back, hits the astronaut in the face,
momentarily stuns him. Dirk pivots, loops an arm around his neck,
wrenches it tight.
How does he fix this?

Severson stares at the monitor and has no idea.

114 STEVE WORL AND
The wunderkind from MIT, Kent Wilson, or ‘Mitson’ as

Severson prefers to call him, approaches. The kid started work at
Kennedy a year ago, the week after he finished his doctorate in com-
puter science at the ripe old age of twenty-one. ‘May we speak?’
Severson doesn’t like the kid because he doesn’t like anyone pre-
disposed to sweep past him on the fast track, but at this point he
must be open to ideas, no matter where they originate. It’s not like
he has any of his own. ‘What?’
‘I think I have a way to control the hold-down posts.’
The hold-down posts keep the solid rocket boosters connected
to the launch pad so if they were accidentally ignited the shuttle
wouldn’t fly.
Severson looks at him. ‘You have my attention.’
Mitson talks quickly: ‘I’ve been studying the launch software,
wanted to see if there were any back doors planted in the code when
it was originally written in the seventies —’
‘And?’
‘I found one. To the hold-down posts, through the mobile launch
platform connection.’
‘Can you open it?’
‘Think so. I can’t imagine they know about it. It took me three
months to find. If I can get in then we can control the posts —’
‘And the shuttle won’t be able to launch.’
Mitson nods.
‘Do it.’
Mitson stares at Severson, surprised the launch director didn’t
take more convincing.
‘Don’t just stand there.’
Mitson scuttles back to his console, a grin on his face. Severson
knows that Mitson’s surprise at having an idea immediately

V ELOCIT Y 115
embraced will soon disappear. Within the next year the kid will real-
ise he’s the smartest guy in the room, any room, every room. He will
know that his idea will always be the most insightful and perceptive.
But that is the future. Right now he’s young, naive and not com-
pletely sure of himself. So Severson will use that for all it’s worth.
Mitson will either save the shuttle, and by extension Severson’s arse,
or become the sacrificial lamb during the postmortem when blame
will need to be assigned and arses, specifically Severson’s, will need
to be covered.
‘Mr Burke.’ It’s the Frenchman again. ‘I would like you to retract
the crew access arm. You have ten seconds.’
What, exactly, is a steely-eyed missile man?

Simply, it’s someone who can quickly devise an ingenious solu-
tion to a life-or-death problem while under extreme pressure.
Judd’s current situation presents him with the perfect opportu-
nity to discover whether he is one. Tango has an arm looped around
his neck and squeezes for all he’s worth. Judd has a hand under
Tango’s arm so, no matter how hard the German squeezes, he can’t
choke him. Judd’s other hand has Tango’s other hand pinned to the
ground.
Judd can see the pistol out of the corner of his eye. It’s five metres
away, near the White Room’s door. He must get to it. He can think
of only one way to do that.
He yanks his hand from under Tango’s arm. It instantly goes
tight around his throat and he can’t breathe. Middle and index fin-
gers forked, Stooges-style, Judd jabs them at the German’s face. One
of them catches him in the left eye and he flinches, momentarily
loosens the arm around Judd’s neck.

116 STEVE WORL AND
That’s all it takes. Judd twists free and scrambles towards the
pistol. The German follows, hip-checks him and knocks him off
course. Judd slams into a wall and jars a helmet from its hanging
place. It thumps to the ground.
The German grabs the pistol, swings it towards Judd. The
astronaut freezes. He has nowhere to go; his back, literally and figu-
ratively, is against the wall.
The downside of attempting to be steely-eyed is what happens
when you fail to devise an ingenious solution to the life-or-death
problem. Most often somebody dies – and in this case that some-
body is Judd. He waits for the German to pull the trigger.
The White Room lurches as the crew access arm draws it away
from the shuttle. Surprised, the German’s eyes momentarily flick to
the floor. Judd instantly drops to one knee, swings an arm towards
the helmet that was knocked from the wall, snags it with his index
finger and releases it in one compact motion.
Tango’s eyes flick back to Judd but the helmet is already on the
way. It strikes the German flush on the left temple. He crumples to
the floor, out cold.
Judd takes it in. Maybe he is steely-eyed after all, or maybe he’s
just lucky. He wrenches the pistol from the German’s hand then
moves to the edge of the White Room as it pulls away from Atlantis.
Severson stares at his monitor. It shows a long shot of Launch

Complex 39B as the crew access arm and the White Room retract
from the shuttle. He trusts that Mitson can do what he says, so he
directed Wexford to retract the crew access arm and buy some time.
He’s now having buyer’s remorse. What if the kid can’t do it?
His eyes lock on the sacrificial lamb elect. ‘How’s it coming?’

V ELOCIT Y 117
Mitson works his keyboard and stares at his monitor. ‘It’s com-
ing.’
‘That’s not an answer.’
‘One minute.’
‘You said you could do this.’
‘I can.’
‘Then do it! It’s on your head, boy.’
Mitson nods, works his keyboard.
It’s on your head, boy? It was a touch melodramatic but at least
Severson made his point. Everyone in Firing Room Four now knows
that Mitson is working on a fix to the current problem. If he finds
one and disaster is averted then everyone will think Severson is some
kind of genius for delegating so laterally to the kid. If he doesn’t,
well, everyone will focus on why dear young Mitson, who was once
so full of promise, failed so miserably. It’s not perfect but it’s the
only plan Severson has.
Henri studies the bank of shimmering LCD screens before him,

flicks a series of switches. ‘Powering APUs.’
Nico types on the MacBook’s keyboard. ‘We’re on internal
power.’
The Frenchman and the Italian quickly trade information:
‘Hydraulic check nominal.’
‘Main engine gimbal complete.’
‘O-two vents closed.’
‘APU to inhibit.’
‘H-two tank pressurisation is good.’
‘SRB countdown management switched to on-board computers.
APU start is go.’

118 STEVE WORL AND
Nico grins. ‘Sounds like we know what we’re doing.’

Henri has no doubt about it. After a year in a dingy garage using
a mock-up of this flight deck they had rehearsed it a thousand times.
‘Are we ready?’
Nico scans the MacBook’s screen again, makes sure everything’s
squared away. ‘We’re ready —’
A thud, from the windscreen.
Henri turns, finds a pockmark the size of a thumbnail on the
far left panel. He looks beyond it, astonished to see someone with a
pistol standing at the end of the White Room. ‘Merde.’
Nico’s concerned. ‘What’s going on?’
Henri looks at him. ‘Light it.’
Nico drops his finger onto the MacBook’s return key.
The rush of hot air rocks Judd back on his heels. He throws out
his arms and grabs the end of the White Room to stay balanced.
He looks down. Directly below, the shuttle’s three main engines
are alight and bellow translucent blue flames. Below the flames the
sound suppression system automatically floods the pad with one
million litres of water to deaden the engine noise and stop the sound
waves reflecting off the cement and shaking the shuttle to pieces.
Even with the system at work the launch complex creaks and groans
like it is waking from a long sleep.
Judd’s first thought is to go. To leave. To be elsewhere. If the
shuttle launches he’s currently standing at the optimum position to
be chargrilled by its exhaust. He stays put. Atlantis isn’t going any-
where until the solid rockets ignite.
It’s a long shot but he thinks that if the hijackers see one of the
windscreen’s glass panels is cracked they won’t launch. Unfortunately

V ELOCIT Y 119
the first bullet he fired did nothing but leave a pockmark – a ‘bruise’
in NASA speak. The fused silica glass used in the panels is designed
to take one hell of a beating, from birdstrikes at launch to microme-
teor strikes during orbit so for anything to happen he’ll need to hit
the same spot again and hope for the best. He aims the pistol at the
left-side windscreen panel again and squeezes the trigger.
Rhonda appears behind the glass panel. He sees her too late. The
bullet slams into her face – but the glass doesn’t implode or shatter
or even crack. The bullet just leaves a second pockmark and drops
away. The one thing he needs to fail on the shuttle works flawlessly.
Rhonda’s face is both impassive and grim, then Tango’s buddy,
the French guy with the face Photoshop was invented for, appears
beside her. He pushes a pistol against her temple then gestures to
Judd with his free hand. The directive is condescending, dismissive
and absolutely clear. He wants him to drop the pistol.
Judd has no choice. He releases the weapon and it falls to floor.
The Frenchman smiles, shakes his head, and makes another gesture.
Judd does as he’s told and kicks the gun over the edge of the White
Room, watches it disappear into the fog of steam and exhaust that
billows up from the sound suppression system. He looks back at the
shuttle but it vanishes behind the rising cloud.
Judd is stricken. He has no idea of what to do next. He turns,
sees a tall guy enter the far end of the White Room. The guy pulls
off a black ski mask, helps the groggy German to his feet then passes
him a pistol. Together they stride towards Judd.
‘Oh shit.’ Judd looks around. Directly behind him is a 60-metre
drop to the howling engines below. He’s got nowhere to go and no
time to get there.

120 STEVE WORL AND
Severson looks across at Mitson. The kid’s fingers move lightly

across the keyboard, his eyes locked on the monitor before him. He
shows no sign of stress. Severson, on the other hand, is a ball of
nerves. ‘How long?’
Mitson pays Severson no mind, keeps working.
‘How long?’
Mitson lifts his hands from the keyboard, turns to Severson and
grins.
Henri braces himself. Years of planning have come down to this

moment. ‘Light the solid rockets.’
Nico hits enter on the MacBook’s keyboard.
Nothing happens.
Baffled, Nico studies the MacBook’s screen. ‘I can’t.’
‘What?’
Nico turns to the Frenchman. ‘The hold-down posts will not
release.’
Henri speaks into his headset: ‘Mr Burke, release the solid rock-
ets’ hold-down posts now.’
‘Or what?’ Henri can hear the smug tone in Severson’s voice.
‘Or I will destroy this ship.’ Henri nods to Nico. ‘Throttle up.’
Dirk and Cobbin stride towards Judd Bell. The astronaut stands at the
end of the White Room, enveloped by clouds of steam and exhaust.
Cobbin shouts at the German over the shuttle’s roaring engines.
‘Get on with it. I don’t want to be anywhere near this thing when it
flies.’ Dirk doesn’t care what Cobbin wants. What Dirk wants is to
make sure this astronaut dies.

V ELOCIT Y 121
They walk on, just three metres away now. ‘Come on, shoot the
prick.’ Cobbin’s really starting to get on Dirk’s nerves. The German
ignores him, raises his pistol and aims it at the astronaut’s chest.
The astronaut steps backwards and drops over the edge.
Dirk runs forward, looks over. The guy is gone, lost in the steam
and exhaust. The German’s surprised and disappointed. Surprised
the astronaut took the easy way out after putting up such a valiant
fight earlier, disappointed he couldn’t finish the job personally.
Dirk nods to Cobbin. ‘Okay, let’s take cover.’
‘I’m waiting, Mr Burke.’

Let it fly or watch ’em die.
Severson stares out the window, the only light on the horizon the
glare of the shuttle’s engines, reflected and magnified by billowing
clouds of exhaust and steam.
Wexford turns to Severson. ‘He’s throttling the main engines.
One hundred and two per cent of rated thrust, 103. We have no way
to circumvent it. If it passes 109 we’re —’
‘Screwed.’ Royally. The shuttle has three main engines. Each has
three turbopumps which are the heart of the machine. If the engines
are throttled past 109 per cent, chances are at least one of the tur-
bopumps will fail. They weren’t designed to work beyond that speed.
Once a turbopump fails it will start a chain reaction that will destroy
the engine. That will in turn trigger an explosion that will ignite the
fuel in the external tank and the solid rockets, which will cause a
Challenger-esque detonation that will atomise the ship and the pad
and leave a crater twenty times the size of Ground Zero. The shut-
tle’s on-board computers would usually shut down the engines long
before they reached that point of self-destruction but the Frenchman

122 STEVE WORL AND
had bypassed that safety net.

‘One hundred and five per cent of rated thrust.’ Wexford again.
‘Mr Burke, you’re about to destroy this ship and kill the hos-
tages on board.’
‘One hundred and seven per cent.’
Judd holds onto a thin orange service truss on the underside of the
White Room. His biceps burn with the effort. Stepping off the edge
of the White Room, dropping out of Tango’s view and catching hold
of the truss had seemed like a good idea at the time but now he’s not
so sure. He doesn’t know how much longer he can hold on.
The sound of the shuttle’s main engines transforms, hardens.
They’re throttling up. It can only mean one of two things and nei-
ther is good. The shuttle’s going to launch or explode. Very soon.
‘We’re at 108 per cent of rated power, Commander.’

Henri nods to Nico. ‘Throttle up.’
Nico works the MacBook as Henri speaks into his headset’s
microphone: ‘Mr Burke, this is it.’
Severson stares out the window at the shuttle. Will the Frenchman
do it? Did he really go to all this trouble to be a suicide bomber?
Wexford turns to him. ‘What do we do?’
Severson doesn’t know. He hoped Mitson’s fix would do the
trick. Quite clearly he had underestimated the Frenchman.
‘One hundred and nine per cent of rated power.’ Wexford’s voice
trembles.

V ELOCIT Y 123
If Severson lets Atlantis explode there’s no way to walk it back,

career-wise. He’ll always be the guy who destroyed a shuttle and
killed two hostages in the process, no matter what the official find-
ings. He can kiss his bright future goodbye. He turns to Wexford
and nods.
The solid rocket boosters ignite and now this really is a going con-
cern.
‘Christalmighty!’ The blast of hot air hits Judd like a sledge-
hammer. He just manages to hold on to the service truss as the air
pressure swings him up and pins him against the underside of the
White Room, face first.
He knows there’s no way to switch the solid rockets off, or throt-
tle them back or turn them down. They will both burn their 450 000
kilograms of ammonium perchlorate fuel until it is all gone.
Atlantis lifts off.

13
Rhonda closes her eyes and realises there’s no way for her to enjoy
this moment. As much as she loves the launch phase, there’s nothing
to feel good about tonight. She can only think this means the end of
the shuttle program, or worse, the end of NASA.
Judd knows Atlantis will only take a couple of seconds to clear

the tower. He just has to survive that long. He’s still pinned to the
underside of the White Room, gripping the service truss with all
his might.
The structure convulses, buffeted by the solid rockets’ exhaust
as they heave Atlantis off the pad. It’s deafening. Judd once heard
that if you looked at the source of a loud noise it would protect
your hearing. Judd’s certain if he looked at the source of this loud
noise he’d lose his sight. The exhaust is brighter than the sun.
The shuttle lumbers into the sky and a wave of superheated air
sweeps over him, makes the noise seem like a frivolous concern.
The White Room affords him some protection, but the air bakes
the skin on his face and hands. Then it’s gone, just like that, along
with the air pressure that pins him against the underside of the
White Room.
He swings back down. His skin feels like he fell asleep on the

V ELOCIT Y 125
beach in the middle of summer but he’s alive, for now at least.
He looks down at the flame trench below, tries to divine a way out
of this.
Severson watches Atlantis clear the tower and one part of him
wishes he’d let it explode. At least then it’d be over. But now, well,
this is just the beginning, isn’t it? This will just go on and on as they
search for the shuttle and try to retrieve the hostages and apprehend
the hijackers. It’ll be one long reminder that he was the guy who let
it fly.
Severson exhales. Maybe Atlantis will break up all on its own
because the Frenchman doesn’t know what he’s doing. He turns to
Wexford. ‘How’s it looking?’
The technician studies the monitor before him. ‘All systems
nominal. Perfect so far.’
Of course it is. Now what does he do? He’s worked too long
and hard to let his career end like this. He thumbs his comms box,
speaks into his headset: ‘Okay, we track it. I want to know where it
is every second. Alert everyone.’
Judd’s not sure how much longer he can hold on to this service
truss. He needs to get himself into the White Room. There are just
two impediments. No, three. First, he can’t think of a way to do it.
Second, even if he did his arms don’t seem to have much strength left
and third, he can hear footsteps above him. Are Tango in Berlin and
his buddy still up there?
A high-pitched whine and a low chunter echo across Launch Pad
39B. Judd looks up and sees a blue Jet Ranger helicopter thump

126 STEVE WORL AND
through the cloud of steam and exhaust and hover to a position

above the Service Structure. A rope ladder dangles from its open
doorway just beyond the edge of the White Room. Yes, Tango and
his buddies are still up there because they’re about to be picked up.
The rope ladder sways towards Judd. It’s close, but is it close
enough? He kicks his legs out, then pulls them back, then kicks them
out again, swings back and forth, builds momentum, then launches
himself at the ladder.
It lurches out of reach. Someone climbed on above. Judd falls
past it, pivots, lunges at it.
The ladder jerks and Cobbin is almost bucked off, halfway to
the Jet Ranger above. He holds on tight, doesn’t fall.
Dirk looks down. ‘What the —?’ The German is astonished.
The astronaut dangles from the very last rung of the rope ladder,
hanging on with one hand.
Dirk aims his pistol at the astronaut as a cloud of steam sweeps
in and he can’t get a clear shot. Then he realises he doesn’t need
one. He turns and fires at the left side of the ladder in front of him.
The rope shatters. He re-aims and fires at the right side. The rope
explodes.
He looks down. Through the cloud he can just make out the
astronaut as he falls, still holding the severed piece of ladder in one
hand.
Back first, Judd plummets through the steam and exhaust
towards the launch platform 40 metres below. He doesn’t have
time to be scared because he’s trying to figure what his chances
of surviving beyond the next ten seconds will be. First, he needs
to pass through one of two large rectangular holes in the launch
platform that funnel the shuttle’s exhaust into the cement flame
trench. Otherwise he’ll land on the launch platform itself and

V ELOCIT Y 127
that’ll be curtains. Second, if he can make it through one of the

holes there needs to be a few metres of water in the flame trench,
remnants from the sound suppression system that haven’t already
evaporated from the heat of the shuttle’s exhaust, otherwise he’ll
land on cement, which will also mean curtains. He estimates he
has a 30 per cent chance of surviving.
The Jet Ranger punches through the wall of steam and thunders
away from Launch Complex 39B. Big Bird is at the controls. Behind
him in the passenger compartment Dirk and Cobbin quickly assem-
ble something. They all wear headset microphones.
Dirk speaks into his: ‘What’s our ETA?’
Big Bird scans the ground below. ‘Five seconds.’
Dirk heaves a FGM-148 rocket launcher to his shoulder and
points it out the open door.
He pulls the trigger and the Javelin missile explodes out of the
launch tube and slams into a towering vertical antenna that grace-
fully collapses in a shower of sparks.
‘Reload.’ Cobbin jams another missile in place and Dirk fires.
This Javelin slams into a large antenna dish. It keels over and crushes
a second dish beside it.
‘One more.’ Cobbin reloads the launcher and Dirk fires again.
Another antenna dish explodes in a gigantic ball of fire.
The German takes in what remains of the Merritt Island
Spaceflight Tracking & Data Network station. Called MILA, it
is one kilometre from where Atlantis just launched and relays all
spacecraft communications to Mission Control in Houston. Or it
used to. It’s now a burning wreck and won’t be relaying anything to
anyone for a very long time.

128 STEVE WORL AND
Dirk speaks into his headset: ‘MILA is clear. Let’s go for

extraction.’
‘Roger that.’ Big Bird tips the Jet Ranger into a steep bank and
it thunders away.
Severson stares out Launch Control’s main window as the giant

fireball dissipates into the night sky. ‘What just happened?’
Wexford’s eyes don’t leave the monitor in front of him, his voice
reed-thin: ‘MILA is down.’
‘When’s it going to be back up?’
‘No, no, I don’t mean offline. I mean down. Destroyed.’
‘Excuse me?’
‘Everything’s gone. Tracking, the shuttle’s vitals. All of it.’
Severson needs a moment to process the information. He finds
his seat, sits hard. With MILA gone the tracking system’s orbiting
satellites have no way to relay their information to the ground. ‘So
we have no way to track Atlantis?’
‘Not that I can see.’
Severson bows his head and studies the cheap grey carpet
beneath his shoes. He’s astonished at how well the Frenchman
thought this through. The preparation. The organisation. The exe-
cution. Intricate. Sophisticated. Flawless.
It’s great news. No one could hold him responsible. The whole
thing’s too big, too elaborate, too well planned. He did the best
he could under appalling circumstances. Hell, he should be com-
mended.
He raises his head and tries to conceal his grin.

V ELOCIT Y 129
Atlantis surges towards the heavens. It’s already 110 kilometres

high and travelling at 13 000 kilometres an hour.
Henri is jammed into his chair. He weighs triple his usual mass
as the ship pulls 3Gs. He focuses on the LCD screen before him.
‘Main engines throttling down.’ It’s a precautionary measure, to
pull the engines back to 65 per cent of thrust to avoid unduly stress-
ing the shuttle’s airframe or its occupants.
Even with the foot off the accelerator Atlantis still builds speed
through the thinning air, its trajectory now almost horizontal as it
trades altitude for velocity.
Henri surveys the screens before him. The five on-board com-
puters have run their assigned programs and the engines have
performed as designed.
‘We are go for main engine cut-off.’ The flight computers order
the shuttle’s fuel valves to close and the main engines shut down.
Instantly the occupants are thrown forward, strain against their
harnesses as the 3Gs of pressure is released.
‘We are go for external tank separation.’ Henri feels a light shud-
der as the explosive bolts that hold the now empty external tank to
the shuttle fire. The tank is released and drops away, begins its long
fall to the Atlantic below.
They have reached a height of just over 300 kilometres, travelling
at 30 000 kilometres an hour. Henri feels himself become weightless
and it is wonderful. Finally, after years of planning, they are in orbit.
The Frenchman smiles his Mona Lisa smile but that will be his
only celebration. There is much to do.
The Jet Ranger settles on the long grass.

Dirk steps out, GPS unit in his hand, torch in the other. He

130 STEVE WORL AND
quickly moves into the darkness.

Tam raises his head to a sound, forces his eyes open. ‘Who’s
that?’ His words are laboured. He tries his best to focus on the
figure that crouches before him.
‘It’s Dirk. What happened?’
Tam’s breathing is shallow. ‘Bitten. Cottonmouth.’
‘Christ.’
‘Least it wasn’t . . . an American alligator.’ Tam grins to himself.
‘Where’s Gerald?’
‘Dead. In a tree.’ Tam studies the German. ‘Glad you’re here.
I need a doc.’
‘I know. I’ll take care of it.’
Relieved, Tam nods and lets his eyes close. ‘Okay. Good.’
‘You did well.’
‘Thanks, man.’
Dirk draws his silenced pistol, points it at Tam’s temple and pulls
the trigger. Tam’s head snaps back and he sags to the ground.
The needs of the many outweigh the needs of the few. Tam knew
it coming in. They all did. There was no time in the schedule for a
visit to a doctor and no point anyway. When you got bit by a cotton-
mouth you stayed bit.
Dirk stands, rests a foot on Tam’s chest and rolls his body into
the cement shaft. He waits for it to hit the bottom then turns for the
chopper, his expression grim. He’d always liked Tam. He hasn’t felt
this bad since he cut down the oak.
It all goes away. The stress that has preoccupied Rhonda over the last
two years, the by-product of preparing to fly a two-week mission to
the International Space Station. It vanishes, like smoke on the wind.

V ELOCIT Y 131
It is replaced by something else, something terrible, an alto-

gether different kind of stress. Not knowing. Why is she here? Why
was her life spared when others weren’t? Why did her best friend
betray her? What do these hijackers want? And what has happened
to Judd?
For the first time she can remember she feels completely power-
less, like she’s stuck in knee-deep mud, unable to move. What makes
it worse it that she has no idea what to do about it.

14
Judd was way off with the 30 per cent estimate.

He falls through the launch platform’s left rectangular hole with
plenty of room to spare, then lands in the two metres of water still
remaining in the flame trench from the sound suppression system.
His back and legs feel numb from the impact and the wound on his
hip throbs like a mother but he doesn’t care because he’s alive. Only
now, as he floats in the water, does he realise how close, and how
often, he came to buying the farm tonight.
The water seeps away and Judd peels himself off the cement. He
looks up at the fat arc of white smoke left by the shuttle’s solid rock-
ets, stark against the black sky. He follows it until it disappears into
the star field.
Judd’s not a big fan of the men-crying thing. He thinks that you
only get three cries in adult life so they had better be worth it. His
first was in ’89 when Kevin Costner played catch with the young
version of his Dad at the end of Field Of Dreams. It was a movie
during which many a dude shed a tear so Judd wasn’t embarrassed
about it. The second time he Costnered was at the Columbia memo-
rial service as he mourned his dead friend. Again, an appropriate
response considering the situation. And now, at the thought of never
seeing Rhonda again, he’s on the verge of Costnering for a third
time. He can feel moisture at the corner of his eyes and it’s not from

V ELOCIT Y 133
the flame trench. He breathes deeply, holds the emotion in check.

This is not the time for waterworks.
He sets off at pace towards the VAB and pushes Rhonda from his
mind by asking himself why someone would want to steal a space
shuttle. If he can answer that question then maybe he can under-
stand the hijackers’ plans and work out what he can do to get her
back.
Do they think they can ransom Atlantis? If they do they’re in for
a rude shock. The US government doesn’t negotiate with hijackers
or terrorists. Ever. As pretty well everyone on the planet knows this,
it doesn’t seem a likely reason.
Maybe the hijackers want to kidnap the astronauts and ransom
their families? But why do it like this? Why not grab them on their
way to pick up a carton of milk from the corner store?
Maybe the hijackers plan to sell the shuttle, perhaps to the
Chinese, who have a manned space program that Judd expects to
be moon-bound within a decade. This one seems like a very long
bow. The Chinese space program uses Apollo-style disposable rock-
ets, a system that has little in common with the shuttle. If, for some
reason, the Chinese needed a piece of specific, shuttle-related knowl-
edge they would surely employ one of their vast server farms to hack
the information online, not physically steal a spacecraft.
Three minutes into his walk to the VAB and no closer to under-
standing the hijackers’ motivation, he’s splashed by the headlights of
the KSC SWAT team’s box-shaped van. The van pulls up and expels
a dozen young guys holding serious weaponry, the sort Judd wishes
he’d had access to earlier that evening. The team stalk around man-
fully but seem to have no idea what’s going on. They keep looking
up at the sky as if Atlantis might be hanging there, within easy reach.
The team leader quickly recognises Judd and is very excited to meet

134 STEVE WORL AND
a genuine astronaut. He then notices the wound on Judd’s hip and

cannot be dissuaded from radioing an ambulance to transport him
to hospital.
At Cape Canaveral Hospital Judd spends almost half an hour

being treated for his injuries – a bruised back, burned skin and a
surprisingly large gash on his hip that requires seven stitches.
While he’s being treated Will Thompkins calls to check that
he’s okay and to organise a debrief once Judd’s discharged. It’s a
short conversation during which Thompkins sounds both stressed
and preoccupied. Straight after the hijack NASA’s Administrator
Charlie Cunningham placed Thompkins in charge of the Atlantis
recovery mission. It’s a big promotion for the midget Hasselhoff.
His career is set – if NASA exists after this.
It’s pushing midnight by the time Judd exits the ER to find Will
Thompkins in the foyer, deep in conversation on his BlackBerry.
He points Judd to an empty office nearby and takes its only chair,
sits on it back to front, and continues the phone call. Judd has
always thought back to front was the coolest way to sit on a chair
but seeing Thompkins do it makes it feel both try-hard and irritat-
ing. He vows never to sit that way again.
A minute later Thompkins finishes the call and Judd can see
the strain on his face. ‘Sorry about that. Okay, I haven’t got long.
What can you can tell me?’
‘I think I know one of the hijackers.’
Thompkins flinches in surprise. ‘What? You think or you
know?’
‘I think I know.’
‘Who?’

V ELOCIT Y 135
‘It’s going to sound crazy. He was a German pop star in the

mid-eighties.’
‘A German pop star in his mid-eighties?’
‘No, no, in the mid-eighties. A band called Big Arena, sang a
song called ‘Tango in Berlin’. You remember it?’
Thompkins looks at him with an I-have-no-idea-what-you’re-
talking-about-because-I-only-listen-to-Michael Bublé expression on
his face. ‘Not really.’
‘Tango in Berlin, oh I want to tango in Berlin, we’ll drink your
daddy’s gin, I’ll kiss your sun-kissed skin, the night we tango in
Berlin.’ Judd raises both eyebrows. ‘Sound familiar?’
‘Maybe. Are you sure?’
‘He could be that guy or someone who looks just like him but
when I said “Tango in Berlin” he seemed kind of surprised.’
‘Is that it?’
‘There was another guy, short, fifty-ish. I thought he was French.’
Thompkins nods. ‘Yeah, we’re aware of him. But not the
German. Okay. Leave it with me. A full investigation will come
later, but for now the priority is to recover Atlantis and the astro-
nauts safely.’
‘Of course.’
‘I want you on board. Are you up for it?’
‘Whatever you need.’ This is exactly what Judd wants to hear.
He wants to be involved.
‘I need you in Central Australia.’
‘What?’ It’s not what he’d expected to hear.
‘The Northern Territory. The Australians are kick-starting one
of the old dishes we used during Skylab, to give us some coverage in
that part of the Southern Hemisphere.’
With MILA down, the satellites that tracked Atlantis had no

136 STEVE WORL AND
way to relay information about the shuttle’s position. The only way
to locate it was to sweep the sky with ground-based dishes and hope
to pinpoint it, after which they could track it. The problem was that
a ground-based dish could only cover a small segment of the sky. So
NASA had asked the operators of every available dish on the planet,
from Spain to India, to scan the heavens and search for Atlantis.
They were even restarting retired dishes, like the one in Central
Australia, to widen the net.
‘It’s important we have eyes and ears down there. Technicians
from the Deep Space Network in Canberra will meet you on site.’
‘What about Scully-Powers? He’s Australian. Can’t he do it?’
‘He’ll be here. I’m putting together a working group to plot our
next move.’
‘What about the police? I’m pretty sure they’ll want to interview
me —’
‘This takes precedence. They can talk to you when you return.
I’ll take care of it.’ Thompkins pulls his face into a shape that resem-
bles a smile and stands.
They both know what just happened. The ‘night of the quarters’
has come back to bite Judd on the arse and this is his punishment,
sent to the far end of the earth to do a menial task.
Thompkins moves to the door. ‘You’ll be contacted at the bot-
tom of the hour with your itinerary. Call in once you arrive at the
dish.’ Judd nods and then Thompkins is gone.
High above the Pacific Judd sits in economy class of a Qantas 747-
400. Between the hospital and the airport he’d managed a quick trip
home to pick up his passport, pack a carry-on bag and offload The
Ghost and The Darkness, his elderly neighbour Kathleen reluctantly

V ELOCIT Y 137
taking the cats after he woke her from what appeared to be a deep
sleep.
Now he involuntarily replays the night’s events. He realises how
Rick Calvin’s warning on the crew access arm had, without doubt,
saved his life. Judd had never been very pleasant to Rick and he
can’t help but regret that now. He pushes the thought away, swipes
open his iPhone and reads his itinerary, tries to fill his mind with
details of the job ahead.
After landing in Sydney he flies directly to Alice Springs in the
centre of Australia, where he’ll be met at the airport and chop-
pered to the Kinabara dish. Once on site he’ll liaise with technicians
from the Deep Space Network dishes in Canberra as they restart the
installation.
Liaise. Christ. At least he’ll be doing something. Better than sit-
ting around in Houston waiting for the other shoe to drop. If this
trip Down Under, somehow, even in the smallest way, helps recover
Atlantis, then it’s worthwhile.
He looks out the window to his left, takes in the darkness that
envelops the aircraft. He’s never been a religious man, hasn’t been
to church since he was boy, but tonight he silently prays Rhonda is
okay.

15
Edgar drives the trowel into the ground, twists it hard, grabs the
weed, wrenches it from its dirt home and catches his forearm on the
rose’s thorns. ‘Damn bush!’
The five-man secret service security detail, positioned strategically
around the sprawling garden, spring into action and sweep towards
him.
Edgar sees them coming. ‘Stand down, for Chrissake! I’m just
weeding.’
The security detail stop, mutter into their wrist microphones then
return to their positions.
He watches them retreat. ‘Christ almighty, I’ve shot ducks with
more brains than you people.’ He studies the jagged line of thorn
pricks across his forearm then turns back to the flowerbed and won-
ders how in hell he ended up here, doing this. He used to be the most
powerful man on the planet. The. Most. Powerful. Bar none. For eight
glorious years. Now look at him, surrounded by these fools, weeding.
His wife won’t let him out of the compound. She instructed the
fools that if he slips the leash again they’ll be walking point at Gitmo
within the week. So they make sure he’s always within view, even if
he’s on the john. She doesn’t want a repeat of last week’s ‘incident’
with the Ukrainian maid, who had to be paid off with a sizeable
chunk of hush money.

V ELOCIT Y 139
His wife has restricted Edgar to home duties until she decides
to forgive him. Hence the weeding. The best way to get back into
her good graces, and win his freedom, is to garden. A lot. He really
wants to make that conference in Jakarta later this week. Of course
the fools will be there, they are always around, but at least he’ll be
out of this prison.
He knows the fools don’t like him. They pretend to, but they
don’t. Not really. Of course if he’s honest with himself, who does?
That’s the downside of lying, he realises. It doesn’t matter that
there’s a venerable tradition in American politics of lying to the
people – eventually the lie is uncovered and everyone hates you for
it. It pisses him off. Who cares if he told a couple of little white lies?
It was for the country’s own good!
He thrusts the trowel into the dirt again, more venom on it this
time, twists out another weed, makes sure not to snag his arm on
that damn bush.
What Edgar knows but is unwilling to admit, even to himself,
is that there were more than a couple of little white lies, many more,
and one of them was not little. Or white. Far from it. No, it was big.
And dark. Perhaps the biggest, darkest lie ever told.

16
The day-glo-yellow Loach screams into a high bank. Tail up, almost
vertical, the little chopper hangs in the dawn sky for what seems like
an eternity, tempting the laws of physics, then plunges into a steep
dive. It pulls up a metre off the desert and blasts rust-red dust from
the parched surface as it chases a galloping steer.
Chewing gum and grinning a crooked grin, Corey works the
controls and tips his beaten-up, doorless chopper into a series of
tight turns.
The Loach shushes through a twisty rock formation, close
enough to strike a match, right behind the steer. Spike expertly
balances on the seat, shifts his weight and props himself against
the side of the cabin with a paw when necessary, his claws the
reason for the seat’s scarred leather upholstery.
The steer clears the rock formation and sprints towards the
open desert.
‘You’re just gonna die out there, little fella.’ The turbine whines
as Corey yanks the Loach into a sharp climb, then drops it in front
of the animal, a metre off the deck. The steer stops dead.
It’s a stand-off.
The steer breaks left. Corey works the controls, blocks it. ‘Tape.’
Spike rummages in the pile of rubbish within the passenger’s foot
well and finds a grubby cassette tape with ‘BM’ scratched on the

V ELOCIT Y 141
case. He bites down on it then slots it into the tape deck under the
instrument panel. The tape deck autoplays and from the speaker
attached to the fuselage blares: ‘Copa – Copacabana —’
Startled, the steer instantly pivots and gallops back from where
it came. Corey grins. ‘Nothing gets past Barry Manilow.’ He works
the controls and the Loach climbs, follows the steer as it navigates
the rock formation then slots through a break in the fence and trots
back to a large herd of cattle. Corey kills the song and unhappily
studies the broken fence. ‘Gonna have to fix that today.’
He swings the Loach around and notices a glint on the horizon.
The dawn sun blinks off something distant, deep in the arid, unin-
habited no-man’s-land of the Northern Territory.
Spike barks.
‘I’m not blind, mate, I can see it.’ Corey sets the Loach in a hover,
slides his Randolphs to the top of his head, pulls a tarnished tele-
scope from the leather pouch attached to the side of his seat which
also houses his field knife, then pushes the telescope to his eye and
focuses. The glint is closer but no clearer.
‘Whatever it is, it’s miles out. Should we go have a look-see?’
Spike growls.
The dog’s right. Corey knows they don’t have time for it, there’s
too much to do today. Incredibly, after the mortifying scene at Les
Whittle’s the other day, Les felt bad and hired him for a job. It was
a one-off that wasn’t booked through the usual tourist operators so
Les could offer it without concern.
Corey decides to forget about the glint on the horizon. He
replaces the telescope in the pouch, slides his sunnies back on, works
the controls and guides the Loach towards a collection of large hay
bales. There’s a dozen and they need to be distributed across Clem
Alpine’s sprawling cattle station. The drought has bitten hard over

142 STEVE WORL AND
the last six months and the hay kept the cattle fed. Some of the rocky
terrain was impassable for wheeled vehicles so Corey moved the
feed with the Loach.
He glances at the horizon again. The glint is still there.
A bark.
Corey drags his eyes from the glint. ‘Yep, I’m on it.’
A five-centimetre-wide hole has been cut into the floor between
the Loach’s two front seats. Above the hole is mounted a large elec-
tric winch with a fat, sky-blue Dynamica rope wrapped around it.
At the end of the rope is a carabiner attached to a big hook. Corey
flicks a switch on the winch and the hook drops towards a hay bale,
wrapped in wire cord with a large loop at the top.
Corey’s eyes move to the glint on the horizon. It twinkles and
glistens. Curiosity gets the better of the pilot. He works the winch
and retracts the hook.
Spike growls.
‘But they might need our help.’ Corey knows that Spike knows
this is nothing but a lame excuse. Of course if someone needs help
they’ll assist in any way they can, but the real reason Corey wants to
fly out to no-man’s-land is that when he sees something shiny in the
distance he always thinks it’s treasure.
It’s been that way for as long as he can remember. He was the kid
who would traverse 50 metres of thorny thicket to discover if what
glittered was gold. It never was, of course. It was a discarded piece
of tin or a shard of glass reflecting the sun. Never the diamond he
hoped for, never the gold. Even so, he can’t help but think there will
come a day when it is a diamond or it is gold or something equally
valuable. This glinting object might be an abandoned car he can sal-
vage. He’s always wanted a ’67 Mustang. Or something that fell off
an aircraft that he can sell, like an engine of something. Or maybe

V ELOCIT Y 143
it’s a UFO. He always thought he’d make an excellent ambassador

for planet Earth.
His head swimming with the possibilities, Corey swings the
Loach around, throttles up and sets sail for that glint on the horizon.

17
Seven marines dressed for combat stride across the airfield at the
naval air station in Pensacola, Florida. Bringing up the rear is
Severson Burke. He tugs at his collar, tight against his neck, and
grimly studies the Greyhound. It’s not a member of the canine fam-
ily but a stubby, twin-engined aircraft built by Northrop Grumman.
Its turboprops splutter to life.
Severson’s not happy and it’s that 24 carat prick Thompkins’
fault. He’d always considered Severson a rival so his first order of
business as head of the Atlantis recovery mission was to dispatch
him far from Houston, to be his ‘eyes in the Pacific’ as a ‘liaison’
officer attached to a marine unit. Severson would be miles from
the action and any chance of contributing to Atlantis’s recovery, or
at least being seen to contribute, before the investigation into the
hijacking began. The only job that was worse was the one Judd had
been given in Central Australia.
The marines stride up the Greyhound’s cargo ramp and enter the
aircraft. Severson stops at the entrance. His collar feels even tighter
than before. A prickly sweat breaks out across the back of his neck.
‘Major Burke?’
Severson turns to the approaching marine. Late twenties, blond,
stolid features and a foghorn voice that somehow mashes the inflec-
tion of southern gentry with the urban rhythms of Fiddy Cent.

V ELOCIT Y 145
‘Sorry I’m late, sir; needed to collect our orders. I’m Captain
Mike Disser and I couldn’t be happier that you’re joining us.’
Jesus Christ, this kid’s voice is loud. Severson nods dully. ‘Yes,
yes, good.’
‘It’s an honour to work with the first marine pilot to fly the space
shuttle, sir. You’re a legend in the corps.’
‘I am?’
‘I would not lie to you, sir.’
Severson’s sure of it. Disser turns to his seated squad and honks
over the roar of the Greyhound’s turboprops. ‘Hey, we got ourselves
a bonafide, genuine marine astronaut hero in the house. Give it up
for Severson Burke! This man’s been to space, ladies.’
The marines erupt in hoots and hollers, their faces abeam with
old-school pride. Suddenly Severson feels better. He holds up his
hands like a victorious politician half-heartedly tamping down an
enthusiastic crowd. ‘Please, please, you’re too kind. Really.’
The hoots and hollers morph into applause. Severson just loves
applause, it’s his favourite sound in the world. It rolls on, momen-
tarily drowning out the Greyhound’s engines. ‘Oh, come on, that’s
not necessary.’ He laps it up but knows they wouldn’t be clapping if
they knew the truth.
The applause slowly dies away. Disser takes a seat at the rear of
the cabin but Severson doesn’t move from the entrance. Everyone
stares at him. Disser points at the empty spot beside him. ‘Sir, it’d be
an honour it you’d park it here.’
Severson nods, takes a breath, nods again, takes another breath
then steps into the Greyhound and stiffly makes his way to the seat
beside Disser. He sits down, watches the Greyhound’s rear hatch
whine shut then whispers a private affirmation to himself: ‘I can do
this.’

146 STEVE WORL AND
The aircraft judders, begins to taxi. Disser honks: ‘Buckle up,

sir.’ Severson fits the straps over his shoulders, fastens the harness
across his midsection, breathes as elegantly as he can and whispers
to himself again: ‘I can do this.’
The Greyhound’s turboprops run up and the aircraft jolts for-
ward. Severson’s collar feels even tighter than before, the hot prickly
sweat returns to the back of his neck and, as an added bonus, his
stomach turns over. He closes his eyes, grasps the side of his seat and
squeezes. It’s soft and comforting and much too soft —
He looks down. He’s squeezing Disser’s thigh. He looks up,
takes in the marine’s mortified expression, and instantly removes his
hand.
The Greyhound thunders down the runway and lifts into the sky.

18
The glint just up and disappeared on Corey. One second it was there
the next it was gone. He scans the horizon as the Loach skims across
the empty red desert, 30 metres off the ground. ‘See anything?’
Spike stares out the open doorway, silent. Corey can’t blame him
for being annoyed. They have a tonne of work to do and they’re
wasting the morning on this wild goose chase. He decides to take it
as far as the Curve then head back.
Just ahead is the large, jagged red-rock formation nicknamed
‘Dead Men’s Curve’. It is, unsurprisingly, curved, the ‘Dead Men’
portion of its name courtesy of a couple of nineteenth-century
explorers who brought along a large wooden dining table and six
chairs but forgot to pack enough water. Corey eases the Loach over
the Curve then pulls it into a steep turn to head back.
He sees the glint. It’s not gold. Or diamonds. On the other side
of the Curve hovers a black chopper, sunlight reflecting off its wind-
screen. It’s not just any old chopper either, it’s a serious piece of
military tech. A warbird.
‘What the hell is that?’
Spike sees it and barks.
‘I think you’re right.’ Corey angles the Loach behind the Curve.
Out of sight, they fly back the way they came.
Corey glances at the side-view mirror bolted to the Loach’s door

148 STEVE WORL AND
frame. There’s no sign of the black chopper. ‘We’re good. They

didn’t see us —’
Sunlight glints off the stealthy angles of the black chopper’s fuse-
lage as it gracefully descends in front of the Loach, 200 metres away.
‘Damn.’
It’s another stand-off, though Corey preferred the one with the
steer.
Spike stretches a paw towards the tape deck.
‘Don’t think Barry can help us with this one, mate.’
Corey flicks the comms switch, tries to sound as cheerful as
possible as he speaks into his headset’s microphone: ‘G’day! How
you going? Hope everything’s okay, saw you out here, thought you
might be lost —’
The black chopper’s cannons blaze. Bullets scorch towards the
Loach.
‘— but it seems you’re fine.’ Corey yanks the Loach into a steep
turn and the bullets slide past. ‘Hold on!’
The black chopper follows with another burst of fire from its
cannons. Bullets thump into the Loach’s fuselage.
‘Buckle up!’ Spike immediately wriggles into the passenger seat’s
harness.
Corey glances in the side-view mirror. The black chopper fills it.
He pulls on the controls and the Loach goes up. And up. It’s nearly
vertical. Then actually vertical. Then more than vertical.
All the rubbish that was on the floor hits the roof. They’re upside
down, pulling a loop. Spike hangs inside his seatbelt harness.
The Loach flies over the top – and the black chopper follows.
All the rubbish that was on the roof hits the floor. Corey reaches
under his seat, draws out a flare gun as the Loach levels out.
‘Hold on!’ Corey rotates the Loach 180 degrees, aims the flare

V ELOCIT Y 149
gun out the open doorway and pulls the trigger.

Red exhaust follows the flare as it snakes across the sky, slams
into the black chopper’s left air duct. Its engine coughs and it spirals
to the ground, lands hard, kicks up a wave of dust.
The dog barks.
Corey grins his crooked grin. ‘I can’t believe it either!’ He taps
his temple. ‘I’m always thinking!’
The Loach’s turbine coughs. Corey glances in his side-view mir-
ror and loses the grin. White smoke pours from the Loach’s rear
hatch and the turbine sounds like rocks in a blender.
The black chopper rises off the desert. Corey sees it, dismayed.
‘Who are these people?’ He turns, scans the horizon. Dead Men’s
Curve is close. He points the spluttering Loach toward it.
Spike barks.
Corey’s eyes flick to the side-view mirror. A missile blasts away
from the black chopper’s underwing arsenal. ‘Oh, come on!’
It closes fast. Corey wills the chopper towards the Curve: ‘You
can do it, sweetheart.’
The Loach chunters over the rock formation, disappears behind
it. An instant later the missile follows.
The explosion shakes the desert. An orange fireball tumbles into
the aqua sky.
The black chopper thunders over Dead Men’s Curve, cuts
through the cloud of smoke and dust. Below lies a mound of smok-
ing rubble the size of three city buses. The black chopper hovers
above it, surveys the destruction.
Spike growls.
‘Shhh!’ Corey holds Spike’s snout closed as he listens to the

150 STEVE WORL AND
thump of the black chopper’s rotor blades. They sit in the Loach’s
cockpit, in a large cavern within Dead Men’s Curve. Its wide rock
roof blocks any view from above.
The sound of the black chopper recedes. Corey releases the dog’s
snout, points to the mouth of the cavern. ‘Keep a lookout.’
Spike hops out of the cockpit and trots to the cavern mouth.
Corey slides out, moves to the Loach’s side hatch and unhappily
surveys a fuselage pockmarked with bullet holes and scorch marks.
‘Man, I just painted this.’
Using its homemade twist lock, he opens the hatch’s door, which
is loose on its hinges. ‘Gotta fix that.’ He peers into the engine com-
partment, locates a hydraulic line. There’s a hole in it the size of a
thumbnail. ‘Bugger.’
He turns to the dog, unhappy. ‘This is gonna take a while to
fix —’
Spike barks.
‘What? Why?’
Corey runs to him, follows the direction of his paw.
The black chopper has landed on clear ground about a hundred
metres away. Two men step out of it, both holding assault rifles.
Corey studies the men unhappily. ‘Who are these people?’
They move briskly towards Dead Man’s Curve, then see Corey
and Spike and start to run.
‘God!’ Corey points at the Loach’s cockpit. ‘In. Now.’
Spike bounds back into the Loach as Corey sprints to the open
hatch and finds the hole in the hydraulic line. He studies it for an
unhappy moment then pulls the chewing gum out of his mouth and
wraps it around the hole with a hopeful expression. He shuts the
hatch and climbs back into the cockpit.
Spike barks.

V ELOCIT Y 151
‘Yes I used gum! There wasn’t time for anything else. I’ve got a
plan, don’t worry.’
Corey grabs the rope attached to the winch, pulls it into the
cockpit and groans in frustration. The hook and carabiner at the
rope’s end have been shot off. He searches for another hook on the
cabin floor. There’re a few. He finds the biggest, threads the rope
through the eye in the end of its shank and whispers as he ties a
knot: ‘The weasel pops out of the hole and runs around the tree and
jumps into – into —’ He stops, has no idea what the weasel jumps
into.
Spike barks.
Corey examines the half-tied knot. ‘The hole? What hole?
‘There’s no hole.’ Corey wraps the rope around and around and
around the shank then tucks it under itself.
Spike barks.
‘It’ll hold.’ Corey cranks the Loach’s turbine. It coughs, then
dies. He whispers to the chopper, desperate. ‘Come on, baby.’ He
tries again. No joy. ‘Please-baby-please-baby-please.’ He tries again.
The turbine grinds and coughs and – screams to life. ‘Yes!’
The Loach lifts off, hovers to the mouth of the cavern —
The two men are right there. They raise their weapons.
‘Jeez!’ Corey wrenches the controls and the Loach’s shrieking
tail rotor sweeps towards them. They dive to the ground as Corey
powers up.
The Loach swoops towards the black chopper. Corey leans out
the open doorway, twirls the rope with the hook on its end like it’s
a lasso, throws it hard.
It catches hold of one of black chopper’s rotor blades. Corey
throttles the Loach and it rises fast. The rotor blade bends, then
bends some more, is about to snap.

152 STEVE WORL AND
The knot unravels, the hook drops off the rope and plonks
harmlessly to the desert. ‘Oh come on!’
Spike barks.
‘There was no hole!’ Corey glances in the side-view mirror.
The men find their feet, swing their weapons towards the Loach,
open fire.
The little chopper’s too quick. It passes over the Curve and out
of sight.
Corey takes a breath, doesn’t look at the dog. ‘Not a word.’
Spike barks anyway.
‘Yes, coming out here was a bad idea.’
The Loach arcs away from Dead Men’s Curve and thumps
towards the heat-soaked horizon.

19
Tail down and cargo-bay doors open, Atlantis orbits 150 miles above
Earth.
Rhonda stares at the view but doesn’t see it. The sense of power-
lessness she felt after the launch has now morphed into a white-hot
anger. She’s furious at being strapped into this chair, at being hand-
fed energy bars by her double-crossing ex-best friend, at having to
urinate into a funnel held in place by that same ex-friend. She’s furi-
ous at it all.
There is a way out of this situation, she knows it. She just can’t
work out what it is. She wishes she could speak to Judd, seek his
counsel. He always had a unique way of looking at things, always
gave her a fresh perspective.
God, she hopes he’s okay. The last time she saw him he was
standing at the end of the White Room with a gun in his hand. A gun.
How in hell did he end up with a gun?
She has thought about him a lot during the twenty hours since the
launch – random moments, like how, on their first date, she was sure
the mole on his cheek was a dirty smudge and tried to rub it off, or
how he put a bottle of Fiji water beside her bed every night, or how he
lowered the blinds in the morning so it wasn’t too bright, or how the
coffee machine was always ready to go if she had an early start. She
loved how he always made sure their home was ‘just right’.

154 STEVE WORL AND
She had trouble resolving that side of him, the man who had her
best interests at heart, who was funny and irreverent and insightful,
with the emotionally needy guy he frequently became.
When he was first recruited to NASA he’d been a breath of fresh
air compared to the crushingly earnest guys in the program. He was
dashing, confident, charismatic. She fell for him quickly and things
between them had been great for a long time. Then Columbia broke
apart and gradually everything changed. Judd’s confidence dimin-
ished and was replaced by doubt and fear. She watched him wrestle
with them, watched as they came to inform everything he did and,
eventually, undermine his career.
The less confident he felt, the more he sought reassurance from
her. She disliked that neediness and pulled away from him, hoped
he’d get the hint and snap out of it. He didn’t, and the distance
between them grew. Judd took that distance to mean she was hav-
ing an affair with Thompkins. Then, when he came to Thompkins’
home she used it as an excuse to leave. The truth was she left because
she didn’t have the energy to deal with his insecurities any longer.
But now she wonders if she couldn’t have been kinder, supported
him more. After all, he had always supported her. He’d given her
years of unwavering professional assistance and created a home she
could leave to do great things, safe in the knowledge she had a lov-
ing place to return to, a place that was ‘just right’.
‘Cosmos.’
Rhonda hears the word buried within the conversation the
Frenchman and the Italian are currently holding. Seated in front
of her they speak quietly, the cockpit’s white noise making it difficult
to hear them clearly.
Cosmos. Rhonda wonders if they’re having a philosophical dis-
cussion about the universe.

V ELOCIT Y 155
The Frenchman and the Italian had flown the shuttle to low
Earth orbit with surprising finesse, had performed almost as well as
a couple of genuine shuttle pilots she had worked with. It was not
unexpected considering they’d surely had access to a raft of classi-
fied training information through Martie.
Cosmos. Rhonda knows there’s another reason she should
remember that word, she just can’t recall what it is. Judd would
have known, he always remembered that kind of stuff. She’s about
to query the Frenchman about it then stops herself. If she’s going
to ask him a question it should be something she actually wants
answered. ‘What’s this about? Why are we here?’
The Frenchman turns to her. ‘I was wondering how long it would
take before you asked me that.’ He glances at his watch. ‘Longer
than I expected, I must say.’
‘Well, I’m happy to disappoint you.’
He studies her. She meets his gaze. ‘You going to answer the
question or what?’
He takes a moment, then nods. ‘You’ll find out soon enough
anyway. A decade ago my group received a call for a job. It was a
big one, paid more than anything we’d earned before.’
‘Your group earned doing what?’
‘Tasks others find – unpalatable.’
‘And that is, what?’
‘Coups, assassinations, hostage retrieval.’
‘You’re mercenaries.’
His head tilts slightly. ‘I prefer to say we provide a necessary ser-
vice and fill a large gap in the market.’
‘You’re mercenaries. Were you paid to steal my shuttle?’
He ignores her. ‘This particular job was badly organised from
the start. Not as slipshod as some of the African coups we’d worked

156 STEVE WORL AND
on, but not much better. The people who’d contracted us were poor
communicators, sent mixed signals and changed plans at the last
moment with little or no warning. We’d be set to do something and
then it’d be called off. It was worse than the left hand not knowing
what the right hand was doing. It was like the left hand didn’t know
there was a right hand —’
‘Are you anywhere near a point?’
‘It’s coming. As it turned out we were working for a govern-
ment. Not a big deal, we’d been contracted by governments many
times before. But this was different. It was the first time we had been
contracted by someone within your government.’
Rhonda shrugs. ‘So what?’
‘The job was in Pennsylvania. Shanksville, Pennsylvania.’
The name rings a bell. She knows it from somewhere but can’t
– she remembers. ‘Shanksville? You – you can’t be serious.’ She
searches his eyes for the crazy, or something that resembles it, any-
thing that will tell her this guy is not playing with the full deck.
‘You’re talking about Flight 93? United 93?’ It’s so ludicrous she
half laughs as she says it.
‘Yes, we hijacked the plane and staged the Pennsylvania crash
on 9/11, put on a light and sound show so everyone in the country
thought it crashed there.’
‘Bullshit.’
‘Not at all.’
‘What happened to the plane if it didn’t crash in Shanksville?’
‘It landed in Cleveland.’
‘Come on. It crashed in Shanksville.’
‘And you think that because – why? You saw wreckage? You
heard an eyewitness account of the accident?’
‘Yes. Both.’

V ELOCIT Y 157
‘Then we did our job well, for you at least. Many people do not
believe it.’
‘If it didn’t crash then what happened to the passengers?’
‘The passengers were led into a disused hangar in Cleveland
Hopkins Airport and executed, by my team, after which the bodies
were loaded into a van, driven to an industrial furnace just outside
the city and burned. And your government paid me $40 million to
do it.’
She blinks away the absurdity of the statement. ‘You’re saying
that you were responsible for 9/11?’
‘No. Just Flight 93. And we didn’t know your government was
our contractor until almost two years later.’
She shakes her head. ‘Doesn’t make sense. Why wouldn’t they
just crash the plane and be done with it?’
‘They needed to be assured of at least one positive, uplifting
story from that day that they could control.’
‘What? What’s uplifting about that?’
‘Think about it. After 9/11, the passengers on board Flight
93 were heralded as the embodiment of American bravery in the
face of Islamic tyranny. They were the “flight that fought back”.
Everything they did, from their stoic cellphone calls to loved ones
through to “let’s roll”, their call to arms before they attempted to
subdue the hijackers – all faked by my people, by the way – created
a heroic legacy that was regularly conscripted over the following
years to help justify the war on terror and its countless breaches
of civil liberties.’
‘You’re delusional.’
‘Why would I lie to you?’
‘You don’t think you’re lying. I’m sure you believe every word
of it because you’re delusional.’

158 STEVE WORL AND
He studies her for a long moment. ‘Do you think Lee Harvey
Oswald shot JFK?’
‘What does that have to do with anything?’
‘Do you?’
She looks at him, takes a moment to answer. ‘No.’
‘When did you realise this?’
‘I don’t know.’
‘Think about it. When?’
She shrugs. ‘I – the nineties. Early nineties. When that movie
came out.’
He nods. ‘JFK. So, thirty years after the fact. But ten years after,
if you’d said Oswald was innocent, everyone would have thought
you were crazy. Nowadays, if you think he’s guilty, everyone thinks
you’re crazy. Well, in twenty years no one will believe al-Qaeda had
anything to do with 9/11 either. But by then, who will care? It will
be like the truth about JFK, another distant curiosity lost in a sea of
tabloid nonsense.’
‘It’s just bullshit. Sorry, but it is.’
‘The money we were paid was laundered twice before it reached
us. As I said, it took two years to trace, but the trail ended inside
your government.’
She shakes her head, not buying a word of it. He regards her for
a moment. ‘There’s other supporting evidence, of course. No sen-
ior government figures flew on domestic airlines that day. The Twin
Towers collapsed too smoothly to be the result of aircraft impacts.
No aircraft wreckage was found at the Pentagon because it was hit
by a cruise missile, which even the secretary of defense at the time
accidentally referred to. When bin Laden was uncovered in Pakistan
they promptly murdered him so he couldn’t tell the world he had
nothing to do with 9/11. It goes on.’

V ELOCIT Y 159
‘That’s just crazy conspiracy-theory shit.’

‘Not every conspiracy’s a theory, Ms Jacolby.’ The Frenchman
turns back to the controls.
Rhonda tries to process what she’s heard. Does she believe any
of it? 9/11 as a false flag operation? Her late father, a military-his-
tory buff, had explained the idea of false-flag ops to her when she
was a kid and it had stuck in her mind, if only because of its name.
A false-flag operation is a covert government mission designed
to deceive the public so that the mission appeared to have been car-
ried out by an enemy, thus clearing a path to war with that enemy.
The Department of Defense had considered such an operation in the
early 1960s during the Cuban missile crisis. It planned to hijack a
US passenger jet then blame it on the Cubans as a prelude to inva-
sion. Operation Northwoods was only cancelled at the last moment
by President Kennedy. Many people, including Rhonda’s dad, also
believed the Gulf War had been a false-flag operation, the US gov-
ernment giving Saddam Hussein the green light to invade Kuwait
through back channels, then using his aggression as an excuse to
start the war so they could destroy his newly built military.
Was 9/11 a false-flag operation to clear a path for the war on
terror? Would someone, could someone, knowingly inflict that kind
of pain on their country? These are not the questions Rhonda asks
the Frenchman.
‘What’s any of this have to do with your hijacking my shuttle?’
He doesn’t turn to her. ‘All will become apparent in the fullness
of time.’

20
It’s like he’s landed on Mars.

Judd stands outside the small Alice Springs Airport and waits
to be picked up. He takes in the jagged, red landscape, punctu-
ated by the occasional nub of weatherbeaten spinifex. To the left a
mountain range looms in the middle distance. To the right there’s
nothing but red flatness as far as the eye can see.
He checks messages on his iPhone, finds an email from
Thompkins’ assistant. There’s been no change in the recovery mis-
sion’s status while he was airborne: Atlantis is still missing.
He glances at his Omega PloProf 600. His ride is fifteen min-
utes late. The vintage dive watch had been Rhonda’s present to
him before his shuttle flight. He’d admired its chunky design so she
had tracked one down for him. She always thought it funny that
a man who wanted to be as far above sea level as possible wore a
watch designed to work 2000 feet below it.
It’s Africa-hot out here and Judd’s not dressed for it. Long,
dark-grey pants, a white polo shirt, navy-blue sports jacket. He’s
even wearing a singlet for Chrissake, absolutely too much clothing
for ‘the Alice’, as the pilot called it before they landed. He pulls off
the jacket, lies it across his single bag, then polishes his Ray-Ban
Aviators with his shirt to remove the red dust.
A car engine strains. He looks up, follows the roadway that

V ELOCIT Y 161
snakes away from the airport to a dust cloud that rolls towards
him. In front of the dust cloud is a day-glo-yellow ute, the words
Blades of Corey roughly handpainted on its door.
It skids to a halt in front of Judd. It is, to be kind, a dented rust
bucket. A suntanned man leans out the driver’s window, shoots
Judd a crooked grin. ‘You the bloke going to Kinabara?’
‘Judd Bell. Yes.’
‘G’day, Corey Purchase. I’m taking you there. Nice to meet
you. Hop in.’
Judd picks up his bag, pulls the door open. It creaks then jud-
ders to a stop, half-open.
‘Sorry. It’s a little sticky. Let me send the boys from mainte-
nance over.’ The Australian swivels in his seat, jams both boots
onto the door and pushes hard. It grinds open. ‘There you go. No
worries.’
Judd slides in with his bag. The ute doesn’t look any better on
the inside. It’s a sea of rust and old food containers, the road vis-
ible through a sizeable hole in the passenger foot well. He shifts
and realises he’s sitting on something.
‘Sorry!’ Corey pulls a flattened sandwich from underneath
Judd. ‘Lunch.’ Then he notices Judd’s jacket, draped over his bag.
‘Lovin’ that.’
Judd looks at it. ‘Okay. Thanks.’
A dog pops up in the rear tray and barks loudly, startles Judd.
‘Christ almighty!’
‘That’s Spike. Don’t worry, he’s all mouth and trousers.’
Spike barks again.
‘Well, you are.’
Another bark.
‘Quiet from the peanut gallery.’

162 STEVE WORL AND
Judd studies the Australian for a moment. ‘So, I just, I need to

get to the dish asap.’
‘Yep. Got it. Sorry I’m late. You won’t believe the day I’ve had.
I ran into this nasty black chopper —’
‘Your chopper’s here, at the airport?’
‘God, no. Can’t afford that. Keep it at my place.’
‘Right. And where’s that?’
‘Not far.’
‘Okay.’
‘Okay!’ Corey floors it. The ute shudders as it pulls away.
‘Anyway, this black chopper, man, it was horrible —’
Judd’s eyes are shut as the breeze from the open passenger window
washes over him. It’s like standing in front of an open pizza oven
on full flame but he doesn’t care. The air might be hotter than July
but it’s dry and curiously refreshing. Even better, as it roars past
it does an excellent job of drowning out the Australian’s voice. In
the ten minutes they’ve been driving the guy has not shut up. Then
something he says cuts through the hot, loud air and forces Judd to
respond. ‘You what?’
‘Pulled a loop.’
‘In a helicopter?’
‘They’re a bit hard to do in a car.’
Judd looks at him. Pulling a loop in a chopper is the rarest of
feats, the sole domain of experienced test pilots in advanced military
hardware. ‘Right.’
Corey picks up his sceptical tone. ‘It’s true. And the black chop-
per did one too, followed me right over.’
Judd nods politely.

V ELOCIT Y 163
‘You don’t believe me?’

‘Will it get me where I’m going any faster?’
‘It might.’
‘Okay, I believe you.’
‘It’s true.’
‘I said I believe you.’
‘But you don’t mean it.’
‘Please, I just want to get to where I’m going.’ Judd turns back to
the window, pushes his head back into the hot breeze and closes his
eyes, hopes that ends the conversation.
Corey grips the steering wheel in frustration. No one believes
him, including the coppers at the Alice Springs police station. The
officer on duty that morning had listened patiently to his story about
the nasty black chopper and the men with assault rifles, jotted down
a few details then told him he’d look into it.
He will never look into it, of that Corey is certain. It’s like an
outback version of the boy who cried wolf. It’s the bloke who talked
dog. Corey’s the crazy guy who has conversations with the dog, so
no one believes anything he says, even when it’s true.
Judd cocks open one eye and looks at the Australian. He feels
bad. Just because he’s unhappy there’s no reason to take it out on
some poor schmuck who’s only here to help. He decides to be pleas-
ant from now on.
‘How much further is it?’
‘Is what?’
Judd drags a hand across his chin, remembers to be pleasant.
‘Where we’re going. Your chopper?’
‘Oh. We’re here.’ Corey turns off the rutted tarmac and thumps
onto a dirt track. At its far end sits a small house, on its own, miles
from anything. It looks more like a shack than a house and appears

164 STEVE WORL AND
to be constructed from rusty corrugated iron.

The ute pulls up outside. Judd shoulders the door open, clam-
bers out and sees the day-glo-yellow Loach parked behind the place.
He takes it in.
It’s a dented, corroded hulk, peppered with bullet holes and
black scorch marks. Incredibly, it looks even worse than the ute.
‘This is it?’ Judd turns to the Australian, dumbfounded. ‘This is
your chopper? Are you – is this a joke?’ Any idea of being pleasant
is now forgotten. ‘You fly around in this thing?’
‘Of course. It’s a Hughes OH-6A Cayuse. A classic. Backbone
of the US Army. TC flew one in Magnum P I.’ Corey places Judd’s
bag and jacket in the cockpit then rubs at a scorch mark with the
heel of his hand. ‘I realise it might not look that flash at the moment
but I’ve made a lot of unique modifications.’
‘What? Painted over the rust?’
‘Among other things.’
Judd leans closer, inspects the fuselage, astonished. ‘Did you use
house paint?’
‘It’s an underrated aerospace coating. Look, obviously you’re
not seeing it at its best but I guarantee it’s mechanically funky-dory.’
‘Funky-dory? Well that puts my mind at ease —’
‘The aircraft is airworthy.’
‘Is that hydraulic fluid?’ Judd points at a puddle of liquid con-
gealed in the dust under the fuselage.
Corey bends, takes it in, surprised. ‘Oh, that’s from before.
Don’t worry about it.’ He grins his crooked grin.
‘Sorry, but I’m going to organise other transportation.’ Judd pulls
out his iPhone, studies the screen. It tells him it is SEARCHING,
which means no signal. He strangles a groan in his throat.
‘Mate, you’re in the middle of a desert. You’d have better luck

V ELOCIT Y 165
catching a great white out here than getting phone service.’

Judd turns and strides towards the ute. ‘Then you need to drive
me back to the airport.’
Corey follows him. ‘If you’d just hold your horses —’
Spike barks.
‘Shhh, dog!’ Corey turns back to Judd. ‘I’m sure I can set your
mind at ease if you —’
Spike barks again.
Corey turns to him. ‘What is your problem?’
Spike isn’t barking at Corey, he’s barking at something on the
heat-soaked horizon.
Corey follows the dog’s gaze, sees a glint in the distance. ‘Oh
damn.’ Suddenly he’s very miserable.
Judd notices the glint too. ‘What? What’s “oh damn”?’ Then, in
front of the glint he sees a shape that quickly grows larger and trails
grey smoke. ‘What’s that?’
Corey turns to Judd. ‘Sorry about this.’
‘Sorry about what?’
The Australian sprints towards Judd.
‘What are you doing —?’ Corey hits the American around the
thighs in a perfect rugby tackle, knocks him flat to the ground as a
missile skims the desert and slams into the house.
The explosion rocks the world. Jagged chunks of corrugated
iron fly in every direction. A large piece of burning metal slices
across the spot where Judd just stood and smashes through the ute’s
windscreen. Instantly the vehicle catches fire.
Stunned, Judd lies in the dust, face to face with the Australian,
the dog crouched nearby. ‘What the hell’s going on?’
‘Remember the story about the black chopper you didn’t
believe?’

166 STEVE WORL AND
‘Yes.’
‘Do you believe it now?’ Corey rolls to his feet and pulls Judd
up. He unhappily takes in his burning house and his burning ute,
then gestures for Judd and Spike to follow. ‘This way.’
They move quickly. Judd’s eyes are locked on the distant glint.
‘Who is it?’
‘No idea.’
‘Why are they doing this?’
‘If you find out I’d like to know.’ Corey kicks away a chunk of
smouldering iron that lies against the Loach. ‘Everyone in.’
Judd stops. ‘I’m not getting in that thing.’
‘Suit yourself.’
Corey climbs into the pilot’s seat as Spike hops in the back.
Judd looks from the Loach to the distant glint then back at the
Loach. ‘Christ!’ He scrambles into the chopper.
‘Belt, headset on.’ Corey cranks the Loach to life. The turbine
coughs – and dies.
Judd pulls on an old headset and buckles up while keeping his
eyes locked on the glint. It grows larger quickly and he can see it is,
indeed, a black chopper. ‘It’s coming!’
‘I know!’ Corey tries again. The turbine coughs – and dies.
Judd’s eyes are glued to the black chopper. A puff of grey smoke
appears in front of it. ‘Grey smoke! I see grey smoke! Another mis-
sile!’
Spike barks.
‘I’m tryin’!’ The turbine coughs – and dies. ‘Please-baby-please-
baby-please.’
‘You said it’d fly!’
‘It will fly!’
The missile closes in.

V ELOCIT Y 167
The Loach screams to life. Corey grins his crooked grin and
throttles up. Blades roar, dust blasts and the Loach lifts off and
swings over to the burning ute. The flames engulf the chopper on all
sides. The missile alters course, follows them.
Judd looks at Corey, dumbfounded. ‘What the hell are you
doing?’
Corey wrenches the controls and the Loach shoots upwards.
The missile slams into the burning ute and detonates. The shock
wave punches the underside of the Loach, drives it up and forward,
pitches it over the approaching black chopper.
Corey’s ecstatic. ‘See what I did? The missile was a heat-seeker!’
‘How’d you know that?’
‘I guessed.’
‘Guessed?’ Judd is horrified.
‘Correctly! Guessed correctly.’ The Australian taps his temple.
‘I’m always thinking!’ He glances in the side-view mirror and his
euphoria instantly transforms to disappointment as the black chop-
per completes a steep U-turn then pursues them. ‘Damn.’
Judd sees it too. ‘What did you expect?’
‘I was hoping they’d be discouraged.’
Judd notices the telescope in the pouch beside Corey’s seat.
He grabs it, aims it out the open door and pans it across the sky until
he locates the black chopper. He focuses on its occupants.
‘No!’ He yanks the telescope from his eye. ‘Can’t be.’
Dirk Popanken sits in the Tiger’s weapon officer’s seat behind and
above the pilot. His left hand triggers the binocular lens system built
into the fuselage below the rotor blades. The lens zooms, focuses
on the guy leaning out the doorway of the Loach helicopter and

168 STEVE WORL AND
the image is projected onto the perspex visor of the German’s Top
Hawk helmet.
He lets out a sharp laugh. It’s the astronaut, Judd Bell, alive
and well and in Central Australia. If Dirk wasn’t looking at him he
wouldn’t believe it. He’s got to hand it to the guy, he’s hard to kill.
Dirk’s earpiece crackles. ‘Are we close enough yet?’ It’s the other
German, Big Bird, the pilot who sits in front of Dirk. He’s being his
usual blunt self. Dirk hadn’t managed to destroy the little yellow
chopper with the missiles he’d already fired and Big Bird is unim-
pressed. The Top Hawk helmet is tricky to operate and it’s taking
Dirk a while to get the hang of its ‘look to aim, blink to shoot’ tar-
geting system.
‘Almost.’
‘Can you get it right this time?’
‘Consider it practice.’
‘It’s only practice if you improve. We only have so many missiles,
you know.’
‘Don’t worry, I’ll take care of it.’
‘Tango in Berlin.’ Judd can’t believe it, realises he should have goog-
led the guy’s real name back in Florida.
Corey glances at Judd. ‘“Tango in Berlin?” I love that song.’
‘Well, the guy who sang it is trying to kill you.’
‘What? But I bought his album. Are you sure?’
‘Pretty sure.’
Streaks of light erupt from the black chopper’s cannons and slice
towards the Loach. Corey sees them in the side-view mirror and
jolts the Loach into a steep, curling dive. ‘Hold on!’
‘Sweet Jesus!’ Judd grabs the doorframe, watches the red desert

V ELOCIT Y 169
race up to met him as the bullets slide past.

‘Whoa!’ The Loach lurches left and all Judd can see is blue
sky. They’re barely 10 metres off the deck. Judd can’t help but be
impressed. This guy can fly.
The astronaut tries to process what’s going on. Why is Tango in
Berlin here? He goes straight to Ockham’s Razor and the simplest
answer: they’re going to land Atlantis out here.
The black chopper’s cannons blaze. Corey tips the Loach hard
right but this time he’s not quick enough. A bullet slams into its
fuselage. The turbine coughs.
‘Damn it!’ Corey focuses on the gauges. A buzzer sounds. A light
blinks. ‘Losing fuel pressure.’
Judd looks back. Smoke pours from the Loach’s rear hatch.
‘We got smoke! Lots of it!’
‘I know.’ Corey can see it in his side-view mirror. He turns to
Judd. ‘In the side hatch is the fuel line. It’s red. I think there’s a hole
in it. You need to plug it.’ He holds up a stick of chewing gum. ‘With
this.’
Judd looks at the gum, then Corey, then the gum. ‘What?’
‘Climb along the skid, open the hatch and cover the hole with
the gum.’
‘Are you joking?’
‘Do it now!’
Judd considers his options. He can do nothing and die. Do
something and die. Or do something and succeed – then get word
out that Atlantis is going to land in Central Australia. What would a
steely-eyed missile man do?
Judd grabs the gum, unwraps it and shoves it in his mouth. He
then unbuckles his seatbelt, pulls off the headset, sees the winch,
unlocks it, drags out three metres of rope, locks it, wraps the rope

170 STEVE WORL AND
around his waist and knots it tight.

Corey watches, tries to work out how he does it. ‘Careful with
the hatch. The hinges are loose.’
Judd nods, grips the doorframe with both hands and swings
onto the landing skid. Wind smacks into his back. He jams his heels
down, takes a breath and turns to the rear hatch. It’s less than two
metres away but it feels like hundreds.
The black chopper closes in.
Judd slides towards the hatch as fast as he can, one hand
wrapped around the doorframe, the other flat against the Loach’s
fuselage.
Bullets spit from the black chopper’s cannons, slash towards the
Loach. The yellow chopper tips hard right. ‘Christ!’ Judd goes hori-
zontal, thumps his chin against the fuselage as the bullets zip past.
Then the Loach tips hard left and Judd is yanked upright again.
The hatch is half a metre away. Judd hits the end of the skid with
his foot, reaches for the door’s circular twist lock.
The black chopper surges forward. It’s as close as it’s been.
It won’t miss from there. Judd stretches for the lock, touches it.
‘Ahhh!’ It’s hot. He ignores the pain, grabs the lock, twists it.
A ball of flame blasts the hatch door open. The wind catches hold of
it and rips it off its hinges.
In his side-view mirror the Australian watches the door flip
away. ‘I really should’ve fixed that.’
The door spins through the air like a ninja star – and slams into
the Tiger’s windscreen. It doesn’t shatter the glass but it jams there,
one side wedged under the maintenance handgrip built into the
frame.
Judd watches the black chopper slow to a hover then descend to
the desert.

V ELOCIT Y 171
‘He can’t see where he’s going!’ Judd’s so happy he shouts it.
He shuffles back to the cabin, swings inside, pulls on the headset.
‘The hatch came off, jammed on the chopper’s windscreen —’
‘I saw. Now can you tell me why the guy who sang “Tango in
Berlin” is trying to kill me?’
‘I don’t know why he’s trying to kill you but I know why he’s
trying to kill me.’
Corey’s confused. ‘Kill you? What?’
‘I’m an astronaut. From NASA. The guy in the chopper is one of
the crew who hijacked shuttle Atlantis off the pad at Cape Canaveral
two days ago.’
Corey stares at him. ‘Come on, I’m not an idiot.’
Spike barks.
‘That doesn’t count.’ Corey studies Judd. ‘A space shuttle was
hijacked?’
‘You haven’t seen the news?’
‘No.’
‘It’s been all over the TV.’
‘I don’t presently own a television.’
‘What about the radio?’
‘I listen to tapes.’
‘The internet?’
‘It’s so slow out here there’s no point.’
‘Well, it happened —’
The Loach’s turbine coughs. An alarm sounds. Corey scans the
instruments. ‘Gotta put down.’
‘What? Here? What if they come after us?’
‘We either land or crash. Personally I prefer to land.’ Corey scans
the horizon. ‘There. That’ll do.’
He aims the Loach at what appears to be a distant mountain

172 STEVE WORL AND
range. As they draw closer Judd realises it’s neither distant or a

mountain range but the lip of a large crater, hammered into the
earth many millions of years ago by what looks like a meteor the
size of the Titanic.
The Loach passes over the crater’s lip then quickly descends.
With a blast of dust the chopper settles on the red surface.
In a flash they’re out. Corey points at Spike. ‘Keep a lookout.
If you see or hear anything, don’t be shy.’
Spike barks.
‘It’s not my fault it’s the only job you’re qualified for.’ The
Australian moves to the Loach’s now doorless rear hatch and stud-
ies the scorched black turbine through squinted eyes. ‘I can fix that.’
He unstraps a red toolbox from under the Loach’s rear seat, drops it
to the dirt below the engine compartment and gets to work.
Judd approaches. ‘Need any help?’
‘I’m good.’
Judd glares at the word SEARCHING etched across the top of
his iPhone’s screen. Still no signal. ‘Will it be quicker to fly back to
town or carry on to the dish? I need to get to a working phone asap.’
‘Dish is closer.’
Spike barks.
‘You’re dreamin’. The dish is much closer and I’d prefer to fly
away from the black chopper than towards it.’
Judd looks from Corey to the dog, confused. ‘So, you – do you
understand what the dog’s saying?’
Spike barks.
‘He’d rather you used his name.’
‘Oh, okay, sorry – Spike.’ Judd stops, realises he just apolo-
gised to a dog. ‘Guess that answers the question.’ After everything
that’s happened to Judd during the last forty-eight hours, a guy who

V ELOCIT Y 173
thinks he can talk to his dog doesn’t seem like a big deal. ‘So, how
long’s it going to take?’
The Australian’s head is buried in the hatch. ‘You’ll know when
I know.’
Judd tries not to let his frustration show. He takes in the flat
expanse of the crater then looks up and scans the bright-blue sky for
any sign of the black chopper. There’s no two ways about it – they’re
sitting ducks out here.

21
Severson wears a parachute and stands beside Captain Mike Disser.

They’re at the end of a line of marines who move steadily towards an
open door at the rear of the Greyhound then, one by one, jump out
of the aircraft.
Severson watches, his face slate-grey. He turns to Disser and
shouts over the roaring wind: ‘They said airlift not airdrop. Why
can’t we land?’
‘Conditions are not appropriate, sir.’
‘Not appropriate?’ Severson looks out the window beside him.
Far below, on the churning Pacific Ocean, sways the gigantic USS
George H. W. Bush, the most advanced aircraft carrier in the service
of the US Navy. ‘The ship’s right there. We land on it. It’s all very
appropriate.’
‘Not today.’
‘Why?’
‘The hydraulic system that powers the arrestor cables deck-side
is offline. We don’t have the gas to circle any longer while they fix it.’
The arrestor cables are the thick metal wires that catch and stop
an aircraft when it touches down on a carrier. They aren’t working,
which means if they tried to land the plane would just roll off the
deck and drop into the ocean.
‘That’s why we have to jump, sir.’

V ELOCIT Y 175
‘Is there any way I could be lowered to the ship?’

‘That is humorous, sir.’
Another guy jumps and Severson’s just two away from the open
door. He realises he’s has no choice but to tell this guy the truth,
a secret he’s never told anyone. Ever. He leans in close, whispers:
‘I can’t do it. I’m afraid of heights.’
Disser honks a short, sharp laugh.
‘I’m not joking.’
Disser smiles at him. ‘Sir, you’ve been to orbit.’
‘I know. Isn’t it ironic?’
Severson watches Disser’s face as the pieces click into place:
Severson’s reluctance to get onto the aircraft, his perpetually sweaty
skin while on the aircraft, squeezing Disser’s thigh before take-off.
The marine’s disappointment is all too obvious.
‘So you’ll understand if I wait here, fly back, catch the next plane
out and hook up with you guys later.’ Severson cracks a grin to ice
the cake.
‘Sorry, sir, that’s not an option. My orders are for you to accom-
pany me wherever I go and right now that is out of this aircraft. Now
remember your training. Release free of the chute above the water
so you don’t get tangled in the lines and trigger your flotation device
when you splash down. Zodiacs are in the water, you’ll be picked up
as soon as you’re wet.’
Severson’s not really listening. He watches the last marine step
out of the aircraft then peers through the open door at the surging
Pacific below. It’s a long way down.
Disser herds him toward the opening. ‘Time to go.’
Severson seizes hold of the doorframe with both hands. ‘Does
your stomach feel funny?
‘My stomach feels fine, sir.’

176 STEVE WORL AND
‘My stomach feels funny.’ Severson instinctively places his right

hand on his stomach so only his left hand holds the doorframe.
He realises his mistake a moment too late.
Disser nudges him in the back and Severson drops out of the
aircraft. His man-shriek is lost on the wind as he tumbles towards
the roiling ocean below.
Disser watches him go, then jumps out too.
The wave looms over Disser. It’s the size of a three-storey apartment
block and compels him to make a deal, with the Lord or the Devil or
whoever the hell might be listening, to help him find a way off this
ocean.
He blinks, to clear the saltwater from his eyes and the fear from
his heart, and braces himself. ‘Hold on!’ The wave breaks over the
Zodiac and swamps the little boat, jamming it on its right side,
its pump-jet engine screaming as it’s yanked from the water. To stop
it capsizing Disser throws his weight against the boat’s left side,
as do the three other soaking-wet marines aboard.
The Zodiac balances on its side for a long moment, then thumps
back onto its hull. Disser’s relieved, but there’s no time to celebrate.
He raises his head, scans the ocean. He can’t locate Severson Burke,
but then he can’t see much of anything because these waves are just
too damn big.
‘There!’ Disser points into the wind. Severson is 30 metres away,
floating face down in the water. The marine driving the pump-
jet swings the Zodiac towards him. Thirty metres become two in
seconds. The marines reach down, haul him out of the water, lie him
on the Zodiac’s deck.
The marine at the engine pivots the Zodiac, sends it up the side of

V ELOCIT Y 177
another towering wave as Disser kneels beside Severson. He feels his

neck for a pulse. Finds one, slaps his blanched face hard: ‘Wake up!’
Severson coughs out a stream of water then sucks air. ‘Wha–
what happened?’
Disser stares at him. ‘You passed out and almost drowned. Sir.’
Severson blinks, pulls himself up. ‘Right. Sorry.’
Disser shakes his head. ‘How can you be afraid of heights? You’re
an astronaut, for Chrissake.’
Severson leans against the side of the Zodiac and keeps his voice
low: ‘Since my shuttle mission I just, I can’t fly. I don’t know why. It’s
like someone flicked a switch and all I can think is how wrong it is to
be up high. It’s not natural.’
Disser studies him for a moment then turns away, a picture of dis-
appointment.
‘Forget about it, kid. Really. It’s over now. I like boats.’
The Zodiac crests a wave and a very big boat looms before them.
It’s the aircraft carrier USS George H. W. Bush, one of the largest
warships on the planet. The Zodiac motors towards the rear of the
iron-grey carrier, where it can be boarded from the waterline.
Disser stares at the horizon. ‘When I was a kid I had a poster of
you on my wall.’
‘Oh. Right. Well, this is a perfect example of why you should
never meet your heroes. We’re always a let-down.’
Severson grins but Disser doesn’t find it funny. ‘Feel like I’ve been
made a fool of.’
Severson resists the urge to roll his eyes and decides to place an
empathetic hand on Disser’s shoulder instead. ‘I’m real sorry about
this —’
‘Don’t touch me.’
Severson withdraws his hand.

22
So they’re going to land Atlantis in Central Australia. It makes sense.

There’s absolutely bo-diddley out here. No citizenry to look up and
wonder why a space shuttle is flying low overhead, no houses for it
to roll into when it lands. Just desert. Lots of desert. Judd remem-
bers that one of NASA’s many emergency plans included landing the
shuttle in Central Australia if the ‘fit hit the shan’ in this neck of the
woods.
Excitement rises in his chest. He’s uncovered a clue that could
lead him to Rhonda. While Thompkins and his ‘working group’ sit
around in Houston sipping coffee, staring at maps and wondering
where Atlantis will land, Judd already knows. Of course before he
can make the call that triggers the search-and-rescue operation he
needs to get out of this damn crater.
Judd pulls out his crumpled Marlboro soft pack and slips the
last cigarette into his mouth. He’d really like those seven seconds
right now. He flicks the zippo’s flint wheel. It doesn’t light. He tries
again. No sale. ‘Christ.’ He returns the pack and the zippo to his
breast pocket.
He listens for the thump of the black chopper’s rotor blades.
Nothing. Yet. He’s had to move away from the Loach because he
can’t hear anything over the Australian. The guy just talks and talks,

V ELOCIT Y 179
hasn’t stopped yakking since he began repairs.

‘— so that’s the thing, I’m always thinking. It’s Wednesday and
I’m already thinking about Thursday.’ He pauses, unsure. ‘It is
Wednesday, isn’t it?’
Judd doesn’t answer. He doesn’t want to engage in a conver-
sation that will slow the repair process. Now usually, if you don’t
answer someone when they ask a direct question, that’s the end of
the conversation. Not with this guy. Oh no. He just keeps on truck-
ing. ‘So are you married or what’s happening?’
Again no answer from Judd and again no problem for the
Aussie, who continues on his merry way. ‘Well, you know person-
ally I’ve never done it. I can’t be caged, I need to run free, like a bird.
Well, not a bird, I guess a bird could run free if it was flightless, but
I’m clearly not flightless ’cause I have a chopper, though I guess I’m
flightless at the moment ’cause it’s not working —’
‘Would you stop!’
‘What? Stop working?’ The Australian pulls his head out of the
rear hatch, confused. ‘But we need to get out of here.’
‘I don’t want you to stop working, I want you to stop talking.’
‘I’m just trying to make conversation —’
‘It’s not a conversation if the only person speaking is you. Good
God, man. I can’t hear myself think. Just concentrate on fixing that
thing so we can get out of here. Please.’
Judd breathes out. Corey stares at him. There’s no anger in his
expression. Just hurt, good old-fashioned you-cut-me-deep hurt.
‘I work faster if I’m talking.’ He turns back to the Loach.
Judd rubs his face, feels terrible. He needs this guy but instead of
being pleasant he insults him. He reaches for the Marlboros in his
breast pocket then remembers the zippo’s not working. ‘Jeez.’
Thump-thump-thump-thump.

180 STEVE WORL AND
He hears it. It’s faint at first, then grows louder. ‘Do you hear
that?’
Corey turns to him. ‘So now you want to talk —’
‘Do you hear it?’ Judd points at the sky.
Corey listens.
Corey does. It’s the sound of rotor blades. ‘Damn.’
Judd nods at the Loach. ‘How long till it’s fixed?’
‘Too long.’
Spike barks.
Corey looks at him and shrugs. ‘There isn’t a plan.’
Judd meets Corey’s eyes, his expression grim. ‘Should we run?’
The Australian gestures to the wide expanse of nothingness that
surrounds them. ‘They kill us here, they kill us over there. There’s
nowhere to hide and running seems, I don’t know, undignified.’
The sound of the rotor blades reverberates within the cra-
ter’s bowl, magnifies. They examine the azure sky, await the dark
machine, await their fate.
Judd glances at his iPhone, wills it to have magically acquired
a signal. It has not. He turns to Corey. ‘Do you have any weapons
or – anything?’
The Australian shakes his head.
Judd takes it in with a nod. A moment passes. ‘Sorry I shouted
before.’
‘I was just being friendly. Making conversation.’
‘Of course.’ Judd studies the dusty ground beneath his feet.
‘I’m just a little stressed.’
‘These people are trying to kill me too you know.’
‘Sure, but I have —’

V ELOCIT Y 181
The sound of the rotors surrounds them.
‘You have what?’
Judd looks at him. ‘The woman I love is orbiting the Earth in the
hijacked space shuttle which, I’m pretty sure, is going to land out
here somewhere and I need to tell the authorities about it but I’m
stuck in the middle of a crater with a busted helicopter and I’ll be
dead before I can get to a place that has a working phone.’
Corey takes it in with a nod. ‘Okay, you’re excused. And I did
bang on a bit so, sorry about that —’ He stops abruptly.
‘What?’
The Australian points his index finger skyward. ‘It’s going away.’
Judd listens. It’s true. The sound retreats. ‘What happened?’
Corey lets out a short laugh. ‘It flew by.’
‘It flew by? It was so loud.’
‘Sound got caught in the crater, bounced around, amplified.’
Judd can’t contain his elation. He shuffles his feet as he clenches
his fists in triumph. It looks odd but has a certain groove to it.
‘It flew on by!’
‘And we ain’t gonna die!’ Corey laughs. ‘You’re dancing like
Barry Manilow.’
Judd stops. ‘What?’
‘Barry Manilow. You know, the stutter-step thing, when he sings
“Copacabana”.’ Corey imitates the Manilow trot, complete with
imaginary maracas. ‘I saw him do it on TV when I was a kid.’
‘I wasn’t doing that.’
‘Sure you were.’
Spike barks.
Corey nods at the dog. ‘He agrees.’
Judd’s mood turns. Nothing like being compared to a seventies

182 STEVE WORL AND
cabaret performer to kill the moment. Corey tries his best to walk it
back. ‘It’s not an insult. Manilow’s a big star in certain areas —’
‘How soon till we can get out of here?’
Corey moves back to the Loach. ‘I’m on it. Can you pass me
stuff from the toolbox?’
Judd nods as Corey slides his head into the Loach’s rear hatch.
‘Hairspray.’ His voice resonates.
Judd searches the toolbox, locates a rusting can of Taft, places
it in Corey’s outstretched hand. ‘I hope you’re only using dealer-
approved parts.’
‘Hey, if it works.’ Corey extends a hand. ‘Lighter.’
Judd passes over a disposable. He hears the lighter being flicked
to life then the roar of a flame. A stream of black smoke billows out
as the Australian coughs.
‘Hammer!’
Judd passes it over.
‘Thanks, Mandy.’ Corey proceeds to whack something hard.
‘Did you call me “Mandy”?’
‘It’s your nickname.’
‘Excuse me? Why would you call me “Mandy”?’
‘‘‘I Write The Songs” doesn’t exactly trip off the tongue. You
know, Barry Manilow’s song “Mandy” —’
‘Oh, Christ. Don’t call me that. Really.’
‘You don’t get to pick your nickname. I didn’t pick mine.’
Silence.
‘Do you want to know what it is?’
‘Not really —’
‘Blades.’ The Australian says it in a breathy, portentous voice
that reverberates in the hatch. ‘I know it’s better than Mandy, but
then I don’t dance like Barry Manilow.’

V ELOCIT Y 183
‘I don’t dance like —’ Frustrated, Judd stops and looks up at the

darkening sky. ‘How much longer is this going to take?’
‘Settle, Mandy. Precision workmanship takes time.’ The ham-
mering resumes.
Twelve minutes later the day-glo-yellow Loach knifes across the

burning horizon.
Judd surveys the orange sky, searches for the black chopper. He
sees nothing so he takes in the sunset, remembers the last time he wit-
nessed a view so vivid. He was standing on the Kona Coast, holding
hands with Rhonda, eight years ago. He remembers how different,
how much better, they’d been away from Houston. Spontaneous.
Happy. He can’t remember feeling that way since . . .
Jesus H! He can feel moisture at the corner of his eye. He pokes
his index finger under his Ray-Bans to check. Yep, wet. What the
hell’s gotten into him? He’s about to Costner again. He takes a
breath and reins in the emotion, stops it before it begins.
The dog barks.
Corey replies: ‘Well, you’ll just have to man up and deal with it,
won’t you?’
Judd turns to the Australian. ‘Deal with what?’
‘Your crying. It embarrasses him.’
Judd flushes red. ‘I’m not – there’s no – I just – I got some dust in
my eye.’
The Australian nods with an I-don’t-believe-you face and Judd
turns away, notices the collection of old cassette tapes strewn across
the cabin’s floor. He picks up a couple, studies them. ‘Billy Ocean,
Richard Marx, Def Leppard. I love this stuff. This is the music from
when I was a kid. I’m surprised we have the same taste.’

184 STEVE WORL AND
‘I use them to scare the cattle when I’m mustering.’

‘Oh. You don’t like any of these?’
‘Billy’s okay. I guess after the Pacific he’d be my favorite ocean.
Not that I’ve ever seen the Pacific. I mean I’ve seen pictures, of
course, but never, you know, the real thing, in its full watery-ness.
I’m not sure that’s a word.’
‘It isn’t.’ Judd places the cassettes in a rusty metal bucket that
sits in the passenger’s foot well.
‘Don’t put ’em in there. That’s my lucky bucket. Just put ’em on
the floor.’
Judd nods and does as he’s told. A moment passes then curiosity
gets the better of him. ‘Why is the bucket lucky?’
‘It’s always where I need it. It never leaks. It’s useful for carrying
stuff.’
‘Does that make it lucky or just doing the job is was designed
for?’
‘Both, I think.’ Corey glances in the side mirror, checks for signs
of the black chopper. He doesn’t see anything. ‘So, you’re an astro-
naut, huh?’
‘Yep.’
‘Cool. Ever fly on the space shuttle?’
‘I piloted it.’ Judd doesn’t include ‘once’. He doesn’t want to be
that guy here. In Houston there was no choice, he was a one-hit
wonder, but he didn’t have to be here.
‘What was the best bit?’
Judd’s surprised to realise no one’s ever asked him that before.
Even so, he knows the answer straight away. ‘The view.’
‘Really? What was so good?’
‘There’s so much of it.’ Judd takes a breath, stares out at the
sunset contemplatively. ‘When I was looking at the Earth from

V ELOCIT Y 185
up there, well, I’ve never really believed in a god but that was the
closest I came.’
‘You’re not gonna cry again, are you?’
‘It was dust!’
Spike barks, lifts a paw, points out the windscreen. On the
ground in the far distance a cluster of lights blink and twinkle.
Judd focuses on it. ‘Is that the dish?’
Corey nods. ‘Sure is, Mandy, sure is.

23
‘Where the hell is it?’

Henri stares out the shuttle’s windscreen at the black void of
space. It’s not where it should be.
Beside him Nico works the rotational controller, fires the exter-
nal thrusters, swings Atlantis to the right. ‘It should be right here.’
It should be but it’s not. Henri glances at the screen in front
of him and confirms what he already knows: they’re low on fuel.
They’re burning through the thrusters’ helium supply at an alarm-
ing rate. There’s barely a quarter left in the tank. If they don’t find
it soon they’ll have to abandon the search and the mission will have
failed because they cannot run out of helium. If they do they won’t
be able to position Atlantis for re-entry and the spacecraft will burn
up as soon as it hits the Earth’s atmosphere.
Henri studies the MacBook and the tracking program that tells
him it should be right here, that Atlantis should be parked on top of
it. He looks out the windscreen again, scans the infinite blackness.
‘There.’ He points at a glint of light in the distance.
Nico pushes Atlantis towards it.
The trip towards the glinting object seems to take an age so his
thoughts turn, as they so often do, to his wife. He remembers the
last time he saw her. That was the night he kept coming back to, the
evening they spent in Chicago, seven hours stolen from their hectic

V ELOCIT Y 187
schedules. They had ordered room service and watched a movie in

bed and made love and fallen asleep in each other’s arms.
The morning, however, had not been so wonderful. Henri
remembers her silence as they stepped out of the lobby, her cool
peck on his cheek as he opened the taxi door, and the fact she didn’t
look back as it pulled away from the curb. What he can’t remember
is what their argument had been about. They quarrelled so rarely
that he should remember, but he doesn’t. What he does remember is
that the last time he saw his wife they had had an argument about
something he can’t remember and there is no way he can ever take
that back.
‘That’s it.’ Nico’s relieved voice pulls Henri out of the moment.
The Frenchman blinks then focuses on the large metal cylinder that
floats before them. That cylinder is the reason they are here.
It is a RORSAT, or Radar Ocean Reconnaissance Satellite.
Between 1967 and 1988 the USSR launched thirty-three RORSATs
to coincide with US and NATO naval manoeuvres. Parked in a
220-kilometre orbit above the Earth, they surveyed the oceans
around the clock as the Kremlin’s eye in the sky.
The RORSATs were, in the time-honoured tradition of Soviet-
era technology, breathtakingly inefficient. Their power supply lasted
barely ninety days. Once depleted, a rocket booster inserted the
RORSAT into a storage orbit a further 650 kilometres up. At that
altitude they would not re-enter the Earth’s atmosphere for another
600 years. Suffice to say, after reaching storage orbit the RORSATs
were promptly forgotten. But not by Henri.
Even by the Soviet’s modest standards the RORSATs had a
poor success rate. Of the thirty-three satellites launched, four mal-
functioned before they reached storage orbit. Three re-entered the
atmosphere, broke up and crashed back to Earth. One lobbed into

188 STEVE WORL AND
the Pacific Ocean north of Japan in 1973, another crash-landed in

the Canadian Northwest Territories in 1978 and a third plopped
into the South Atlantic Ocean in 1983.
The fourth defective RORSAT was launched in late 1987. After
it exhausted its power supply the satellite’s primary propulsion sys-
tem failed to push it into storage orbit. The backup did fire, but lifted
it into an incorrect orbit 80 kilometres below its intended altitude.
Over the following decades the satellite’s orbit steadily decayed. It
was due to re-enter the Earth’s atmosphere sometime in early 2017.
Henri stares at the RORSAT as they glide towards it. He has
painstakingly tracked it for the last three years. It is 11 metres long,
a metre and half wide and could only be Russian. Ungainly, inele-
gant and fussy, it instantly offends the Frenchman’s refined sense of
design. Six long, spindly antennae protrude from a fuselage covered
in the dull grey paint Soviets favoured for their military hardware.
Atlantis’s external control thrusters fire and swing it towards the
satellite. Nico gently works the controller, eyes glued to the moni-
tor in front of him. It displays three views of the satellite fed by three
cameras inside Atlantis’s payload bay. The shuttle edges closer, par-
allel but slightly below the RORSAT, no more than six metres away.
‘How’s that?’ Nico’s question is directed at Martie Burnett.
‘Fine, hold it there.’
The thrusters fire once more and the shuttle holds station. Henri
turns to Martie, his gaze steady. ‘You’re up.’
Feet secure in velcro floor straps that stop her floating away,
Martie stands at the rear of the flight deck and studies a small video
monitor within the instrument panel. It displays the same three
images of the Russian satellite that Henri and Nico see.
She raises her eyes from the monitor and looks out the cab-
in’s rear window at the Canadarm, a remote-controlled robotic

V ELOCIT Y 189
manipulator connected to the inside of the shuttle’s payload

bay. Designed and built, unsurprisingly, by Canadians, it resem-
bles a human arm, except it’s 15 metres long and 40 centimetres
wide. Articulated at its shoulder, elbow and wrist, the giant white
appendage ends in a clever mechanical device called the effector.
Martie believes the Canadarm is the most important system on
the shuttle. Without it the spacecraft is just an expensive crane with-
out a hook. She can grab anything with the effector. On her two
previous trips to orbit she’d snagged a communications satellite, the
Hubble, even an errant toolbox. She’d never missed.
She works the hand controller located on the panel before her
with smooth, direct movements and watches the Canadarm rise
from its resting place. It eases across the shuttle’s open bay doors
then reaches into the darkness. She triggers a switch and the image
on the monitor flicks to a view from a camera positioned on the
effector.
Martie scans the satellite for a point to attach. If she touches it
but doesn’t grab hold it could scoot away and they’ll have to chase
it. Considering how long it took to find she knows they don’t have
the fuel for that. So she can’t miss. She’d promised Henri she could
do this and she won’t let him down.
Martie watches the monitor intently as the effector moves,
scans the satellite’s cylindrical body. Around its midsection are
a series of large bolts, each about eight centimetres high. One of
them looks like a promising target to latch onto. She moves the
effector towards it.
Henri studies the monitor. He knows how important this
moment is. He’s invested millions of his own money, years of his
time and co-opted his crew all for this moment, so he needs the
next two minutes to go smoothly. He turns, watches Martie as

190 STEVE WORL AND
she focuses on the monitor and moves the hand controller. She is
the centrepiece around which the mission was built. Hers was the
perfect confluence of skill and circumstance. If she had rebuffed
him when he first sought to recruit her then they wouldn’t be here
and none of this would be possible.
He takes a deep breath, forces himself to relax. He knows she’s
done this many times before. She’ll be fine.
‘Shit!’ Martie stares at the monitor and says it again. ‘Shit.’ The
effector grabbed the bolt. Then she tightened its hold to pull the
satellite towards the payload bay and the bolt snapped off, sending
the satellite into a slow spin.
She releases the broken bolt from the effector, sends it flipping
away, then searches for another spot to grab on. One that won’t
snap.
She doesn’t notice the longest of the satellite’s six antennae until
it rotates into view and slams into the Canadarm, sends a shock
wave through the shuttle. ‘Damn.’ The antenna lies across the
Canadarm as the satellite continues to rotate. The antenna bends.
Martie wills it to snap.
It doesn’t. The bent antenna springs back into shape and spins
the satellite in the opposite direction, drives it away from the shut-
tle. Fast.
If she doesn’t grab it now they won’t get it back. By the time
Nico can swing the shuttle around it’ll be so far away they won’t
have the fuel to retrieve it.
Martie searches the satellite, looks for another spot to grab on.
In six seconds it’ll be out of reach.
She jams the hand controller forward. The effector darts towards
the satellite, reaches the end of its range, clamps down on one of the
antennae as it swings past.

V ELOCIT Y 191
The satellite stops spinning but its momentum swings it under-

neath the Canadarm. The antenna bends, and bends – and snaps.
‘Christ.’ The satellite tumbles towards Atlantis. If it hits it’ll
punch a hole in the fuselage and the instant depressurisation will
mean a gruesome death for everyone on board.
The satellite’s 10 metres away and moves quickly. Martie flicks
the hand controller. The Canadarm flips up, pivots, and the effec-
tor releases the broken antenna. The satellite’s five metres away.
The Canadarm shoots towards it. Three metres away. The effector
clamps onto the satellite’s rear sensor hub. One metre away. The
Canadarm draws it to a stop. Ten centimetres from Atlantis.
Everyone stares out the windscreen at the satellite, shocked by
how close it is, relieved it isn’t closer.
Martie releases a long breath and nods to Henri, who returns
that half-smile of his. She looks back at the monitor and gently
works the hand controller. The Canadarm draws the satellite away
from the shuttle, swings it around and deposits it in the payload bay.
Rhonda fixes her gaze on the Frenchman. ‘So this is about steal-
ing a satellite?’
‘It’s not just any satellite.’
‘What is it then —?’ Then she understands. ‘Kosmos 1900.’
Henri nods, impressed. ‘Exactly.’
Kosmos 1900. Rhonda realises that’s what the Frenchman was
talking about earlier. He said ‘Kosmos’, not ‘cosmos’. Obscure
information about the satellite floods back to her, details she hasn’t
thought about since she was at MIT.
Many satellites use radioactive material to produce their power,
primarily non-weapons-grade plutonium-238. The power is gener-
ated by the natural decay of the nuclear material. For safety’s sake,
the radioactive material is fabricated in a hardened ceramic form

192 STEVE WORL AND
that is all but impervious to shock. If the satellite explodes or burns

up on re-entry the ceramic breaks into large chunks that can’t spread
into the atmosphere.
Not so the Kosmos 1900. That RORSAT satellite is powered
by a BES-5 nuclear reactor, one of the few that use such a power
plant. The reactor’s core consists of 30 kilograms of highly enriched
weapons-grade uranium-235, a fissile material with a half-life of
703 800 000 years. That raw nuclear material is not fabricated in
hardened ceramic form but packed into a comparably fragile metal
casing.
Rhonda remembers this because, in 1978, a RORSAT satellite
identical to Kosmos 1900 crashed in Canada and spread its ura-
nium cargo across a 600-kilometre path from Great Slave Lake to
Baker Lake. Luckily for the Canadians the area was unpopulated.
The clean-up took four months yet only one per cent of the nuclear
fuel was recovered.
Rhonda knows human exposure to weapons-grade uranium-235
radiation will cause health problems, but it becomes really dan-
gerous when it’s inhaled. One lungful means a litany of ongoing
medical issues, cancer and kidney failure being the tip of the iceberg.
More concentrated exposure will kill an adult within a week. That’s
the reason it’s one of the rarest and most heavily protected materials
on the planet. Governments built fortresses to safeguard it on Earth,
but not in orbit. In orbit the Russians had discarded a graveyard of
satellites brimming with the stuff – at least 1300 kilograms at last
count.
‘What do you want that satellite for?’
‘So the nuclear material within it can be dispersed at a desig-
nated target.’
His comment is so matter-of-fact that it takes a moment for

V ELOCIT Y 193
Rhonda to register its gravity. The Frenchman is planning some

kind of attack and that old Russian satellite is his weapon of mass
destruction. She shudders to contemplate the damage it could inflict.
The RORSAT’s radioactive cargo had the potential to kill thousands
of people and make a large area uninhabitable, like Chernobyl or
Fukushima Daiichi, for generations to come, with disastrous, long-
term health consequences for any survivors.
Involuntarily her jaw clenches. As far as Rhonda is concerned
she is responsible. Atlantis is her ship and all of this happened on
her watch so it is her duty to put it right.
‘So what’s the designated target?’
The Frenchman doesn’t look at her. ‘All will become apparent in
the fullness of time.’

24
The black Tiger streaks across the orange horizon.

‘Where in hell is it?’ Dirk can’t locate the Loach and it’s piss-
ing him off. After removing its rear hatch from the handgrip on the
Tiger’s windscreen, a job that had taken the better part of fifteen
minutes, they hadn’t been able to find the yellow chopper again.
Dirk checks the scope in the Tiger’s instrument panel but noth-
ing shows up. ‘How did we miss it?’
In front of him Big Bird tries to remain upbeat: ‘It’s not a sur-
prise. This state is six times bigger than Great Britain —’
‘It’s not a state, it’s the Northern Territory.’
‘State, territory. English is my third language, give me a break.’
Dirk knows they should speak German but he doesn’t want to
because, apart from Henri’s directive for the multinational crew to
use English, he had long ago realised that if he spoke English with a
mid-Atlantic accent people were less likely to recognise him than if
he spoke German. Of course he doesn’t tell Big Bird this. He’d never
told anyone the truth about his past, not even Henri, and he wants
to keep it that way. The German feels that in their business, anonym-
ity is essential. The less people know about you and your previous
lives, the less that could be used against you down the track.
That’s why he must find Judd Bell. Not only is Dirk sure the
astronaut has worked out that the shuttle is going to land out here

V ELOCIT Y 195
and will relay that information to the wider world, he’s also sure he
will tell that world he is one of the Atlantis hijackers when he does.
Dirk treasures the life he has built since he cut down the oak and
will not give it up without a fight.
Big Bird’s voice rattles in his headset. ‘We’re low on fuel, need to
head back.’
Dirk knows he should have dealt with Judd Bell when they
first met on the launch pad but he hesitated in the low light, didn’t
want to accidentally put a bullet through the Jacolby woman. So
the astronaut escaped into the elevator and lived. Then Dirk missed
him a further, what, how many times? Christ, it didn’t bear thinking
about. The problem is, he wants to eliminate the astronaut person-
ally, without involving the crew, but now he has no choice but to
enlist help.
‘All right, take us back.’
Big Bird pulls the Tiger into a steep bank as Dirk slides a satellite
phone out his jacket pocket, flips out the antenna, dials and pushes
it as close to his right ear as his helmet permits. The phone rings
then is answered by a distant male voice: ‘Yes.’
‘It’s Dirk. Can you hear me?’
‘Just.’
‘Okay, listen carefully.’

25
In a swirl of dust the Loach lands close to a long, single-storey build-

ing. Adjacent is a dish antenna that measures about 20 metres in
diameter. The last of the sunset illuminates both structures, the
building’s paint faded and cracked, the dish stained with bronze
streaks of rust. Welcome to the Kinabara Dish Complex.
Judd’s heart thumps with excitement as he slides out of the chop-
per and jog-runs to the building’s entrance. He hears something
behind him and glances back. The Australian and the dog follow.
Corey carries his lucky bucket.
‘Need water. Dog’s thirsty.’
Judd nods, turns back to the building as a tall man in his mid-
forties steps out of the entrance, torch in hand. He approaches.
‘G’day, Doug Michaels.’
Judd extends a hand and they shake. ‘Judd Bell, NASA.’
‘Got word you were on the way. Thought you’d be here earlier.’
‘We were – waylaid. Is there a satellite phone here?’
‘Sure.’
‘Fantastic.’
It takes a moment before Doug realises Judd wants to use it right
now. ‘Well, let’s get it for you then.’
Judd nods, starts towards the building, gestures to Corey. ‘Also,
we need some water.’

V ELOCIT Y 197
‘No problem.’ Doug holds out his hand for the bucket.
Corey doesn’t want to give it to him. ‘I can get it.’
‘Only authorised personnel allowed inside. Sorry.’
Corey won’t pass it over. Judd stops walking, sighs. ‘It’s his
lucky – bucket. I – ummm.’ He doesn’t know how to explain it any
better than that. He turns to Corey. ‘Just give it to him.’
Corey reluctantly hands it over. Doug takes it and turns to Judd.
‘Let’s get you that phone.’
‘Yes.’ They move towards the building.
Corey watches them go. ‘I’ll just wait here then.’ He turns,
wanders back to the Loach, Spike in tow. ‘It was like Mandy was
embarrassed by us.’
Spike barks.
‘Okay, by me.’ He points at the chopper. ‘Get in. We’re not stay-
ing long.’
Doug leads Judd down the dark hallway. ‘Lucky bucket?’

‘Yeah.’
‘Where’d you find him?’
‘He found me.’
Doug’s torch plays across the green linoleum floor. It looks like
the stuff Judd’s father used to keep under his Alfa Romeo to stop the
dripping oil from staining the cement garage floor. ‘No lights?’
‘Plenty of lights, not enough bulbs. Place was decommissioned
in the early nineties. I should’ve thought to bring some.’ He shakes
his head at the oversight. ‘We were in a bit of a rush to get here.’
‘Been here long?’
‘About six hours. Gotta say I was surprised when I heard. Didn’t
think it was possible to steal a shuttle.’
‘Neither did I.’

198 STEVE WORL AND
They turn a corner and Doug props at a doorway, looks into a

large room. The only light inside glows from a computer screen. An
old one. Green monochrome illuminates a young woman’s sharp
features.
‘Any joy?’
She shakes her head but her eyes don’t leave the screen. ‘This
dish will not move. The track must be seized. Looks like we’ll need
to go out there and help it along if we’re going to realign it. And this
computer – Alzheimer’s patients have more memory.’ The woman
looks up from the screen, sees Judd. ‘Oh, hey. Finally got here, huh?’
‘Finally. Judd Bell.’
‘Petra Zellick.’
Judd turns to Doug. ‘I really need that phone.’
‘Of course.’ Doug looks to Petra. ‘There’s a guy outside, needs
water. Take care of him?’
‘Sure.’ She stands. ‘Need a break anyway.’
‘Fill this up.’ Doug passes Petra the bucket then points Judd
along the hallway. ‘We’re down here.’
From the chopper’s cockpit Corey sees a young woman exit the
building carrying his lucky bucket. ‘Here’s your water.’ She reaches
the Loach and puts the bucket down.
Corey steps out of the cockpit and sees her clearly. With her
blonde hair and angular features he thinks she’s particularly fetch-
ing, and when he thinks that he becomes a bit tongue-tied. ‘Hi. I’m
Corny, I mean Corley – Corey! I’m Corey.’
‘Petra Zellick.’
‘Nice to meet you.’ He grins his crooked grin except now it’s
a little goofy.

V ELOCIT Y 199
‘Need anything else?’

‘Yes.’
She looks at him expectantly. He doesn’t need anything.
Spike barks.
‘Excuse me one sec.’ Corey places the bucket on the pilot’s seat
in front of Spike and the dog laps at the water. Corey turns back to
Petra, wracks his brain for something to say. ‘So, um, where are you
from?’
‘Canberra.’
‘Great. Excellent. Great. So – seen much of the Territory?’
‘No, but I’d like to. It’s magnificent.’
‘So, you need a tour guide?’
‘Guess so.’
‘I’d like to formally apply for the position.’
‘Great.’ She smiles a million-dollar smile and Corey’s thrilled.
A girl hasn’t smiled at him since, well, Sara Connolly two years ago
and that was because she thought he was someone else.
Judd follows Doug down the corridor. ‘Just the two of you here?’
‘Yep, expecting a couple of others tomorrow, hopefully some-
one with a bit more experience with these older systems. We’ve been
making it up as we go along. It was last upgraded in the mid-eighties
so the blokes who know ’em are mostly retired or, you know, dead.’
The beam of Doug’s torch hits a door. ‘It’s in there.’
He pushes the door open. ‘It’s recharging. This room seems to
have the only power outlet that works.’ They enter and Doug flicks
the switch on the wall. No light. ‘Shit, keep forgetting.’
The room has the sour smell of wet laundry left standing too
long. The torch reflects off a picture window that dominates the

200 STEVE WORL AND
far wall, throwing a pale glow over the large office. At one end a
long desk topped with a green-shaded banker’s lamp is surrounded
by half a dozen wood and vinyl chairs, circa early seventies.
Everything’s covered in a film of grey-red dust.
‘Where is it?’ Judd turns to Doug and the torch’s beam blasts
directly into his face.
‘Sorry!’
Judd turns away. Bright blotches swim across his vision. He
blinks to clear them then catches sight of the reflection in the picture
window. Doug’s right hand rises towards him. It holds a pistol.
‘Shit.’ Judd twists away as the pistol fires and the flash lights up
the room. The sound reverberates, shakes the picture window. Judd
dives, hits the ground, rolls under the table.
‘Your German friend sends his regards.’ The room flashes white
again and wood splinters blast into the side of Judd’s face.
‘— so that’s the thing, I’m always thinking. It’s Wednesday and I’m
already thinking about Thursday.’ Corey turns to Petra, unsure.
‘It is Wednesday, isn’t it?’
‘Monday.’ She jabs a nine-millimetre pistol into his ribs.
He looks from the gun to Petra, confused. ‘Does this mean you
don’t need a tour guide?’
She pulls the trigger as he twists away and hip-checks her.
She’s knocked sideways and the bullet slams into the dust. Corey
dive-rolls under the Loach as she finds her balance and swings the
weapon towards him.
He’s not there. She bends, looks under the Loach. No sign of him.
Pistol raised, finger tight on the trigger, she stalks around the chopper.
The Loach is not very big so it doesn’t take long to circumnavigate.

V ELOCIT Y 201
He’s nowhere to be seen. ‘Where the hell are you —?’

Corey leaps from atop the chopper’s blades. She raises the gun but
is too slow. He tackles her hard, drives her into the dust.
The pistol jars from her hand, lands in the red dirt five metres
away. Corey scrambles after it. Petra swings out a foot, kicks his right
ankle, knocks it against his left. He stumbles, veers sideways, over-
balances and slams headfirst into the chopper’s tail section. Dazed,
he crumples to the ground.
‘Enjoy the trip?’ Petra strolls past him and picks up the weapon.
Doug crouches, points the torch and the pistol under the table.
There’s no one under there. Surprised, he stands, sweeps the torch
beam across the room —
It illuminates Judd as he slides across the dusty table, feet first. He
nails Doug in the gut and the Australian hits the floor hard. The pistol
jolts from his hand and clatters across the green linoleum.
They both scramble for it. Doug grabs Judd’s belt, yanks him
backwards, pulls himself towards the gun. Judd recovers, shoulders
him in the back, knocks him over, snags the weapon, aims it.
It’s not the pistol, it’s the torch! ‘Shit!’ He finds the switch, turns it
on, scans the floor for the weapon —
Doug kicks him in the back and Judd slams against the table,
drops the torch. Doug comes at him and Judd reaches out in the dark-
ness, for something, anything. His hand touches cool metal. He grabs
it, swings it around.
Smash! It connects with Doug’s temple and explodes in a shower
of glass. Doug flops to the ground like a sack of potatoes. Judd drops
the shattered banker’s lamp and searches for the pistol.
*

202 STEVE WORL AND
‘I’d like to go on record and state I’ve always considered myself to

be a lover, not a fighter.’ Corey sits under the Loach’s tail as Petra
aims the pistol at his chest. ‘There must be some way we can work
this out without resorting to violence —’
‘My God, would you just shut up!’ She squeezes the trigger.
Spike leaps from the Loach’s cockpit, clamps his jaws around
Petra’s gun hand.
‘Christ!’ She cries out and the pistol fires. The bullet thumps into
the ground between Corey’s knees.
Spike’s incisors rip into skin and grind bones as he bites down
on Petra’s hand. She screams, wrenches the pistol from her captive
hand, flips it around and aims it at the dog.
Thunk! She’s belted across the back of the head and collapses
to the ground, out cold and soaking wet. Corey stands over her, the
now empty bucket in his hand. ‘Thanks for getting the water.’
He looks down at Spike. ‘Good dog.’ The door to the build-
ing creaks open. Corey and Spike turn to the sound. A figure steps
into the light. Doug’s face is covered in a maze of bruises and cuts.
Corey’s not happy to see him, prepares for another battle.
Judd appears behind Doug, holding a pistol. The Yank looks
almost as beaten up as his hostage. Corey’s relieved but concerned.
‘You okay?’
Judd nods wearily and his eyes find the unconscious Petra. Corey
lifts the bucket and grins his crooked grin. ‘Told you it was lucky.’
In the centre of the main room sits an ancient control desk covered
in a maze of worn buttons, tired dials and cloudy gauges. To the side
sits a MacBook Pro, connected to the desk via a cable.
Judd frantically searches for something while Spike growls at

V ELOCIT Y 203
Petra and Doug. Both gagged, they sit in chairs, back to back, in
the middle of the room, bound together by a rope which is wrapped
tightly around their chest, arms and legs. She’s still unconscious, he’s
halfway there. In front of them Corey stares at both ends of the
rope. Petra’s pistol is pushed into his belt at the front.
Spike barks.
‘Yeah, yeah.’ It prompts Corey to tie the ends of rope together.
He whispers: ‘The weasel pops out of the hole and runs around the
tree and jumps into – into —’ He stops, still has no idea what the
weasel jumps into.
Spike barks.
Corey stares at the half-tied knot. ‘Again with the hole. I can’t
see any hole.’
Judd turns from his search, clearly frustrated. ‘You still doing
that?’
‘Just deciding which knot to use.’
‘One that won’t come loose.’
‘Yep, that’s what I was – thinking.’ Corey stares at the half-tied
knot.
Judd grabs the rope from his hands. ‘You’re wasting time.’
‘Hey!’
Judd ties the knot so quickly Corey doesn’t see how it’s done.
‘How’d you do that?’
Judd ignores the question. ‘I need you to help me find the satel-
lite phone.’
‘What? No, we’re going.’
Judd exhales. ‘I’ll show you how to tie the knot if you help.’
‘Okay. Show me.’
Judd resumes the search. ‘After we find it.’
‘How do you know there’s a phone here?’

204 STEVE WORL AND
Judd nods at Doug. ‘He said there was.’

‘Was that before or after he tried to kill you?’
‘Well, ahhh – before.’
‘So he could have said that so you’d do what he wanted, like
follow him into the room where he tried to kill you?’
Judd sees his point. ‘Yes. But I still have to look.’ He continues
searching.
Corey turns to Doug. ‘Where’s the satellite phone?’
‘Fuck off.’
‘Charming.’
Spike barks.
Corey looks at him. ‘I’m not putting the gun in his mouth.’
Another bark.
‘I’m sure there’s nothing like steel clinking against teeth to jog
a memory but I’m not doing it. It’s important to maintain certain
standards.’
Doug watches the conversation between man and dog with
growing concern.
Another bark.
Corey sighs, takes a moment, then draws the pistol from his belt.
‘Fine, but I don’t feel good about it —’
‘Found it!’
Judd pulls a satellite phone and a backpack out of a small cup-
board on the far wall. He empties the pack’s contents onto the
control desk. There’s not much inside: two bottles of water and
a folded map of the Northern Territory. The phone is a chunky
Globalstar 1600. Judd flips out its fat antenna and works the key-
pad. The screen lights up, and so does Judd’s face. ‘Works.’
A sharp beep emanates from the open MacBook Pro. Judd
realises it’s important because Doug immediately reacts to it. The

V ELOCIT Y 205
astronaut moves to the laptop and swipes a finger across its track-
pad. Its blank screen blinks to life, shows a circular black and green
radar grid overlaying a topographical map. The sweep refreshes the
screen every two seconds. Judd takes it in. ‘The dish is feeding it
real-time data.’
A small blip curves across the screen. Every time the sweep
passes over it, its position is updated. Judd studies it.
Corey moves beside him. ‘What’s that?’
‘The shuttle. It’s coming down now. It’ll land in fifteen minutes,
give or take.’
‘How do you know that?’
‘It’s performing an S-turn, to shed speed before landing.’
Corey takes it in, astonished. ‘That thing is, is —’
‘Moving at 13 000 kilometres an hour.’
The blip travels off the edge of the screen. Judd puts an index
finger on the point where it left the screen then drags it in a looping
journey that proscribes what he believes will be the shuttle’s flight
path as it completes Terminal Area Energy Management manoeu-
vres to slow it down, then curves around the Heading Alignment
Cylinder to pass Waypoint One, then Waypoint Two, until it lines
up with the runway. His finger stops at a point on the screen. ‘Here.
Where is this?’ Judd unfolds the map, spreads it out. ‘On the map.’
Corey studies the screen, then looks at the map, then the screen
again, tries his best to identify the topographical representations,
then looks back at the map again, jabs a position. ‘Here?’ He doesn’t
say it with a lot of conviction. The place has no name, it’s just a rust-
red smear on a map full of rust-red smears.
‘There’re no mountains or valleys or anything? It’s flat, right?’
‘As a pancake.’
‘How far away is it? In the chopper.’

206 STEVE WORL AND
Corey looks at him uncertainly. ‘Ten minutes, give or take.

Why?’
‘We have to leave now.’
‘I knew you were gonna say that.’
‘Come on! We gotta go.’
‘Sorry. No. I only stayed so you’d teach me how to tie the knot.’
‘I have to know where it lands.’
‘You know where. Here.’ Corey presses his finger into the map.
‘Exactly where it lands.’
‘Exactly where I’m pointing to on the map.’
‘You didn’t sound so sure before.’
‘Well, I am now.’
‘I need visual confirmation.’
‘I’m not going out there, mate. If that’s where they’re gonna land
then there’ll be more like these two.’ He nods at Petra and Doug.
‘Forget it. I got more than I bargained for on this job already.’
‘Please, we don’t have much time.’
Corey fastens his eyes on Judd and speaks slowly: ‘Have you not
been paying attention? They tried to kill us. No, they went out of
their way to kill us – over and over. We should be flying away from
them, not towards them.’
Judd unclips the PloProf from his wrist, holds it out to him.
‘It’s worth five grand US, minimum.’
‘I don’t want your expensive watch, I want to live, and going
out there will greatly decrease that possibility. Now just ring your
mates, tell them what you know and call it a night. Really, for your
own health.’
Judd exhales, anger fused with frustration. ‘I’ll call them when
we’re on the way but I need to know exactly where it lands.’
‘Why?’

V ELOCIT Y 207
Judd stares at Corey. ‘Why do you think? I’ve gotta see that she’s
okay.’
‘How are you going to see that? How are you going to see any-
thing —’
‘I don’t know. But I have to do something. I can’t just sit here.’
Judd can feel moisture at the corners of his eyes again. Christ. He
looks down, studies the green linoleum floor.
‘You crying again?’
‘No.’
Corey bends, looks him in the face. ‘The corners of your eyes are
wet! Come on, man, you’re embarrassing the dog. There’s no crying
for men in Australia. It’s frowned upon, makes the blokes not crying
uncomfortable. If you’re upset, keep it to yourself.’
Judd turns to him, eyes firm. ‘I need you to do this. Please.’
Corey looks at him.
‘Come on, there isn’t much time.’
‘I’m thinking!’ Corey takes a breath, then nods. ‘Okay. Jeez.’
He can’t believe he’s agreeing to it.
‘Thank you.’
The dog barks.
Corey glances at the animal. ‘Yeah, well, last time I checked
it was my chopper. Of course, you can always stay here and hang
with this pair if you’ve got a problem with it.’ He jabs a thumb at
Petra and Doug.
Spike barks.
‘Language, please.’
Judd sweeps the satellite phone, the bottles of water and the map
into the backpack. ‘What should we do about them?’
‘Dunno. What do you think?’
‘Fuck ’em.’

208 STEVE WORL AND
Corey nods at the dog. ‘That’s what he said.’

They both stride towards the door, the dog in tow. Judd turns to
Corey. ‘Thanks for this.’ It’s heartfelt.
‘Don’t thank me yet. You haven’t heard my conditions.’

26
The Loach trails a ribbon of exhaust heat that makes the stars dance
and shimmer in its wake.
Behind the Loach’s controls Corey looks down at his new jacket,
which, just moments ago, belonged to one Judson Bell. The sleeves
are a bit short and it doesn’t go with his grubby blue T-shirt or dusty
jeans, but, as he’s blissfully unencumbered by notions of fashion, he
doesn’t care. It is the single nicest article of clothing he’s ever owned.
He flicks a piece of lint off the left lapel then looks to Judd beside
him. ‘Okay, this is the plan. We see where it lands then we call your
mates and tell them where it is, then we leave and fly far, far away
and let them handle it, then we land and you teach me how to tie
that knot. Okay?’
Satellite phone in hand, backpack at his feet, map open on his
knees, Judd nods, preoccupied, as he surveys the night sky. ‘How far
away are we?’
‘This is it.’
Judd glances at his watch, leans out the open door, looks up,
searches the black sky. He sees nothing. Frustrated, he looks back at
the map and his hands ‘go Rubik’. ‘Did I get it wrong?’
‘It’s okay, we’ll find it.’
Judd’s not so sure. ‘If I screwed up the calculations it could be a
hundred miles from here.’

210 STEVE WORL AND
Corey nods at the satellite phone. ‘Well, call your mates anyway,
tell ’em it’s in the Territory. That’s better than nothing —’
A low, fat noise sweeps across the sky.
The sound is very loud, but also soft and rounded, like a wave of
white noise. Judd scans the sky for its source.
There, above and to the left, 200 metres away, a dark wedge
shape blocks out the stars as it rips across the night sky, displacing
air and producing that wave of white noise.
Atlantis.
Corey sees it and grins. ‘Told you we’d find it.’
Judd watches the spacecraft as it pulls away and loses altitude
fast. ‘It’s about to land.’
Even though Rhonda knows most of the re-entry processes are auto-
mated, she’s still impressed. The Frenchman and his Italian sidekick
have expertly dragged the shuttle out of orbit, re-entered the atmos-
phere and flown it through TAEM without any issues.
She looks out the right-side windscreen at the flat blackness and
tries to divine where they’re about to land. How many hours ago
did they leave the Cape? How many hours have they been aloft?
What time would that make it here if it was the middle of the night?
She does the arithmetic and makes a couple of educated guesses.
She can’t imagine they’re anywhere in Europe. There’d be too
many people around to make it viable. Deepest darkest Russia is
a possibility, but why risk it when the weather could be harsh and
unpredictable?
There’s just one place that makes sense. Sparsely populated. No
man-eating animals roaming about. No militia. No mountains to
crash into. No forests to complicate a landing. No harsh weather

V ELOCIT Y 211
to speak of. Just a whole lot of flat desert. They’re about to land in
Central Australia, she’s sure of it.
She stares out the windscreen and realises that as interesting a
piece of information as that is, it doesn’t give her anything useful,
won’t help her stop the Frenchman. To do that she needs to come up
with a plan and she needs to do it fast.
The wave of white noise is now a dull roar.

The shuttle is 150 metres away, above and to the left of the Loach.
It’s close enough that Judd can make out the patchwork of soft, heat-
resistant tiles attached in an intricate puzzle to its fuselage.
Atlantis dips and flares, slows dramatically. In a flash the Loach
is almost upon it.
‘Not too close.’
‘It’s droppin’ like a bride’s nightie.’
‘It doesn’t have atmospheric engines. It’s just a glider, and not a
very good one. It’ll lose speed and altitude fast so we need to drop
back. I don’t want them to know we’re here.’
Corey throttles back, lets the spacecraft pull ahead.
Judd scans the horizon. ‘Where are they going?’
As he says it the landscape in front of them illuminates. It’s like
a small city has been Copperfielded out of nowhere and dropped,
lights ablaze, onto the desert.
Corey nods at it. ‘There?’
Judd looks closer. It’s a runway. A very long one. At regular
intervals lights dot both sides of the strip as it disappears into the
distance. He can’t help but be impressed. ‘It’s so big.’
‘That’s what she said.’ Corey glances at Judd with his crooked
grin, then realises the Yank’s in no mood for levity. ‘Sorry, not the

212 STEVE WORL AND
time.’ He turns back to the horizon, studies the runway. ‘They sure
went to some trouble.’
‘You ever seen it before?’
‘No way. I was out this way a month ago and there was nothing
here. They built it from scratch. Recently.’
Judd looks down at the map, the instrument panel illuminating
it, and presses his finger into the position Corey determined back at
the dish. ‘Is this where it is?’
‘Spot on. Make the call.’ Judd nods as he flips out the satellite
phone’s antenna and works the keypad.
A mechanical whine cuts across the wind roar. They both look
over at Atlantis. Its landing gear lowers and locks in place. The wind
resistance instantly decelerates the spacecraft and it loses altitude.
‘Watch it! Don’t get too close.’
Too late. Before Corey can do anything the Loach is parallel
with Atlantis.
Rhonda catches sight of something out the right-side windscreen.

She blinks, focuses, sees rotor blades, attached to a yellow Huey
OH-6 Loach. She knows the chopper’s shape well. Her dad flew one
during both tours of Vietnam and Magnum P.I. was his favourite
TV show.
It’s close, maybe 40 metres off the starboard wing. She focuses
on it. The little chopper must belong to the Frenchmen’s crew, to
point the shuttle towards whatever makeshift runway they’ve set up
for the landing.
For a moment the Loach sits perfectly within the frame of the
shuttle’s windscreen panel. She looks into its cockpit, which has no
door, and sees two men inside. The closest one, who isn’t piloting

V ELOCIT Y 213
the chopper, is partially illuminated by the moonlight.

She studies the man, takes in his posture, the tilt of his head, the
outline of his face, the set of his chin and the way his hands face each
other and turn as if working an invisible Rubik’s cube.
It’s Judd.
No, it can’t be. But that gesture. ‘Going Rubik’, she called it.
She’d never seen anyone do it except Judd, when he was trying to
figure something out. It is Judd – and it’s the third time she’s been
flabbergasted this week. But why, and how, is he here? Is he working
for the Frenchman? That seems a ridiculous proposition, but then
sitting to her right is one Martie Burnett, a good friend for almost
a decade, who is currently in the employ of said Frenchman.
Martie follows Rhonda’s gaze out the windscreen and catches
sight of the Loach just before it disappears from view. ‘Henri, we
have company. Off the starboard wing.’
Henri cranes his neck to look out the right side of the wind-
screen. ‘Merde.’
‘Merde?’ Rhonda realises that doesn’t sound like something he’d
say if he expected to see a yellow Loach off the starboard wing.
So the good news is that Judd isn’t working for Henri. The bad news
is that Rhonda’s just told the Frenchman where he is.
The Loach slows so abruptly that Spike slides forward and bonks
his head against the front seat. He aims a sharp bark at his mas-
ter, who doesn’t reply because a euphoric Judd’s already speaking:
‘I saw her! Through the window!’
‘Good. Now make the call.’
‘Doin’ it.’ Judd presses the sat phone’s TALK button.

214 STEVE WORL AND
The familiar sound cuts across the soundscape.

Corey and Judd’s eyes flick to their respective side-view mirrors.
Rotor blades flash in the moonlight as a black chopper rears up and
spits white fire.
‘Hold on!’ Corey yanks the controls and the Loach breaks left.
Judd and Spike brace themselves as the chopper spirals towards the
desert floor a thousand metres below.
Bullets pepper the Loach. One makes it inside, ricochets around
the cabin.
‘Christ.’
‘Watch it.’
The bullet slams into the instrument panel. Sparks spray and
acrid black smoke instantly fills the air. An alarm sounds as the
Loach shudders, loses altitude.
The yellow chopper plummets towards the desert. Corey wres-
tles the controls, tries to arrest its fall. It doesn’t work. The ground
races up to meet them. Judd closes his eyes and braces for impact.
The Loach stops dead. Judd opens his eyes. The chopper hovers
a metre off the ground and Corey has it under control. He grins his
crooked grin. ‘No problem.’
Flames leap from the instrument panel and he loses control. The
Loach tilts and thumps into the dust. In a flash they’re out of the
cabin. Corey unlatches the fire extinguisher from under his seat and
douses the flames with two short blasts.
Judd scans the night sky. Over the whine of the Loach’s slowing
turbine he can make out a sound.
The black chopper, coming their way.

V ELOCIT Y 215
Claude works the Tiger’s controls, surveys the desert below, search-
es for the Loach. It took a hit and fell out of the sky like a grand
piano but now he can’t see where it landed.
He flicks on his helmet’s thermal imaging system and studies the
green-grey image of the desert 300 metres below. ‘See anything?’
The question is addressed to Cobbin, who sits behind him and
operates the weapons system. Cobbin’s voice buzzes in his headset:
‘Got it. Nine o’clock.’
Claude looks left, sees it. Two men and a dog sprint away from
the Loach. He wonders what in hell a dog is doing there. ‘Sooner we
deal with it the sooner we can get back.’
‘On it.’ Cobbin triggers the Tiger’s GIAT 30-millimetre chin-
mounted cannon and bullets slice across the desert towards the men
and the dog. They disappear behind a haze of dust – then Claude
picks them up as they tumble down an incline and hit the bottom of
a ravine, the dog barking all the way.
One of the men looks up, eyes shining in the infra-red spectrum.
Claude can see he has something in his hand, which he points at the
Tiger. ‘What’s that?’
Before Cobbin can answer there are three flashes. The Tiger
shudders and Claude’s eyes flick to the rotor blades above him as
they splinter and disintegrate.
A shard shatters the Tiger’s windscreen and slams into his chest.
Stunned, Claude stares at the chunk of fibre-plastic that protrudes
from his sternum. It’s the shape of a shark fin.
He realises he never tasted shark fin soup.
‘What did you do?’ Judd says it in a low, amazed tone.

When they reached the bottom of the ravine Corey looked up

216 STEVE WORL AND
and saw the black chopper swing towards them. Instinctively he

drew the pistol he’d liberated from Petra and fired three shots.
Corey expected the Tiger to immediately open fire and finish
them off. Firing Petra’s gun was just a symbolic gesture of defiance
before certain death. The nine millimetre rounds would inflict lit-
tle damage on a state-of-the-art attack chopper.
Except one of the bullets hit the linkage that controlled the
pitch of one of the chopper’s four fibre-plastic blades. Once that
linkage was destroyed its blade twisted and bent and broke away,
at four revolutions per second, then was introduced, quite rudely,
to the following blade, which shattered too. The same happened to
the third and fourth blades, all within the space of half a second.
The black chopper then ceased to fly.
With a muted thud it hits the ground nose first, tips onto its side
then rolls down an incline, directly towards the Loach, the sole
remaining item of value in the portfolio of one Corey E. Purchase.
Corey watches in dismay. Yes, he’d lost his ute and his house
earlier, and his life has been in dire jeopardy on numerous occa-
sions today, but all of that pales into insignificance compared to
watching the destruction of his beloved chopper.
The wreck rolls straight towards the Loach then clips a rock
at the bottom of the hill and flips over the chopper, clears it by
a metre at most, then comes to an abrupt stop at the top of the
ravine, 50 metres away.
Corey exhales, astonished and relieved in equal measure. He
turns to Judd who lies on the ground nearby. ‘How lucky was
that?’
The wreck bursts into flames, topples into the ravine – and
rolls directly towards them.
Judd scrambles to his feet. Corey does the same but his right

V ELOCIT Y 217
ankle screams in disapproval. He seems to have twisted it on the

way down here.
They all turn and run. There’s only one direction to go and that’s
down the narrow V-shaped ravine. The sides are too steep for an
escape.
The flaming wreck picks up speed. On each revolution a stream
of avgas sprays out of its ruptured fuel tank, catches alight and rains
liquid fire in a 20-metre radius around it like some crazy, napalm-
spitting catherine-wheel.
Corey lags behind. With each step his twisted ankle shoots a volt
of pain up his right leg. Spike turns and barks at him.
‘This is my maximum speed!’ The Australian sees a large sand-
stone boulder 40 metres away. It might offer some protection if he
can get behind it. If.
The dog gallops ahead of both men. Judd accelerates too, moves
10 metres ahead of Corey, then glances back. The alarmed expres-
sion on his face prompts Corey to do the same. He wishes he hadn’t.
The napalm-spitting catherine-wheel is right behind him. He can
feel its heat on his face, its sound loud and terrible. He now wishes
it had hit the Loach. He tries to lift his pace but it doesn’t seem to
make any difference. It like he’s running up and down on the spot.
He turns, sees Judd disappear behind the boulder. Corey aims
for it. It’s just 10 metres away, five metres – he dives, lands on Judd,
waits for impact.
The boulder shudders. He watches the wreck flip over them,
dripping fire. A wave of heat licks his face. He jams his eyes shut,
turns from it.
A second later it’s gone. He opens his eyes.
Judd looks at him. ‘You’re on fire!’
‘What!’ Judd pushes Corey to the ground, rolls him back and

218 STEVE WORL AND
forth, extinguishes the flames that leap from his jacket.

The Australian drags the jacket off, flings it away, then studies
the smoking heap of material gloomily. ‘And I just got it.’ He looks
to Judd. ‘Thanks, Mandy.’
‘No problem. And don’t call me that.’
‘I’m just gonna lie down for a sec.’ Corey slumps to the ground,
exhausted.
‘Good idea.’ Judd does the same, then glances at the flaming
remains of the black chopper, which lies 50 metres down the ravine.
‘I never want to do that again.’ Corey points at him in weary agree-
ment.
Without city lights to dull its power the star field above burns
vivid and bright. They both stare at it, the scent of avgas thick but
oddly agreeable. A moment passes.
‘Is this what the view’s like? From space?’
Judd nods. ‘Yeah, but up there, there’s just – more.’
‘I’d love to see it.’
‘This is pretty good.’
Corey takes it in with a nod.
‘You’re a hell of a pilot, by the way.’
Corey’s chuffed. ‘Really? Thanks.’ A moment passes. ‘Are you
takin’ the piss?’
‘I don’t know what that means.’
‘It means, are you being sarcastic?’
‘Not at all. The way you throw that chopper around, it’s some-
thing else.’ He takes a moment then looks at the Australian. ‘How
do you do it?’
Corey shrugs, surprised by the question. ‘Dunno. I just believe
I can and trust the machine won’t break.’
Judd realises he hasn’t believed he can do anything for a long

V ELOCIT Y 219
time, and hasn’t trusted the machine for even longer.

‘I’m sure you’re good too.’
Judd exhales. ‘Don’t know about that.’
‘You’re an astronaut, you’re officially good.’
‘Once. Maybe.’
Corey turns, regards him for a moment. ‘You feelin’ a bit sorry
for yourself over there?’
Judd’s taken aback. ‘What? No. What do you mean?’
‘Sounds like it, that’s all.’
‘No. I’m not feeling sorry for myself. At all.’
‘Okay, no biggie.’ Corey looks back at the star field. ‘It’s just,
you know, not a good look.’
Christ! The Australian’s right. He is feeling sorry for himself and
it’s not a good look. It is, in fact, a terrible one. Then, like a one-two
punch, he realises that has to be what killed his relationship with
Rhonda. It wasn’t the turning up at Thompkins’ place or being jeal-
ous of her success, though neither were winning behaviour, it was
the feeling sorry for himself. It’s a revelation, and he can’t imagine
how he didn’t see it before. Over the last couple of years he’d seek
Rhonda’s reassurance regularly and, he realises now, she never gave
it to him. Not once. She’d change the subject or feign the sleepy face
but never tell him what he wanted to hear. ‘Oh shit.’
‘What?’
‘I think you’re right.’
Corey nods, not surprised. ‘Oh yeah.’
‘Christ.’
‘Well, you know, don’t do it.’
When Corey says it like that it seems so simple – and Judd
realises it is. So he decides, then and there, that he will never feel
sorry for himself again.

220 STEVE WORL AND
‘Gotta make that call.’ Judd pulls himself up.

Corey gets up too. It’s an arduous process. Judd lends a hand.
‘You okay? You’re moving like my grandfather.’
‘I’m sure he’s a lovely bloke.’
‘He’s been dead for twelve years.’
‘Har-de-har – oh.’ The Australian grimaces as he places weight
on his twisted ankle. ‘It only hurts when I walk.’ He turns, shouts
into the night: ‘Spike! Come on!’
Judd pats the pockets of his pants. ‘No.’
‘What’s up?’
‘“Fuck!” is what’s up.’
‘I don’t understand —’
‘The phone.’
‘Where is it?’
‘Exactly.’
‘You lost it? How could you lose it?’
‘I had other things on my mind, like running for my life.’ Judd
frantically scans the surrounding area, then turns to Corey. ‘Don’t
just stand there. Help!’
‘Of course, yes.’
They both search. Corey calls out again: ‘Spike! Now!’
‘It’s gotta be around here.’
‘Where did you lose it?’
‘If I knew that I wouldn’t be looking for it, would I?’
‘Quite right. Well, when did you last have it?’
Judd’s voice rises. ‘Sometime between being shot down and
sprinting from the flaming wreck!’
‘Don’t get angry with me, I didn’t drop it.’
‘I’m not getting angry with you. I’m just getting angry generally.’
Corey calls out again: ‘Spike! Come on now!’

V ELOCIT Y 221
Spike doesn’t come.

‘Where the hell is he?’ The Australian stops, looks over at the
smoking remains of the chopper. ‘No.’ He moves towards it.
Judd watches and realises: ‘Oh. You don’t think he’s —’
‘Under there? Where is he, then?’
‘He was miles ahead of that thing.’
‘He would’ve turned around, come back to find me and then it
would’ve —’ Corey stops, doesn’t want to say it.
‘He’s probably still running.’
‘No. He never runs off.’ Corey bows his head. ‘And all for that
bloody jacket.’ He rubs at the corner of his eyes, which are now wet
with tears.
Judd approaches, puts a hand on his shoulder, tries to lighten the
moment. ‘Hey, I thought there was no crying for men in Australia?’
‘There are exceptions.’
A bark. They turn.
‘Spike!’ Corey’s face transforms.
‘The phone!’ And so does Judd’s.
The dog is fine and has the satellite phone in his mouth. He
drops it and barks. Corey pats him on the head. ‘I was only doing
that ’cause I thought you were dead. Where were you?’
Another bark.
‘Good boy.’ Corey grabs the phone, flicks it to remove the saliva
and passes it to Judd. ‘He saw you drop it and went back to get it.’
Judd feels very strange doing it but nods a thankyou to the ani-
mal. He then examines the sat phone. It’s dinged and scratched and
one side is melted. He extends the aerial and works the keypad. It’s
as dead as a dodo. ‘Oh, come on.’ Frustrated, he whacks it with the
palm of his hand.
It beeps. He studies the screen. Still dead. He turns it over, pulls

222 STEVE WORL AND
off the battery cover. The battery isn’t seated correctly. He clicks it
into place, snaps the cover back on and turns it over.
The LED screen glows. One bar of power remains on the scale.
Judd dials as he walks up the incline towards the Loach, gestures for
Corey to follow. ‘Come on, I need your telescope.’

27
Thompkins takes a breath and tells himself that if he keeps doing

what he’s doing everything’s going to work out fine.
He studies the working group that circles the large table, laptops
and maps and files and coffee cups spread out before them. Despite
assembling twelve of the finest minds in NASA, locking them in this
long room for two days and asking them to answer just one ques-
tion, they have so far delivered a big fat duck egg.
They have no idea where Atlantis is.
There are two reasons for this. Reason one is the working group
itself. Though they possess a premium of intellect they have a dis-
tinct lack of steely-eye. Their ideas for locating the shuttle are, in
general, theoretical rather than practical. In short, none of them are
John Aaron.
John Aaron is the most celebrated steely-eyed missile man,
though few outside of NASA know his name. He isn’t famous
because he wasn’t an astronaut. Aaron was an engineer from
Texas, who happened to solve major issues during both Apollo 12
and 13 when the wrong call meant the end of the mission or the
death of astronauts. He was the guy who, when presented with
a major problem, was able to think fast, find the correct solution
and act decisively, under extreme pressure. He’s also long retired.
Thompkins looks around the table at the group. The minds are

224 STEVE WORL AND
brilliant, no doubt, but it’s now clear that none possess Aaron’s
practical ability, and he includes himself in that assessment.
The second reason they’ve failed to locate Atlantis is the Joint
Terrorism Task Force. Thompkins has been liaising with the team
of agents from the FBI, the CIA, the HLS and the NSA over the
last two days and what a collection they were. Set up in the con-
ference room next door, Dean Wyyer and his twelve-member team
have been bumping into walls, tripping over their feet and pull-
ing on doors clearly marked ‘push’ ever since they arrived. They’re
constantly under foot and incessantly ask Thompkins’ people self-
evident questions that only distract them from the job at hand.
The JTTF has been working here for days now and the team still
doesn’t know who took Atlantis. Thompkins finds this interesting
as it’s in stark contrast to the aftermath of 9/11, when the govern-
ment knew who was responsible for the hijackings within hours of
the towers falling.
Thompkins’ BlackBerry chirps. He looks at the screen. It’s a pri-
vate number. Ordinarily he would never answer a private number
but these aren’t ordinary times. He picks up. ‘Hello.’
‘Thompkins? Judd Bell.’
‘Judd? What’s going on —’
‘I know where Atlantis is.’
‘You what?’ Thompkins’ voice is so loud through the satel-
lite phone’s speaker that Spike’s ears prick up, and he’s sitting five
metres away. ‘How do you know this?’
‘’Cause I’m looking at it.’ Judd stares through the Australian’s
dented telescope at the distant runway, Atlantis large in the eye-
piece. ‘And Rhonda’s on board.’
‘Where are you?’
‘Where you sent me. The Northern Territory.’

V ELOCIT Y 225
‘Where exactly?’
Judd turns to Corey. ‘Where are we exactly? I need a name.’
‘Doesn’t have one.’
‘Where are we close to?’
He thinks about it. ‘Midway between Lake Mackay and Nyirripi.’
Spike barks.
Corey looks at him. ‘Sure, if you wanna split hairs.’ He turns
back to Judd. ‘A bit closer to Lake Mackay.’
Judd speaks into the sat phone. ‘It’s midway between Lake
Mackay and Nyirripi in the Northern Territory. If you have a spy
satellite overhead you won’t miss the runway they’ve built. It’s lit up
like the Vegas strip.’
‘Who’s the other voice?’
‘The chopper pilot who picked me up at the airport.’
‘He knows about this?’
‘How do you think I got out here? I’m in the middle of nowhere.’
‘Yes, of course.’
‘There’s something else you need to know. They have choppers.’
‘What kind?’
‘Nasty black ones!’
Judd holds up a hand to silence the Australian. ‘Attack choppers.
European, from the look of it. I don’t know how many. At least one.’
‘Understood. Anything else?’
Judd pans the telescope, notices something behind a very large
tent set up near the runway. ‘Hold on.’ He focuses, tries to work out
what it is. It seems to be covered with tarpaulins.
‘Christ.’ He pulls the telescope from his eye. ‘They’re gonna fly
the shuttle out. There’s a jet, a big one, covered with tarps. I can
only see the side of one engine. Could be an old 747 – no, it’s a
Galaxy. Wasn’t there one stolen from an air-force base last week?’

226 STEVE WORL AND
‘Davis-Monthan. Yes.’ Thompkins’ voice sounds cheerless.

Judd’s first thought is that they’ll need to lift a hundred-tonne
shuttle off the ground, swing it through the air then fasten it to the
top of another aircraft. That’s not the easiest thing in the world to
do unless you have a seriously large crane. He pans the telescope,
searches for something that could do the job.
There. A crane arm, painted the yellow of heavy construction
machinery. It’s so big that it protrudes from behind the very big tent.
‘I see the crane. It’ll do the job.’
Thompkins exhales unhappily.
‘What happens now?’
‘I send the marines.’
‘We’re a long way from anywhere. What’s the ETA?’
‘Asap. What number are you calling from? It didn’t show up on
the screen.’
‘Don’t know. It’s not my phone. I took it from one of the
hijackers.’
‘You what?’
‘Long story.’
‘Christ. Okay. Sit tight and keep your eyes on Atlantis. Anything
happens, call in.’
‘Will do.’ Judd hangs up and studies the satellite phone’s screen.
Half a bar of power remains. He turns to Corey. ‘Cavalry’s on the
way.’
‘They’re sending horses?’
‘No, no horses.’
‘You said cavalry.’
‘It means the military. The US military, and, I guess, some
Australians too.’
‘What do they want you to do?’

V ELOCIT Y 227
‘Sit tight, keep an eye on it.’

‘So that’s what you’re gonna do, right?’
Judd doesn’t answer, just focuses the telescope on Atlantis again.
Thompkins hangs up, takes a deep breath and nods to himself. This
is it, the end game. It’s not how he expected it to go but he’s well
prepared. He knows what to do and how to do it. He takes another
breath, momentarily widens his eyes to focus his nerves, then starts
for the door and dials his phone.
It rings and is answered by an older woman. ‘Administrator
Cunningham’s office.’
‘Barbara, it’s Will Thompkins. I need to see the boss right away.
We’ve found Atlantis.’

28
Atlantis rolls to a stop on the makeshift runway.

The landing was smooth and by the numbers, the runway per-
fectly lit and prepared, the weather cool and dry, exactly what Henri
expected from a September evening in Central Australia. He didn’t
even need to use the drogue chute in the shuttle’s tail to slow the
spacecraft down.
He turns and looks out the windscreen as Dirk’s Hummer pulls
up nearby. The German knows it’s unsafe to approach the shuttle
straight after landing – it must be left to stand for five minutes so the
superheated fuselage can cool after the extreme heat of re-entry and
the poisonous fumes from the attitude controller’s hydrazine fuel
can dissipate.
Henri draws the walkie from the leg pocket of his flight suit and
triggers the talk button.
In the Hummer, Dirk hears his walkie crackle to life. He knows
what Henri will ask even before he hears the words.
‘What happened to the Loach I saw before we landed?’
Yep, that’s the question. Dirk triggers the walkie: ‘Claude and
Cobbin are taking care of it. They haven’t reported back yet.’
‘Be sure it’s been dealt with.’
‘Yes, Commander. There is one other thing. The operatives at
Kinabara Dish have not reported in for over an hour. It may be the

V ELOCIT Y 229
result of an equipment failure but I’ve dispatched a team to retrieve

them.’
‘Make sure they’re back before sunrise. Is everything set for the
turnaround?’
‘Yes, sir. Just give the order.’
‘Thank you.’
The German clicks off then changes the frequency on his walkie,
triggers the talk button: ‘Claude, do you read?’
There’s no reply. He’s not happy about it.
Rhonda doesn’t know much about the Loach’s fate after eavesdrop-
ping on the Frenchman’s last walkie exchange. What she does know
is that a ‘turnaround’ of some kind is on the agenda, which she
guesses has something to do with her shuttle.
She wants to be out of this chair before it happens. Unfortunately
her wrists are still tightly ziplocked to its frame and she’s surrounded
by people who want her to stay put. She needs a plan, she just hasn’t
been able to think of the right one yet.
When stumped for an answer to a particularly vexing question,
Rhonda finds that if she lets her mind wander to other matters a
solution usually presents itself. So she decides to do that and let her
subconscious go to work.
At that moment her ex-best friend Martie unlocks the shuttle’s
mid-deck hatch, or ‘front door’ as Judd nicknamed it. She remem-
bers that because it was one of the first things he said to her, right
before he suggested they go jogging to a movie.
Yes, jogging to a movie. When he asked her she laughed because
she thought it was a joke. It wasn’t – and that’s what they did on
their first date. She can’t remember which movie they saw but she

230 STEVE WORL AND
always remembers the route they ran to get to the cinema. She knew
the jogging component of the date had been nothing but a stunt to
win her favour, exercise being something everyone in the program
knew was her one addiction, but it worked. It became their thing,
the way they connected. Judd was so funny then. Often she had to
stop running because she was doubled over from one of his asides or
observations. For years they jogged every day. Until Columbia. She
missed it very much.
Martie steps back onto the flight deck and addresses Henri.
‘What should we do with her?’
‘She stays here. You watch her.’
Rhonda glares at the Frenchman as he stands. She tries her hard-
est not to look at the pistol jammed into his belt, pressed against
his protruding belly. She’s going to need that gun or one just like it.
That’s all it will take to end this, or at least put a big cat among the
Frenchman’s pigeons . . .
Mountain biking!
And just like that she has an escape plan. Good old subconscious
to the rescue again. And Judd, who made her think about how much
she loved exercise.
Rhonda loved mountain biking, as in biking on mountains, but
it was frowned upon by the NASA hierarchy because it was stupid-
dangerous. She did it anyway, until the day she hit a tree at 50 k’s
an hour and, luckily, dislocated her right shoulder instead of snap-
ping her neck. Not only did this bring her mountain-biking career to
an abrupt conclusion, but also, as she was in training for a mission
at the time, she had to keep using her injured arm as if everything
were just fine and dandy. As a result, it never healed correctly. Her
shoulder has only popped out once since, when she was pulling her-
self out of a bath, of all things, and it hurt like a bastard until she

V ELOCIT Y 231
worked out that if she jammed it into the bathroom wall at a very
specific angle it would pop back in. It was three minutes of agony
she hoped never to relive.
The plastic ties that hold her wrists to the chair are strapped
before her gloves. She’ll never be able to pull those through the ties
because they’re too bulky, but if she can flex her forearm and stretch
the tie she might be able to get a wrist free inside the suit, then pull it
down the sleeve, then dislocate her shoulder and slip her arm out of
the sleeve and move it to a position where she can unzip the suit and
get out of it, and the chair. Just thinking about it is exhausting but
it’s the only option going so she must give it a try.
Martie slides into the pilot’s chair, her back to Rhonda. The
Frenchman nods to the Italian and they exit the flight deck, move
down the ladder. As soon as they’re gone Rhonda starts flexing her
forearm against the plastic tie while making sure it doesn’t look like
she’s doing that.
She’s pleased the dislocated shoulder prompted her to give up
mountain biking for Pilates, something she was doing long before
it became fashionable, because it had greatly increased her arm’s
strength.
Henri and Nico climb down the aluminium ladder from the shuttle’s
hatch. The Frenchman steps onto the desert like he owns it and, in a
way, he does, at least for the next few hours.
Henri triggers his walkie, the message broadcast to the whole
crew. ‘Atlantis will be loaded and ready for wheels up by sunrise.’
On cue, a diesel engine barks to life. The enormous yellow Kato
mobile crane belches a cloud of black exhaust from its stack then
rolls from behind the Galaxy towards Atlantis.

232 STEVE WORL AND
Two hundred metres to the left, Dirk and Big Bird’s Tiger lifts off
in a blizzard of dust. The Frenchman turns and watches it skim the
desert until it outruns the glow of the runway lights and disappears.

29
Judd lies at the top of the ravine and focuses the telescope on the
black chopper. He really hopes it doesn’t fly towards him.
It flies directly towards him – then breaks left. Relieved, he pans
the telescope, focuses on the yellow mobile crane as it trundles
towards Atlantis. He pans the telescope again, focuses on the circus
tent. It’s being lowered. Behind it the tarps are being removed from
the big jet, which he can now confirm is a Galaxy.
Blue-white sparks arc from two positions high on the big jet’s
fuselage, one at the front, one at the rear. He immediately knows
they’re welding connection points for Atlantis to lock onto.
The jet will be gone before the cavalry arrives, he’s sure of it.
He’ll need to go over and retrieve Rhonda himself. There’s no choice.
She’s just there, just over there. The idea of sitting here and watch-
ing the jet leave is not an option. Of course he doesn’t know if they’ll
even take her with them but then he knows nothing at this point.
Actually, he knows this: Deke Slayton would go and get his wife.
Gordo Cooper would go and get his wife. Neil Armstrong would
go and get his wife. Those astronauts would work out a plan and
execute it, no matter the situation, no matter the odds, because they
were steely-eyed missile men.
‘I’m going over there.’
‘Are you crazy?’

234 STEVE WORL AND
Ten metres away Corey works under the Loach’s instrument

panel. The yellow chopper looks awful, pockmarked by gunfire and
blackened by oil smoke. The Australian looks almost as bad. Pale
and drawn, his clothes dirty and burnt. The evening has taken its toll.
‘They’re leaving.’
‘And so are we. Come on, dog.’ He clicks his fingers and Spike
hops inside.
Judd stands, moves to the chopper. ‘I want you to stay. I’m going
to get Rhonda and I need you to fly us out of here.’
‘Sorry, but no way. It won’t be long before they come looking for
that.’ Corey nods at the remains of the black chopper still smoulder-
ing in the ravine below. ‘And I’m not going to be here when they turn
up.’
‘I need to get her before the shuttle leaves.’
‘The guy on the phone told you to wait for the cavalry.’
‘They won’t be here in time. Please, I need your help.’
‘Mate, that runway is lit up like New Year’s Eve. They’ll see you
coming a mile off. Literally a mile off. Trust me, you don’t want to
die here. I was born here and even I don’t wanna die here. It’s a flat,
dusty, lonely place. Now come on, get in.’
‘I can’t.’
Corey exhales and hits a switch. The Loach’s turbine whines.
He whispers: ‘Please-baby-please-baby-please —’
The turbine screams to life and blades turn. Corey looks at Judd,
shouts over the noise: ‘Last call, Mandy.’
‘I can’t leave.’
‘And I can’t stay. I’m sorry.’
Judd believes him. Even though the Australian’s face is only lit
by the dull glow of the instrument panel he can read his conflicted
expression.

V ELOCIT Y 235
The dog barks.

‘I know he didn’t teach me how to tie the knot!’ Corey works the
controls and the Loach lifts off, pivots 180 degrees then thunders
away, its running lights blinking softly against the night.
Judd watches it vanish into the darkness as the thump of rotor
blades fades. Left alone in the darkness he realises he has to do it all
on his own. He rubs his face, takes a breath. ‘Christ.’
The thump of rotor blades returns. ‘He’s coming back.’ Judd’s
elated. Relief floods over him. He won’t have to do it on his own
after all.
The thump of rotor blades draws closer but the sound is differ-
ent: deeper, fatter. Judd looks up. A shape appears in the sky before
him, silhouetted against the radiant star field. It’s not the Loach.
‘Damn.’ He turns and runs as hard as he can. It’s pitch black and
he can’t see a damn thing. Then a bright light splashes across the
desert and he can see everything. He’s at the edge of an incline. It’s
only five metres high but it’s steep. Momentum carries him over and
he falls, hits the ground, rolls.
His head hits something hard and he stops dead. His skull
vibrates like a tuning fork. Groggy, he forces his eyes open. Fifty
metres away the black chopper hovers above the ravine. Its search-
light points down, illuminating what remains of the wreck below.
There’s something wet in Judd’s eyes, on his face. He tastes it.
Blood, from a gash on his forehead. He looks at what caused it.
A boulder, large and blasted smooth by an aeon of desert wind.
The black chopper pivots, swings its searchlight towards Judd.
He moves as fast as he can, drags himself behind the boulder. Was
he seen? He awaits the answer, a blast of cannon fire or a missile that
will vaporise this very old rock and his life along with it.
*

236 STEVE WORL AND
In the Tiger, Dirk surveys the other chopper’s wreckage, Claude and
Cobbin’s remains visible inside the burnt-out cockpit. The German
finds it almost impossible to believe the Loach brought down a state-
of-the-art attack chopper. Claude must have screwed up and flown
it into the ground. It’s very disappointing, not only for the loss of
Claude and Cobbin, but because he was hoping they had solved his
Judd Bell problem. Unfortunately there’s no sign the yellow chopper
was destroyed.
So the Loach is still out there and now they’re a Tiger down.
From a tactical perspective it’s a concern. The choppers were an
insurance policy against a military or law enforcement attempt to
disrupt the mission. To make matters worse, Dirk just received word
that the Loach and its occupants, Judd Bell, a pilot and a dog, had
reached Kinabara Dish and managed, somehow, to subdue both the
operatives placed there and take their satellite phone. The German
grits his teeth in frustration.
Something rushes from behind a large boulder in the desert in
front of him. Dirk looks closer. It’s large but he can’t see it clearly.
Whatever it is, it’s moving like there’s no tomorrow, a day it will
not see if Dirk has anything to do with it. He aims the Top Hawk
and the targeting grid locks on. He blinks and bullets zip across the
desert.
It’s a kangaroo. It makes it to another rock and disappears. The
German’s genuinely happy the marsupial got away. It momentarily
lifts his mood, then the frustration floods back and all he wants is to
spend every second he has before departure searching for the astro-
naut.
‘The needs of the many outweigh the needs of the few.’ He says
it to himself and takes a breath, remembers this mission is for his
commander, the man who gave Dirk the life he is so hell bent on

V ELOCIT Y 237
protecting. Now that they’re a chopper down and the astronaut has
the satellite phone it’s even more important that Dirk get back to
base camp, make sure they depart on time and be prepared for any
threat that might present itself.
‘Okay, let’s get back.’
Big Bird grunts an affirmative and swings the Tiger around, aims
it towards the runway.
The sound of the black chopper retreats.
Judd’s head throbs. He needs to get up and get moving but the
smooth boulder against his face feels fantastic. It’s like a cool pil-
low on a balmy night. Just like the pillow in that hotel. What was it
called? The one in Hawaii. He can’t remember its name. It was pink.
It doesn’t matter. He needs to get up and get moving – The Royal
Hawaiian! That’s the name. His eyelids are heavy. He decides to
close them for a moment. He’s not going to sleep because he needs
to get moving, he’s just going to have a little rest, just for a minute.
Judd closes his eyes and passes out.

30
The Article is one of its names. Habu is another, comparing it to

a particularly tenacious Okinawan pit viper. Archangel is a third.
The Sled is preferred by some, though the wider world knew it by
only one designation.
Blackbird SR-71. The fastest aircraft ever built.
Will Thompkins is happy to call it the Article. If it was good
enough for Kelly Johnson, the man who designed it, then it was
good enough for him.
Thompkins strides across the tarmac towards the jet, bak-
ing like a gator in the Florida sun. Major Clark Mahoney, his
Reconnaissance Systems Officer, follows.
This is the last Article still flight-certified and operational. After
the air force decommissioned the Blackbird SR-71 fleet in 1998,
NASA kept this one for one simple reason: nearly fifty years after it
was designed, it was still the best platform for testing new technolo-
gies at high speed and high altitude.
Thompkins takes in the aircraft’s flat, razor-sharp outline,
painted a muted, heat-emitting dark blue. He glances underneath,
sees the puddles of JP-7 avgas that drip from the fuel tank’s panels,
panels that will swell and seal once the aircraft is at speed and its
titanium skin has been sufficiently heated by air resistance.
Memories flood back as he mounts the ladder to the cockpit and

V ELOCIT Y 239
climbs inside. He remembers one reconn mission he flew over Libya

back in the day. Some of the locals took exception to having their
photo taken so they fired on the aircraft. Thompkins was forced to
take drastic evasive action, which meant pressing the Article’s throt-
tle levers full forward. The aircraft accelerated to Mach 3.6, or 4000
feet per second, and easily outran the threat.
It also outran its KC-10 aerial refueler. With dry tanks Thompkins
circled back and managed to lock on to the refuelling boom twelve
seconds before the flight computer performed an engine unstart,
which was a fancy way of saying, ‘You just ran out of gas, moron, so
I’m shutting down the engines – best of luck with the ejection’.
Thompkins grins at the memory as he attaches his helmet then
connects his suit to the life-support system, straps himself in, closes
the canopy then begins his pre-flight checklist. It’s been almost a
year since he flew the Article and he’s surprised by how much he
missed it.
As soon as Thompkins hung up from Judd Bell he met with
NASA’s Administrator Charlie Cunningham and advised him of
Atlantis’s location. The marine commander overseeing the shuttle’s
retrieval was then notified and a force dispatched to the position.
The marines’ ETA was between three and four hours. But there
would be no satellites in place to photograph the area until the
next day and unmanned Predator reconn drones were too slow to
get there before that. The marines needed photographic intel and
Thompkins knew the only way to obtain it in time was to use the
Article.
Over the past decade NASA had secretly enhanced the aircraft,
designated 844 on its tail fins, with a raft of twenty-first-century
technologies. Not only did it utilise a live datalink that had not
been available earlier in its operational life, it also incorporated

240 STEVE WORL AND
improved avionics and, most importantly, two Pratt & Whitney J58
engines with upgraded compressor inlets. The new inlets allowed
the engines to run much hotter and meant a top speed of low Mach
6, almost twice as fast as before. Incredibly, the Article’s increased
speed did not affect its fuel consumption. With the engine’s unique
turbofan within a ram-jet design, it became more fuel efficient the
faster it travelled.
So Thompkins would fly the Article over Atlantis’s position at
80 000 feet. Mahoney would take photographs and document the
area in minute detail, right down to the brand of footwear anyone in
the vicinity happened to be wearing. The digital images would then
be datalinked directly to the approaching marines and give them an
invaluable tactical advantage.
The Article taxis towards the runway’s threshold, its wings
vibrating over the uneven tarmac.
‘So where are we going, Horshack?’ Strapped in behind him,
RSO Mahoney’s voice buzzes in Thompkins’ headset. He uses the
nickname he gave Thompkins twenty years ago, when they first flew
together in the air force and discovered that they both loved watch-
ing reruns of Welcome Back, Kotter when they were kids.
‘Need to know, Epstein.’
‘That important, huh?’
‘Yep, that important.’
The Article’s flight plan was classified because Thompkins
couldn’t risk word getting out that they knew Atlantis’s position.
Only Administrator Cunningham and the marines had that infor-
mation.
‘I’ll tell you as soon as you need to know.’
‘Roger that.’
Thompkins and Mahoney had been inseparable during their time

V ELOCIT Y 241
in the air force. They did everything together, from sharing an apart-
ment to being each other’s wingman while out tomcattin’ the ladies.
That changed once they transferred to NASA to become the Article’s
primary flight team and Thompkins’ career moved to the fast track.
Over time, Thompkins found himself actively avoiding Mahoney
because his career so outstripped his old friend’s that he was embar-
rassed and didn’t how to act around him.
The Article turns onto Kennedy’s main runway. The tower grants
clearance and Thompkins takes a shallow breath. He’s flown this
beast a total of 532 hours, but the thrill of it never gets old, the thrill
of acceleration, instant, pure, unapologetic. ‘Ready back there?’
‘Punch it.’
Thompkins throttles the Pratt & Whitneys. It feels like he’s been
kicked in the back – by God.
The Article rips down the runway then slices into the azure sky.

31
Kelvin now knows why the runway’s so long, the same runway he
landed the Galaxy on when he first arrived in this desert four days
ago. He also knows why he’s helping bolt metalwork to the top of
the Galaxy. He knows, but still can’t quite believe it. So, as much
for confirmation as anything else, he turns from his position atop
the Galaxy’s fuselage and takes in the distinctive shape of the space
shuttle, lit by the muted glow of moon and runway light.
They actually stole a shuttle, and by ‘they’ he means ‘he’, because
‘he’ is a member of ‘they’ – a junior member, sure, but part of the
Frenchman’s crew nonetheless.
An oversized mobile crane is parked beside the spacecraft. It
was here when he landed, as was the large tent where the Tigers
were assembled, and where the Frenchman’s crew slept and ate.
The whole mission had been meticulously planned and generously
funded. Henri must have been planning it for years.
The crane’s boom towers high above the shuttle. From it hang
two pairs of fat chains that reach halfway to the ground, then attach
to two large loops that almost touch the desert. The loops are 15
metres long and a metre wide, constructed from a flat, flexible
material. Kelvin quickly realises they’re slings.
Two men grab each sling. One pair guide their sling under the
nose of the shuttle, pull it up to the landing gear. The other pair slot

V ELOCIT Y 243
their sling under the rear of the spacecraft and drag it to the trailing
edge of the wing.
‘How much longer?’
Kelvin turns to Nico. ‘It’s done.’
With a torch, the Italian examines the bolts and welds that
secure the metal structure to the top of the Galaxy’s fuselage. They
will allow the shuttle to be attached to the jet, piggyback-style.
It had been a relatively straightforward job. Kelvin had per-
formed the work with three members of Henri’s crew, who were
later joined by a man and a woman from the Kinabara Dish. They
both looked like they’d been in a nasty fight. Kelvin wondered if it
had been with each other.
So what did old Kelvy boy do now? There had been no oppor-
tunity to escape since he arrived. He’d been busy helping build an
auxiliary fuel tank in the Galaxy’s hold, then securing this metal-
work. And if he had escaped, well, what would he have done? He
was in the middle of an unforgiving desert, hundreds of kilometres
from civilisation. Henri’s men would’ve hunted him down within
the hour.
Now he wonders if he could, somehow, throw a spanner into the
Frenchman’s plans. He could be the guy who saw the error of his
ways and heroically thwarted the hijackers. The notion holds genu-
ine appeal to Kelvin. He likes the idea of being a hero. It was a lot
better than his memory being villainised through a fleeting associa-
tion with the Frenchman, even if he was paid a million.
Nico finishes his inspection. ‘Okay. I need the jet there.’ He points
at the port side of the shuttle. ‘The nose in that direction. Get it
parallel, close as you can. We’re going to load it now.’
Kelvin nods, moves to the ladder that leans against the side of
the aircraft, climbs to the desert below, his mind racing.

32
It floats above him, sharp grey angles stark against deep blue.
Thompkins studies the three-engined KC-10 aerial refueler. The
arse end of a tanker was a sight you quickly became familiar with
when you flew the Article. It may have been the fastest aircraft
ever built, but its appetite for avgas meant in-flight refuelling was
an integral part of its driver’s skill set. If Thompkins could fly it
directly to Central Australia he would be there in just on two hours.
Unfortunately that’s not possible. Central Australia is over 17 000
kilometres from Cape Canaveral but the range of the Article is 5300
kilometres.
He needs quick refuels today, and the previous three have
been just that, the aeronautical equivalent of wham-bam-thank-
you-ma’am. Unfortunately fourth time was not the charm. After
descending from 80 000 to 30 000 feet he’d wasted five minutes
tooling around the Pacific looking for this damn refueler because it
hadn’t been where it was supposed to be. Mahoney finally found it
on his scope with three minutes of gas in the tank. Due to a snafu
at Hickam Air Force Base in Hawaii, the KC-10 had been set on
a track 30 kilometres east of where Thompkins had instructed it
to be.
Thompkins waits as the KC-10 disgorges fuel into the Article’s
tanks, which take up most of the aircraft’s fuselage. Not only does

V ELOCIT Y 245
avgas power the engines, but it also acts as their coolant, a unique
design feature only Kelly Johnson could have devised.
Thompkins’ eyes lock on the fuel gauge. Ninety-six per cent
and rising quickly. Hawaii is the last pitstop before the blast across
the Pacific to Central Australia so he needs the tanks full to the
brim. The fuel gauge touches 100 per cent.
‘Okay, we’re done.’ Thompkins disconnects the Article from
the boom, drops below the tanker and scans the gauges again, just
to be sure everything looks cool. It does. The single most impor-
tant factor when flying the Article is to make sure the engines don’t
run hot. If they did, a turbine blade could melt and that’d end the
trip real quick. Thompkins eases the throttle levers forward. The
jet leaves the KC-10 behind like a bad memory.
Mach 1. Thompkins’ gloved finger moves to the small wheel
on the instrument panel that adjusts the aircraft’s pitch. He rotates
the wheel 3 millimetres. Not much, but it will yield a 500-foot-per-
minute climb until the Article reaches a ceiling of 80 000 feet. He
can feel the aircraft’s nose rise slightly, just one-sixth of a degree in
real terms, but enough for the job.
Mach 2. He presses the throttle levers forward again. The
acceleration comes not as a jolt but a surge, harnessing the energy
of fifty locomotives, a power that builds and builds and keeps
building as the engines drink 100 000 square feet of air per second.
Mach 3. He’s going to push this thing harder than it’s ever been
pushed before. Mach 6.5 is his destination today, just on 8000
kilometres an hour. Faster than anyone has ever travelled in an
aircraft. He presses the throttle levers forward again. The surge
continues.
Mach 4. It is relentless, the ultimate rush. Nothing compares
to it. Unlike an astronaut who is strapped to a rocket with limited

246 STEVE WORL AND
control, Thompkins is in complete control of this machine. He

realises, not for the first time, that flying this plane is the only thing
that’s ever made him happy.

33
Pistol in hand, Judd wipes sweat from his face and sprints towards
Atlantis, which now piggybacks the Galaxy.
A man runs at him, gun raised. Judd turns, fires, hits him in the
chest. To the left another man raises a rifle. Judd pivots, fires, drops
him to the desert.
Judd wipes sweat from his face. A Hummer is parked beneath
one of the Galaxy’s engines. He sprints to it, leaps onto its hood,
then its roof, jumps, grabs hold of the engine cowling and swings
himself into the turbine’s gaping maw. He scales the cowling then
drags himself onto the wing.
Atlantis is right in front of him. He wipes sweat from his fore-
head and sprints along the Galaxy’s wing towards it.
Bright flashes light up the night. A man fires at him from the
ground. Judd swivels, fires, hits him in the gut, then runs on, leaps,
grabs the trailing edge of the shuttle’s wing, heaves himself onto it.
He finds his feet, sprints towards the hatch.
It’s open. Judd reaches the front of the wing, leaps, grabs the
edge of the hatch, scrambles inside.
Tango in Berlin towers over him, aims his pistol. Judd’s too fast.
He fires and the bullet slams into the German’s forehead. Judd wipes
sweat from his face, scales the ladder to the flight deck.
Rhonda.

248 STEVE WORL AND
She’s strapped to her chair. She sees him, elated. ‘I knew you’d
come for me.’
He rips her free but there’s still sweat on his face. He wipes at it.
Then again. And again . . .
Judd wakes with a start, pulls his face from the sand. Ants. Big
ones. On his face. In his mouth. They bite! Sting! He claws them
from his skin, spits them out, shakes his head to remove the little
bastards.
He clears his eyes, looks at his PloProf, takes a moment to focus
on the watch. Christ. He’s been out for over two hours. His head
pounds with a dull ache. He ignores it, finds the telescope, puts it to
his eye. The first sunlight peeks over the horizon and casts a golden
hue across Atlantis and the Galaxy, makes the giant vehicles seem
small and inconsequential against the expansive landscape.
The tents are down and a tanker truck is parked near the Galaxy’s
undercarriage, filling it up. It’s about to leave.
Judd glances at his PloProf. Where are the marines? He thought
they wouldn’t make it in time and it looks like he was right. He
reaches for the sat phone. It’s half-buried in the sand nearby. He dusts
it off, works the keypad. The screen illuminates. A blinking LOW
BAT warning greets him. One quarter of a bar of power remains.
He dials. Waits.
Thompkins’ voicemail asks him to kindly leave a message. Judd
hangs up. Who else can he call? Who will know when the cavalry
will arrive?
He dials.
A BlackBerry rattles on the small bedside table. A hand reaches

through a tangle of sheets, taps the table in search of the smartphone,

V ELOCIT Y 249
finds the source of annoyance. A thumb presses a button on the

handset, pulls it towards the sheets. ‘Severson.’
‘It’s Judd. Do you know when they’ll be here?’
Severson sits up in the narrow bed, bleary-eyed. ‘When who’ll
be where?’
‘The military or the marines or whoever they’re sending. Do
you know, or can you find out when they’ll be here? ’Cause they’re
about to leave.’
Severson rubs at his eyes. ‘Get where? Who’s leaving? I don’t
understand —’
‘Here. Where Atlantis is. In Central Australia.’
‘Central Australia? What? No. Atlantis is in North Africa.’

34
The Article rips across the dark-blue empyrean. Thompkins glances

at the instrument panel, focuses on the mach meter. 6.5. A touch
under 8000 kilometres an hour, or 7300 feet per second. They’re
making good time, will be over Australia in minutes. All tem-
peratures are nominal, fuel consumption is good – great, even.
The Article flies smoother and more efficiently the faster it goes.
Thompkins laments that the air force never unlocked the jet’s full
potential while it was in service.
He’s procrastinating, knows he must get on and do what needs
to be done. He takes a breath, leans forward, flicks a switch, taps a
five-number sequence into a worn keypad, hits another switch and
waits. It won’t take long.
Thompkins had dreaded this moment from the start. He’d tossed
up whether to tell Mahoney his plans, bring him into the fold. He
was so torn he even considered asking the Frenchman’s advice, then
immediately rejected the idea. It would appear amateur and weak,
and Thompkins didn’t believe Henri would appreciate either of
those qualities in a business partner. So he said nothing to Mahoney.
He just didn’t know which way his RSO would go because he’d
neglected their friendship for so long.
Mahoney’s voice buzzes in Thompkins’ helmet, his breathing
laboured: ‘Horshack, I’m – I seem – I’m having problems. My

V ELOCIT Y 251
oxygen – isn’t – it’s not —’

Thompkins closes his eyes and doesn’t say anything, doesn’t
look back into the separate, sealed compartment where the RSO
sits, where he has just turned off the life-support system.
Mahoney gulps air, his breath short, his voice afraid: ‘ — I can’t
– can you – help – me with – this – I —’
Thompkins does nothing, just squeezes his eyes shut, tries to
block out the sound of his oldest friend’s voice: ‘ — I – need – air —’
Mahoney falls silent and it’s over, just like that. Instantly
Thompkins knows the twenty million dollars he’s being paid will
never make up for this moment.
He takes a deep breath, the irony of it not lost on him, and tells
himself to focus on the job ahead. He still has work to do.

35
‘What?’ Judd yanks the satellite phone from his ear and stares at it
for a moment, as if that will somehow help him comprehend what
he just heard. ‘No. It’s in Central Australia. The Northern Territory.
It’s sitting on the back of a Galaxy that’s being fueled as we speak.’
‘Are you sure?’
‘I’m staring at it! Why would you think it’s in North Africa?’
‘That was the intel. Came in a couple of hours ago. It’s in Tunisia.
Two marine units are on their way there.’
‘How do you know this?’
‘I’m in the Pacific on the USS George H. W. Bush with another
unit. Only reason we’re not going is Tunisia’s too far away.’
‘I don’t understand this.’
‘Who did you tell?’
‘Thompkins. Two hours ago. He told me the cavalry was on the
way.’
‘Well, they are, just not to you.’
‘You need to fix this. Now. Tell everyone. Atlantis is in the
Australian Northern Territory. It’s on a runway midway between –
have you got a pen?’
‘Um. No.’
‘Find one.’
Judd waits. He looks at the phone’s screen. LOW BATT blinks

V ELOCIT Y 253
back at him. One eighth of a bar of power left. ‘Hurry up, I got
a low battery.’
‘I’m looking.’
Judd hears clunking and shuffling.
‘Is Rhonda okay?’
‘Yes – I don’t know. Yet. Found a pen?’
‘Not yet. It’s a big ship, you’d think there’d be one some-
where —’
‘Just remember it.’
‘I’ll try.’
‘Don’t try, do! It’s in the desert, midway between Lake Mackay
and Nyirripi in the Northern Territory. A bit closer to Lake Mackay.’
‘Lake Mackay. Nyirripi. Right.’
‘Tell everyone. They have attack helicopters. I don’t know how
many. They’re leaving soon. Once they’re in the air I don’t know
where they’re going. I need people here now.’
‘What are you gonna do?’
‘I’m gonna try to stop them.’
‘That doesn’t sound like a good idea —’
The satellite phone cuts out. Judd looks at its blank screen,
thumps it with the heel of his hand. No use. It’s as dead as disco.
He drops it to the ground.
His mind races. How did Thompkins get it so wrong?
He stands, his body stiff, his head still thumping. His eyes lock
on Atlantis and the Galaxy. Is Rhonda in one of them? And if she is,
is she okay? There’s only one way to find out.
He runs towards them.

36
Severson places his BlackBerry back on the table. No one in author-

ity can know what Judd just told him otherwise they will put him on
a plane and fly him out to Central Australia and he’s not letting that
happen. No way, no how.
Instead he will pretend the conversation never took place. He
rolls over, buries his head in the pillow and wills the gods of sleep to
whisk him off to the land of Nod.
It doesn’t work. His mind races. Judd said he was going to
‘try to stop them’, which didn’t sound like a good idea at all. In fact
it sounded like a great way to get killed.
‘Not my problem!’ Severson says it out loud to make sure he
understands it. He buries his head deeper in the pillow, squeezes his
eyes shut.
Sleep will not come. His eyes blink open and he looks up at the
ceiling. ‘Man!’
Judd needs his help.
Severson has always considered himself a loner. He doesn’t have
‘friends’ per se; acquaintances and work colleagues, yes, admirers
and allies and lovers, absolutely. But friends? No. Sure he can be
Mr Charisma when it suits circumstances but the underlying code
he lives by is ‘Every man for himself.’
But Judd’s his friend, isn’t he? Severson enjoys his company

V ELOCIT Y 255
and doesn’t keep him at arm’s length like everyone else. He’s had a
soft spot for the guy ever since Columbia, when Severson saw how
deeply the accident affected him. Severson respected Judd for that,
envied him almost, because it was something Severson didn’t feel
himself.
So yes, Judd Bell is his friend. Severson sits up in his bed. The
revelation comes as an unhappy surprise.
‘Knock knock.’ Severson says it as he lightly raps a knuckle on the

door. A moment passes, then it opens.
Captain Mike Disser pokes his head out, a drowsy scowl on
his face. ‘What?’ Clearly he’s still annoyed about the whole ‘fear of
heights’ thing.
Severson holds up his BlackBerry. ‘Just received an interesting
call.’

37
Atlantis and the Galaxy are further away than Judd realised. He
still has a fair way to go and isn’t exactly eating up the distance
even though he’s running as fast as he can.
He uses the time to plan. The way he sees it he has three options
to stop the Galaxy from taking off.
Option A is to shoot out the Galaxy’s tires. It seems like a good
idea, but an airliner’s tires are so hard and turn so fast during take-
off there’s a good chance the bullet will be deflected. For it to work
the pistol’s muzzle will need to be almost point blank with the rub-
ber, and because big jets like the Galaxy have so many tires he’ll
need to shoot out a few of them. It’ll be easier if the jet’s stationary,
but that means he needs to get to it before it starts moving.
Option B is to shoot out one of the Galaxy’s engines. Again, it
seems like a good idea, but it only seems that way. A turbofan is a
highly complicated piece of machinery and introducing a speeding
bullet to the operating mechanism could, literally, destroy it. That,
in turn, could destroy the Galaxy’s wing, which is full of fuel, so
then the whole jet would explode, which would, in turn, incinerate
the shuttle and everything on board, including Rhonda.
Option C is firing at the pilot in the Galaxy’s cockpit. Judd will
be shooting from the ground, a long way away from windscreen,
so he’ll need to be super accurate and he’s not sure the bullet would

V ELOCIT Y 257
even crack the glass from that distance.

He locks eyes on the Galaxy. He’s closer. Whichever option he
chooses he’ll need to make a decision soon.

38
The Harrier Jump Jet is the finest vertical take-off and landing
fighter jet ever built. The Pegasus engine nestled within this particu-
lar example howls eagerly as the aircraft sits on the deck of the USS
George H. W. Bush, its delta wings drooping languidly by its sides.
Eleven minutes is all it took. From the moment Severson lightly
rapped his knuckles on Disser’s door to sitting in this Harrier AV-8C,
a two-seater variant normally used for training.
Disser’s strapped into the pilot’s seat, his jaw set. Suited and hel-
meted he’s ready to take on the world. Severson’s strapped into the
trainee’s seat behind him. He’s also suited and helmeted, but that’s
where the similarity ends. His jaw is slack and he’s ready to go back
to bed.
That won’t be happening any time soon. The USS George H. W.
Bush is parked off Australia’s northern coast and Disser’s unit is the
closest option for a flyover to check Judd Bell’s intel about Atlantis’s
position. Even though marine units have already been dispatched to
Tunisia, Disser decided on a quick reconnaissance mission over the
area Judd Bell identified. As he expected, Severson has been forced
to come along for the ride. Disser told the astronaut that if he didn’t
he’d tweet his secret to the world and Severson’s positive the honk-
ing bastard would do it.
So they now await clearance for take-off. Severson’s face is pale

V ELOCIT Y 259
and his stomach tender. He can’t stop thinking about the attack
choppers Judd mentioned. He speaks into his helmet’s microphone:
‘Please, you’ve got to let me outta here.’
Disser’s voice honks in his earpiece. ‘You know the shuttle, sir,
I don’t. I will need your expertise if we find it.’
‘No, you won’t. You’re a smart guy. Just improvise. You’ll do
fine.’
‘One tweet, sir. That’s all it’ll take —’
‘I know! Jeez. Look, I just, I don’t have a good feeling about
this.’
‘The only thing you have a good feelin’ about is being a pussy,
sir. It’s time to man up and face your fear.’
‘No, it’s not. It’s not that time at all.’
‘I’m going to help you do it. You inspired me when I was a kid
so now it’s time I pay you back.’
‘But I don’t want you to pay me back —’
Both their headsets buzz as Flight Control grants them clear-
ance. Disser barks an acknowledgment then opens the Harrier’s
throttle. The Pegasus engine runs up.
‘Hold on, sir, it’s time to jump off this boat.’
Severson grips the side of his seat and jams his eyes shut as the
Harrier leaps off the deck then banks hard over the methylene blue
ocean and howls away.

39
Edgar has been gardening like a mofo but his wife has yet to decide
if he can leave this godforsaken compound and take that trip to
Jakarta. He’s meant to fly out this afternoon but it’s not looking
good. The Ukrainian maid incident has really bitten him on the arse,
and not in the way he likes.
The idea that he’ll have to stick around for his sister-in-law’s
birthday party, which his wife is throwing tomorrow, is too depress-
ing for words. He could always try to slip away but he knows he
won’t get far. The fools from the secret service are everywhere, mon-
itoring his every move – there’s one sitting at the far end of the room
right now, staring at him.
Edgar slumps onto the sofa and flicks on the television. This is
what his life has become: gardening and Fox News. Christ. Shepard
Smith is filing an update on the shuttle hijacking from Florida.
It would seem that nobody has the first clue where it is or who the
hijackers are. What a mind-boggling screw-up it is. If Edgar was still
in charge someone would be getting their arse good and kicked over
this right now.
The old man closes his eyes and leans back, remembers when
pretty much all he did was kick arse and take names. Man, those
were the days.

40
Henri hasn’t watched a sunrise for the longest time. He once took
solace in its natural grace. It recharged him, momentarily erased his
troubles, prompted him to think about his place in the universe and
how insignificant it was.
That was before his wife died, when such flights of fancy didn’t
seem frivolous, when he was happy but didn’t know it, when the
troubles that seemed so important were, in retrospect, trivial. He no
longer thinks of his place in the universe as insignificant; quite the
opposite, in fact.
The Frenchman glances at his GMT-Master then looks up at
Atlantis, piggybacking the Galaxy, and triggers his walkie. ‘Wheels
up in five minutes. Everyone, please take your positions. Nico and
Dirk, report to me at the ladder.’
He takes in the sunrise for a final moment. Though he’d expected
some collateral damage on this mission, the loss of Claude and
Cobbin, and Gerald and Tam during the launch, has left him with a
deep melancholy. He takes a breath, won’t, can’t let it affect the final
part of the operation, the most important part.
The Frenchman turns, takes in Dirk and Nico as they approach,
illuminated by the golden light.
‘You are now the crew’s leader.’
Dirk nods to Henri but doesn’t smile. It doesn’t feel right. You

262 STEVE WORL AND
don’t smile when you get a job this way. ‘Thank you, sir.’ He starts to
say something else then stops himself, looks down, studies the fine red
dust that coats his boots.
The Frenchman sees it. ‘What?’
Dirk looks up. ‘Is there any way to change your mind?’
Nico chimes in. ‘Yes, sir, there must be another way —’
‘No.’ Henri regards them both for a moment. ‘This is my final
mission. Nothing has changed.’ He fixes his gaze on Nico. ‘You are
now second in command. I expect you to support Dirk just as you
have supported me.’
‘Of course, Commander.’
‘You know where to find the video. Post it everywhere. And ensure
the families of our fallen comrades are generously compensated.’
Another nod. Henri takes a moment, his gaze moving between the
German and the Italian. ‘I thank you for supporting me and risking
your lives to make this mission possible. I appreciate it more than you
will ever know. I’m proud of you both, as if you were my sons. I wish
you nothing but luck.’
He holds a hand out to Dirk. The German ignores it and steps for-
ward, embraces the Frenchman. Henri hugs him back, surprised.
‘Godspeed, Commander.’ Dirk breaks off and now it’s Nico’s
turn. He hugs the Frenchman, his face grim. ‘I’ll miss you, sir.’
Henri releases him. ‘Okay, you know what happens now. Get to
it.’
With a nod Dirk and Nico move off. Dirk doesn’t look back. The
Frenchman has turned his life around, taught him everything he knew.
Now the German has both the skills and the confidence to command
a seventy-million-dollar-a-year business that employs twenty expert
mercenaries and operates in every corner of the globe. Dirk fears that
if he looks back he’ll show emotion and he doesn’t want anyone to

V ELOCIT Y 263
see that, especially Henri. Instead he turns to Nico. ‘See you at the
rendezvous. We leave as soon as he arrives.’
Nico clearly has no such qualms about showing emotion. His
eyes are wet. ‘Yes, Commander.’ Dirk holds out his hand and they
exchange a fist-bump.
Nico moves to the nose of the Galaxy, climbs the ladder and dis-
appears into the front hatch. Dirk walks to the edge of the runway
where his Tiger awaits, rotors turning.
Henri watches them go then triggers his walkie and speaks. ‘Dirk
is now leader of this crew. Nico is his 2IC. I expect them to be sup-
ported just as you have supported me. I wish you all the best. Good
luck.’
Henri won’t allow himself to dwell on the emotion of leaving the
men he has commanded for over two decades. There is too much to
do. He moves to the ladder that leans against Atlantis’s open hatch
and climbs towards the shuttle.
The plastic tie around Rhonda’s right wrist is loose but not yet loose
enough. Martie has only turned around twice since they were left
alone and each time Rhonda stopped flexing before her ex-friend saw
what she was doing.
Someone climbs the ladder. Rhonda stops flexing and turns to the
Frenchman as he steps onto the flight deck. He moves to Martie, lays
a hand on her shoulder, leans down and whispers something in her
ear.
Martie stands and hugs him, long and tight, then quickly exits
the flight deck with her head bowed. Rhonda glimpses Martie’s face
as she turns to climb down the ladder and sees her eyes are wet with
tears.

264 STEVE WORL AND
Why is Martie crying? Whatever the reason it surely can’t be

good. Rhonda hears the hatch close and lock, then turns to the
Frenchman as he sits in the commander’s chair. ‘What’s going on?
Why am I here?’
‘You’re here because you are my conduit.’
‘What does that mean? And don’t give me that “all will become
apparent” bullshit again.’
He doesn’t give her that, or anything. He remains silent.
Rhonda’s first impulse is to unleash a torrent of abuse. She thinks
better of it and pushes the anger down, into the pit of her stomach,
so she can access it later. She doesn’t want him to pay her any atten-
tion, she wants him to forget she’s even here so she can get on with
what needs to be done.
She takes a deep breath and continues flexing her arm. The
plastic tie needs to be much looser.

41
Thompkins yanks the D-ring handle between his legs and it all
happens. The Article’s canopy flips off, the ejector seat rockets fire
and he is catapulted out of the aircraft.
‘Ohmigod!’ It takes everything he’s got not to black out as the
wall of air smacks into him. Then the man/seat separator separates
man from seat and Thompkins freefalls.
A big jolt. A parachute flaps open from his harness and he slows.
Then the chute detaches. ‘What the hell?’ He looks up. The chute
disappears into the orange sky above.
He can’t believe it. After everything, the chute fails! He looks
down. The ground rushes towards him.
Another jolt, much harder than the first. ‘Sonofabitch! A glori-
ous 10-metre canopy flaps open above him. This is the first time he’s
ejected from an Article and he’d forgotten a key fact from his train-
ing: the first chute was just a drogue to slow him down before the
main chute opened.
He breathes for the first time since he pulled the D-ring, then
turns and searches for the Article.
He finds it, a distant black smear against a lightening sky. It lists
to the left then gently rolls over until it is tail down. In that position
it hits the desert with a bright flash followed by a dull thud.
What he’s doing suddenly feels real. Watching the destruction of

266 STEVE WORL AND
that magnificent aircraft, the last of its breed, makes him profoundly
sad, almost as much as the death of Mahoney.
He looks down, takes in the shuttle perched atop the Galaxy.
A black chopper, blades turning, waits nearby. He angles the chute
away from them, doesn’t want a gust of wind to blow him into a
turbofan or rotor blade.
The ground comes up quickly. He assumes the landing position,
hits hard, rolls onto his side then to standing. It’s surprisingly graceful.
He looks over at Atlantis and the Galaxy. They’re a good kilo-
metre away. The chute billows around him. He works the clips,
detaches it from the harness.
Whack! A fist slams into his face.
‘Where is she?!’
Judd throws another punch, hits Thompkins in the jaw, stuns
him. He stumbles backwards, falls into his chute.
‘Where is she?!’ Judd drops onto him, pins him to the ground
with knees on his chest, clamps both hands around his neck.
Thompkins gasps for breath. ‘Where’s who?’
‘Rhonda!’ Judd vibrates with anger. ‘Is she on board Atlantis?’
‘I don’t know what you’re —’
‘Tell me!’ Judd squeezes harder.
‘— talking about —’
Judd loosens his grip. If he kills him he has nothing. No informa-
tion, no options, nothing.
Thompkins drives a knee upwards, knocks Judd aside, reaches
inside his flight-suit pocket, grabs a Glock pistol, points the
weapon —
It’s wrenched from his hand. He looks up through the swirling
dust, focuses on his assailant.
It’s Judd Bell. Thompkins is genuinely shocked he’s alive.

V ELOCIT Y 267
Instantly he has second thoughts about sending him out here, though
he’s not sure what else he could’ve done. During the launch Judd
had seen both Dirk and Henri’s faces. Thompkins couldn’t have him
reporting that information to the authorities so he sent him directly
to the Northern Territory, to be eliminated when he arrived at the
Kinabara Dish.
Thompkins plays it straight. ‘Judd? What are you doing?’
‘Wrong answer.’ Judd’s fist shoots out like a piston, cracks
Thompkins’ nose.
‘Stop it!’
‘Where is she? Is she alive?!’
‘I’m on your side.’
‘Liar. You sent the marines to Tunisia.’
Thompkins is, once again, shocked. How does he know this?
Judd drives the pistol under his chin.
‘I’m just here to help.’
‘Bullshit.’
A noise. They turn, see a black chopper skim the desert towards
them.
‘They coming to get you?’
Thompkins plays dumb. ‘Who? I don’t know what you’re talk-
ing about —’
‘Get up!’ Judd drags Thompkins to his feet, the pistol pushed
against his chest.
‘I’m gonna trade your sorry arse.’
The Tiger chunters towards the two men standing in the middle of
the desert. One is Thompkins, Dirk knows that. He saw him eject,

268 STEVE WORL AND
saw the parachute open, saw him land. The other guy is a bit of
a mystery. Then he looks closer and realises it’s no mystery at all.
Dirk couldn’t be happier. After days spent trying to kill the astro-
naut, Judd Bell has come to him.
‘What are we doing?’ Big Bird’s voice buzzes in Dirk’s headset.
‘Put it down, fifty meters away.’
The Tiger settles onto the desert in a swirl of dust. Dirk draws
his pistol, cracks open the cockpit and climbs down. Buffeted by
rotor wash, he approaches Thompkins and Judd Bell, stops 20
metres away.
‘Are they alive?’ The astronaut shouts over the rasp of the Tiger’s
turbine.
‘Who?’
‘The women.’
‘Ms Jacolby is safely strapped into the shuttle as we speak. Ms
Burnett is in the Galaxy.’
Judd points the pistol at Thompkins’ neck. ‘You want this guy
alive then you release them both, now.’
‘I don’t think Ms Burnett would like that. She’s with us, and has
been for a number of years.’
Judd recoils. ‘Bullshit.’
‘It’s true. As for Ms Jacolby, I’m afraid we can’t spare her. She
still has an important role to play.’
‘Hand them over or he dies.’
Dirk waves his pistol at Thompkins. ‘You seem to be under the
impression that his death would somehow concern me.’ Dirk’s eyes
move to Thompkins. ‘How did you get yourself into this situation?’
‘Do it. It’s an easy trade.’ Thompkins’ voice is edged with panic.
Judd pushes the gun hard into his neck. ‘Don’t know what I’m
talking about, huh?’

V ELOCIT Y 269
Thompkins ignores him. ‘Come on, I did everything for you

people. Let me talk to Henri.’
‘He is no longer in charge.’
Thompkins frowns. ‘What? Then who is?’
Dirk grins. ‘Me.’ His eyes fall on the astronaut. ‘While I consider
your offer, Mr Bell, I must know one thing. Have you told anyone
about me?’
Judd’s surprised by the question, then nods at Thompkins. ‘Only
this prick.’
‘Thank you.’ Fast and smooth, Dirk raises his pistol and fires
the way professional soldiers do. The bullet slams into Thompkins’
forehead; his head snaps back and he crumples to the desert.
Judd swings his weapon at Dirk but he’s not a professional and
the German has already aimed and fired. The bullet thumps into the
astronaut’s chest and he drops to the dust.
Dirk pivots, strides back to the waiting Tiger. He’s pleased Judd
Bell is dead but not sure if he was telling the truth. The German will
just have to wait and see if Thompkins is the only person he told
about his past. It’s not ideal but then Dirk knows it’s no one’s fault
but his own. He pulls the walkie from his belt, speaks into it: ‘Nico,
get the Galaxy airborne.’
The Italian’s voice crackles in response: ‘Roger that. What about
Thompkins?’
‘He won’t be making the trip.’
Yes, Thompkins had proved useful for the years he’d been on the
payroll, had been instrumental in helping enlist the all-important
Martie Burnett and giving them access to information regarding the
shuttle’s systems, but now the crew is under new management and
those days are over. Just as Thompkins had been disloyal to NASA,
he would eventually be disloyal to Dirk so he could never become

270 STEVE WORL AND
part of the crew, and if he wasn’t part of the crew he couldn’t be

out in the world knowing what he knew. So he had to go, as would
Martie Burnett and Kelvin Atwater once the mission was complete.
Dirk climbs into the Tiger, pulls on his Top Hawk helmet and
barks into its headset’s microphone. ‘Let’s go.’

42
It hurts like a motherfucker and he couldn’t be happier about that.

If he’s feeling pain then he’s alive.
Judd forces his eyes open. The sunlight dazzles him. Yep, still
alive. He blinks, reaches his right hand to the profound pain at the
left side of his chest, finds the bullet’s entry wound, to the left and
down from his nipple. He’s certain the slug has cracked a rib but
it doesn’t seem to have punctured a lung because he can breathe
okay. He moves his hand to his side and finds the exit wound under
his arm. He’s one lucky son of a bitch. Yes, he’s been shot, but it’s
a ‘through and through’ that doesn’t seem to have hit any major
organs; essentially it’s a flesh wound with delusions of grandeur.
He feels moisture at his back. He shifts, sees the large, dark
puddle in the sand beneath him. Suddenly he doesn’t feel lucky at
all. He’s lost a lot of blood and is still losing it. His shirt is drenched
and his head feels light. He breathes in, wills the dizziness to pass.
The whine of turbofans sweeps across the desert. His eyes
move, focus, find the Galaxy with Atlantis on its back. It’s taxiing,
a good kilometre away. Tango in Berlin’s black chopper hovers
behind it.
Judd looks back at the wound. He needs to get steely-eyed
and quickly solve this life-or-death problem before he bleeds out.
Instinctively he knows what the ingenious solution is: he saw it

272 STEVE WORL AND
in a movie years ago, Rambo III, when Sylvester Stallone was the
biggest movie star in the world.
Judd pushes his hand into his shirt pocket, pulls out the Marlboro
soft pack. He upends the pack and the zippo and cigarette drop onto
his chest. He brushes the cigarette away, knowing that if he survives
this he has given up smoking. If the last couple of days have taught
him anything it’s that there are altogether too many other ways to
die prematurely so he must eliminate one, even if he will always miss
those seven seconds.
With his right hand he picks up the zippo – Deke Slayton’s zippo.
With his left arm he reaches across the dusty ground and pulls the
Glock pistol towards him. Just moving the arm a few inches sends
a jolt of pain through his chest. He feels lightheaded again. He
breathes in, wills it to pass, then stops as he realises he may want to
feel lightheaded considering what comes next.
He lifts the pistol to his chest as he flips open the lighter’s cover,
flicks the flint wheel.
It doesn’t ignite. ‘Come on!’ He tries again. Nothing. He doesn’t
know why it would suddenly work now. ‘Please.’ He tries one more
time, slams his thumb down on the flint wheel.
The wick bursts into flame, flickers, steadies. ‘Thank you, Deke!’
He pushes the end of the pistol’s muzzle into the flame and holds it
there. Lets it heat. Moments pass. The flame wavers. He keeps the
pistol in place. The flame stutters out. He swaps the gun between his
left and right hand and drives the superhot muzzle into the bullet’s
entry wound.
Pain. Purple pain. Against his every instinct he holds the gun
against the wound. He breathes as deeply as he can, unsure what’s
worse, the sizzling sound of his flesh cooking or the sharp smell it pro-
duces. Either way he needs to stop the bleeding and cauterising the

V ELOCIT Y 273
wound is the only option available to him. He also realises Stallone’s

performance in Rambo III was spot on. It hurts like a bastard.
Judd pulls the weapon from the entry wound then jams it against
the exit wound under his arm. Interestingly, it’s even more painful
than the entry wound. It’s so bad he shouts at the sky. He no longer
feels lightheaded.
He checks his handiwork as best he can. It seems the Stallone
Procedure has worked a charm and staunched the bleeding, at least
in the short term.
He drags himself to his feet. The pain is all-consuming. He gin-
gerly pockets Deke’s zippo, keeps the pistol in hand and locks eyes
on the Galaxy, which is still a kilometre away. He sets off towards it.
The bullet wound throbs with every step but he ignores it. The jet is
so far away he can’t imagine how he’ll reach it.
The Galaxy pivots and Judd realises it is coming back towards
him. He looks down and sees that he’s on the runway. He’s thrilled.
It’s his first piece of good fortune since he arrived in this country. He
jogs to the middle of the runway and stops. It’s a relief to stand still.
The Galaxy’s turbofans run up and kick back a rolling cloud of
red dust as it starts towards him, obscuring Tango’s chopper. Judd
cocks the pistol.
Kelvin throttles up. He’s going to need every inch of the runway
to get this double-decker monstrosity into the sky. Not only is the
Galaxy carrying Atlantis, but it also has a full load of fuel in its
wings and the new reservoir tank in the hold, plus a full complement
of passengers. It’s a heavy package, perhaps the heaviest Galaxy to
ever fly.
He sees something on the runway. ‘What the hell is that?’

274 STEVE WORL AND
Nico focuses on it, confused. ‘A man?’

‘What do I do?’
‘Keep going.’
‘You sure?’
‘What’s he going to do? We’re in a Galaxy.’
‘You’re the boss.’ Kelvin throttles up.
The Galaxy thunders towards Judd, 300 metres and closing. He’s
directly in the path of the fuselage so he takes ten steps to the left.
Two hundred metres and closing. He aims the pistol at the front
tyres, tracks with them as he starts to run, the shriek of turbofans
deafening. One hundred metres and closing. The desert shakes
under his feet as he squeezes the trigger . . .
The Galaxy is upon him. He sprints. The nearest of the four
front tyres is 10 metres away but it’s impossible to get closer because
the fuselage is so large. He fires at it.
The bullet hits its mark – and has no discernible effect. He can’t
keep up with the front tyres so he turns, aims at a rear tyre, fires.
Again, the bullet does nothing. This is not working. This will not
stop the jet from taking off.
He looks at the turbofan above. Maybe shooting that will. He
aims the pistol, squeezes the trigger – and stops. The engine could
explode, detonate the fuel in the wing and destroy Atlantis. Or it
could flame out and stop the Galaxy from taking off.
He doesn’t know what to do.
Then he does.
He fires.
Nothing happens.
Judd falls behind the Galaxy, tries to stay close to the fuselage

V ELOCIT Y 275
to avoid the jet wash, but that doesn’t work either. The wall of dust
slams into him, slaps him to the dirt.
The Galaxy thunders away.
He’s lost her.
Just audible above the roar of the engines is a noise. Drums,
rhythmic and African, then percussion, like someone’s tapping a
bottle with a stick.
Judd tries to place the sound as it grows louder. A bass joins in,
then strings and horns fill out the song as a familiar voice cuts across
the landscape.
‘Her name was Lola . . .’

43
The Loach screams over the desert, Barry Manilow booming

‘Copacabana’ from its speaker. Corey watches the Galaxy race along
the runway, then looks to the desert below.
Spooked by the music, three hundred and fifty head of cattle
stampede towards the jet. Behind them Spike is in full gallop, bark-
ing expertly as he drives them on. He could be a pain in the arse but
he was one hell of a cattle dog.
The herd closes in on the Galaxy. They’re less than 500 metres
away.
Judd searches for the source of the music, glimpses a blur of yellow
in the sky, focuses on it.
The Loach. Corey came back! Then below the chopper Judd
sees the cattle, hundreds and hundreds of cattle. They swarm onto
the runway in front of the Galaxy. Judd lets out a sharp, delighted
laugh, pulls himself up and runs on.
Kelvin stares at the cattle, dumbfounded. He doesn’t know if he can

get the Galaxy in the air before it reaches them.
He realises this is what he’s been looking for. This is his escape

V ELOCIT Y 277
plan. He’ll pretend to stop the jet, but plough into the herd. The
landing gear will be destroyed and they’ll crash. In the ensuing pan-
demonium he’ll slip away, alert the relevant authorities and then:
hero time!
And if, for some reason, he can’t slip away, at least it looked like
he was trying to avoid the accident. No one can blame him if there’s
a herd of cattle in the middle of the runway.
Corey turns down the volume, watches the Galaxy race towards the
livestock. He had only flown as far as Clem Alpine’s cattle station
before the guilt of leaving Judd kicked in. Then he had the bright
idea of ‘borrowing’ Clem’s cattle for a few hours. Clem would be
pissed off when he found out, but then Clem was always pissed off
about something. Moving the herd across the desert had taken the
rest of the night.
Suddenly Corey feels real concern for the herd. He knows
they’re just beef, destined for McDonald’s or the supermarket, but
he still doesn’t want to see them hurt. It’s not their fault these people
stole a space shuttle.
Kelvin can’t do it. He can’t bring himself to plough into the cattle
because he doesn’t know if he’ll survive it. He may have only six
months to live but that’s better than six seconds. So he forgets about
being a hero and decides to take the money.
He throttles up, and feels a slight hesitation through the levers.
Decades of experience tells him there’s a problem with the Galaxy’s
inboard portside engine. It could be any number of issues. Usually
he’d throttle back, abort take-off and send the jet over to the boys

278 STEVE WORL AND
in maintenance, but he has no such luxury today. That herd is too

close.
He needs all four turbofans operating at full power to get this
thing off the deck in time. He holds his breath, pulls up the Galaxy’s
nose and keeps throttling.
The cattle are just there. The hesitation clears and the turbofans
sing, drag the huge jet off the desert runway.
‘Come on!’ Kelvin waits for the clunk of bovine on under-
carriage. It doesn’t come. He breathes out, points the jet on a
northward track, and reviews his decision. He has no regrets. He’s
heard Fiji is lovely this time of year. He’ll retire to Fiji, or Tahiti.
Either way he’ll die somewhere in the Pacific.
The Galaxy’s rear wheels miss the cattle by less than a metre.
Stricken, Judd watches the jet lumber into the sky. He has failed
Rhonda and the hollow pain in his heart is worse than anything he
can remember, including that terrible February day in 2003.
Rotor blades echo behind him. He turns, takes in the black
chopper as it skims the desert towards him, 500 metres away and
closing fast.
He doesn’t know if killing Tango in Berlin will make him feel
better but he’s willing to give it a try. He raises the pistol, aims it
at the dark shape and the German he knows is inside. ‘Come on,
motherfucker. Come and get me.’
That’s exactly what Dirk is doing. He focuses on the astronaut,

astonished he’s alive. Big Bird’s equally surprised. His voice buzzes
in Dirk’s headset: ‘Didn’t you kill this prick already?’

V ELOCIT Y 279
‘He must have been wearing a bulletproof vest or . . .’ Dirk

doesn’t bother finishing the sentence. He just aims the Top Hawk
helmet at the astronaut. ‘Let’s put a ribbon on this thing and go
home.’
Dust swirls and a shadow falls over Judd. He looks up as the Loach
drops from the sky, thumps onto the desert beside him.
Corey furiously waves him in. Stunned, Judd doesn’t have to be
asked twice. Three steps and he’s in the cockpit. He turns, sees a
missile blast away from the black chopper, fly straight for the Loach.

44
Corey watches the missile as he kicks the Loach off the desert. ‘Grab
something!’ He tips the chopper hard left.
‘Christ!’ Judd hasn’t strapped in yet. He grasps the doorframe to
stop himself being ejected from the cockpit, then is jolted back inside
as the Loach breaks right and ascends quickly. The missile follows.
Corey sees it in the side-view mirror. ‘We got Tango in Berlin to
thank for that?’
Judd nods. ‘Who else?’
‘This bloke’s making a career out of pissing me off.’
The missile closes fast. ‘Hold on!’ Corey tips the Loach into a
dizzyingly steep dive. The missile follows.
A metre off the deck the Loach pulls up sharply – and the missile
doesn’t. It slams into the desert and the explosion is massive. A wall
of red dust billows into the sky. The Australian swings the Loach in
a tight arc back towards it.
Judd buckles up, pulls on the headset. Corey glances at him.
‘You okay?’
Judd nods though it’s clear he isn’t. He glances across at the
Galaxy as it lifts Atlantis into the dawn sky. ‘Didn’t get to Rhonda.’
‘Sorry, mate. Wish the cattle had worked better.’
‘No, that was great.’
‘Least I could do after leaving. Feel terrible about that.’

V ELOCIT Y 281
‘Forget it.’ Judd sees they’re approaching the wall of dust. ‘What
are we doing?’
Corey has his eyes locked on the black chopper in the side-view
mirror. ‘Dealing with this guy once and for all.’
‘How?’
‘I got a plan.’ Corey reaches behind him, grabs something from
the back seat, drops it in Judd’s lap.
Judd stares at it, dumbfounded. ‘That’s the plan?’
Corey grins his crooked grin. ‘I’m always thinking.’
Big Bird angles the Tiger around the edge of the dust cloud, searches
for the Loach. ‘Where is it?’
Dirk can’t see it, then he can. ‘Up there!’ He points at the yellow
chopper 100 metres above, 200 metres away and flying towards
them – upside down.
The Loach passes over the apex of a loop. Everything that was on
the floor hits the ceiling. Corey and Judd hang in their harnesses.
‘Jesus!’ Judd holds on for dear life.
‘Told you I could pull a loop!’ Corey locks eyes on the black
chopper directly below. ‘Now!’
On his command Judd throws the lucky bucket, chunks of jag-
ged rock wedged inside, out the open doorway. It drops towards the
black chopper in a graceful arc.
The bucket doesn’t hit the Tiger’s rotor blades but strikes its wind-
screen and jars it from its frame. The air pressure jams it into the

282 STEVE WORL AND
cabin and it slams Big Bird in the head. He’s wearing a helmet but
the impact is significant.
Dazed, he fights to keep control of the chopper as it spirals to the
desert below. Behind him Dirk says: ‘Are you —?’
The Tiger lands hard and he doesn’t finish the sentence.
Corey tips the Loach into a steep bank. ‘Did it hit?’

Judd looks back, scans the dispersing dust cloud, waits for the
black chopper to emerge, cannons blazing.
It doesn’t. The dust clears and he sees it. ‘It’s on the ground!’ Judd
can’t believe such a poorly considered quick fix actually worked.
‘Ha ha! Told you it was lucky!’ Corey taps his temple, thrilled.
‘I’m always thinking!’
‘You’re always thinking!’ Judd is swept up in the moment, any
feelings of despair momentarily forgotten. Then he turns and catches
sight of the Galaxy as it lifts above the sunrise.
A bright flash, then flames shoot from its inner portside engine,
thick black smoke trailing behind. It brings his moment of euphoria
to a screeching halt.
An alarm shrieks. Kelvin scans the Galaxy’s instrument panel, Nico’s

face a portrait of concern. ‘What’s going on?’
‘Engine fire.’ Kelvin silences the alarm then activates the extin-
guisher system, shuts down the engine he knew had a problem.
Nico’s on edge. ‘Are we okay? Can we still make it?’
‘Fire’s out.’ Kelvin scans the gauges. ‘We’ll be slow but we should
be okay, as long as we don’t lose another one.’
*

V ELOCIT Y 283
Corey stares at Judd, unbelieving. ‘Why would you shoot the

engine?’
‘I was trying to stop it taking off. It seemed like a good idea at
the time.’
The black smoke that streams from the engine thins out.
‘Fire’s out.’ Judd blinks long and hard, relieved. He turns, studies
the winch between the seats, focuses on the thick blue Dynamica
rope wound around it.
Corey follows his gaze and eyes him suspiciously. ‘What?’
‘How much weight can this rope hold?’
Corey shrugs. ‘A lot. A hundred and forty thousand kilos. Why?’
‘I need you to get me to the Galaxy.’ His hands go Rubik. ‘I’ve
got a plan.’
‘I can’t catch that thing.’
‘You can. It’s heavy, and one engine is out.’
‘Sorry, I meant I don’t want to catch that thing.’
‘Come on.’
‘You come on. It’ll be at 30 000 feet in a minute.’
‘That’s why we need to get to it now.’
‘And what happens when we arrive?’
‘I gotta plan.’
‘You said that already.’
‘Just do this one last thing.’
Corey stares at Judd for a moment.
‘Please.’
‘If it gets dangerous or in any way doesn’t feel one hundred per
cent funky-dory we’re out of there.’
Judd nods. ‘One hundred percent funky-dory or we’re gone.’
Corey works the controls, points the Loach towards the Galaxy.
‘Okay, what’s the plan?’

284 STEVE WORL AND
‘The dog.’
‘That’s a terrible plan.’
‘No, no, your dog.’ Judd points at the desert far below.
Corey follows Judd’s finger. In the distance Spike gallops after
the Loach, barking all the way. ‘Sorry, mate, you can’t come along
on this one.’
There’s a definite tinge of sadness in his voice.

45
Rhonda flexes her arm. She ignores the deep pain in her wrist
because the plastic tie is now very loose. Within the suit’s sleeve she
pulls on her wrist. It slips under the tie. Hallelujah! Her arm is free.
She draws it down the sleeve and prepares to execute the most
difficult part of the plan. She needs to get her arm out of the sleeve
and position it in front of her chest so she can unzip the front of the
flight suit. There’s only one way she can do it.
Straighten, tense, roll. Hold her arm straight, tense it and roll it
clockwise while pushing down at the shoulder. There will be a snap,
her shoulder will pop out of its socket and there will be great pain.
Purple pain, Judd called it. She had spent years making sure it didn’t
happen accidentally but now must do it on purpose.
She takes a breath, reminds herself that the pain will be worth it,
that in a moment she’ll be out of this chair and the Frenchman will
be out like a light. She doesn’t want to kill him, in spite of every-
thing he’s done. No, she wants to knock him unconscious so she can
watch him fry in court.
Before any of that can happen she must distract him. If she can
get him talking he won’t hear what she’s doing behind him. It’s a
great theory, just as long as he doesn’t turn and look at her as he
speaks. She’ll just have to hope he doesn’t because she doesn’t have
another option.

286 STEVE WORL AND
‘There’s something I don’t understand. If you’re all professional

mercenaries and you really were involved in 9/11, why go to the
trouble of stealing a shuttle and doing whatever you plan to do to
punish the government? Don’t you do this kind of stuff all the time?
Why take it so personally?’
The Frenchman turns, fastens his eyes on hers. ‘Because my
pregnant wife was in the North Tower.’
Corey looks at Judd. ‘That’s your plan?’

‘That’s my plan.’
‘Well, it’s just awful.’
‘No, no, it’ll work.’
‘Not even accidentally. Mate, really, you’re havin’ a lend of
yourself.’
‘I don’t know what that means.’
‘It means you’re fooling yourself and then you’ll die, is what it
means.’
Judd ignores him, searches the floor of the Loach. Corey shakes
his head in frustration, scans the horizon and picks up the Galaxy
in the distance. It is slow and they are catching it. Carrying the shut-
tle and using only three engines is clearly a big handicap. If the Yank
is right about that then maybe he’s right about this half-baked plan
too.
‘Yes.’ Judd holds up two hooks Corey uses to move hay bales.
They’re rusty but solid, each about 12 centimetres long. He can
comfortably hold one in each hand.
‘Okay, let’s say we do catch it, are you even sure she’s on board?’
‘Tango in Berlin said she was.’
‘There’s a reliable source.’

V ELOCIT Y 287
‘If there’s any chance she is I have to try. I couldn’t live with
myself if I didn’t.’
Corey can’t argue with that. He’d told Judd that he didn’t want
to be ‘caged’ but in truth the women he dated thought he was crazy
as soon as he spoke to the dog. So from painful personal experience
the Australian knows how hard it is to find ‘the one’ and won’t stand
in the way of Judd being reunited with the woman he loves. ‘Okay.’
‘Thank you.’ Judd unlocks the lever on the winch and pulls out
the blue Dynamica rope, roughly measures it as he goes, gets it all
out so he can see the end tied around the axle. He tugs on it, makes
sure it’s secure. ‘Okay, we got a bit over thirty metres.’ He looks at
Corey. ‘You ready?’
‘Not at all, but let’s do it anyway.’
The Frenchman studies Rhonda. ‘That’s why I’m doing this.

Operatives within the US government were responsible for 9/11 and
therefore responsible for the death of my wife, who was five months
pregnant.’
Rhonda hears the pain in his voice, wants to say: ‘I’m sorry for
your loss.’ She doesn’t. This guy executed one of her crew in cold
blood and plans to deploy a dirty bomb. She won’t let herself feel
sorry for him. ‘If you faked the Shanksville crash site why didn’t you
warn your wife about the Twin Towers?’
‘We didn’t know about it, or the Pentagon, until after it hap-
pened.’
‘So what happens now?’
‘We proceed on our current course. Once we are in range I will
release Atlantis from the Galaxy and we will crash into the desig-
nated target.’

288 STEVE WORL AND
We.
Something cold and awful turns over in Rhonda’s stomach. She’s
not sure what’s worse, that her shuttle will be used as a weapon of
mass destruction or that she’ll be aboard. ‘What do you need me
for?’
‘You will be my conduit.’
‘I still don’t know what that means.’
‘You will soon enough.’
She takes a breath, frustrated. ‘At least tell me what the target is.’
‘A house. In McLean, Virginia. Edgar’s house, to be precise.’
‘Who the hell is Edgar?’
‘It’s a nickname, after the puppeteer and ventriloquist Edgar
Bergen. He had a show on American television many years ago.’
‘So who is it?’
‘The man who once controlled your government. A man who
now spends his time surrounded by secret service agents tending the
rose bushes in his garden, in McLean, Virginia.’
‘I don’t know who you’re talking about —’
‘He’s the man who conceived, funded and managed 9/11. Your
last vice-president.’

46
Atlantis is close. Judd balances on the Loach’s left skid, one hand
clasped to its front strut, the other to the doorframe, a hook held in
each. Shirt pasted flat against his chest, he bows his head against the
blast of freezing air.
He turns and nods at Corey in the Loach’s cockpit. The little yel-
low chopper dips towards the expanse of white thermal tiles on the
top of the shuttle’s fuselage.
Ten. Six. One metre away. The twin viewports in the roof of
Atlantis’s flight deck are right in front of Judd. He leans to look
inside, can’t see anything through the reflection off the glass. He
shifts position to get a better angle, tries again.
Rhonda. She sits in the second row of the flight deck. Alive. The
relief is overwhelming. Judd wants her to look up, to see him, to
know he’s there. She doesn’t. There’s no way she can hear the chop-
per so there’s no reason to look up.
He nods at Corey, who gives him a thumbs up and moves the
Loach lower. The skids kiss Atlantis’s soft thermal-tile skin and Judd
swings the left hook down.
It slams into a tile, slices down until nothing but its shank pro-
trudes. He pulls on it. It seems to be wedged in tight. ‘Seems’ will
have to do. The moment of truth has arrived. He has no reserva-
tions. Seeing Rhonda has only strengthened his resolve.

290 STEVE WORL AND
Judd lets go of the doorframe and drives the second hook deep
into the shuttle’s thermal-tile skin, a foot to the right of the first. He
pulls on it. It’s tight. He grips both hooks as hard as he can then rolls
onto the shuttle’s fuselage.
The air instantly catches his chest, pushes him up. His head
whacks the underside of the Loach. The hooks squirm in the tiles.
Judd uses all his strength to lever himself downwards, his cauterised
wound aching from the effort.
Both hooks rip free and Judd is swept backwards —
He slams both hooks down as hard as he can, drives them deep
into the tiles. He stops dead and his arms jolt. It feels like his shoul-
ders will pop their sockets. He pulls himself flat then raises his head,
sees the viewports are now three metres away. Three metres!
He twists the right hook from the tile, slams it down at an angle.
It bounces off. ‘Come on!’ He swings again, angles it. It cuts into the
tile. He drags himself forward. He yanks the left hook free, lunges
forward, drives it down. It slices into the tile and he wrenches him-
self forward again.
‘You seriously believe the White House was involved in 9/11?’

Henri regards Rhonda. ‘Just the one with the power, the one
pulling the strings. Edgar. His president didn’t know, didn’t under-
stand much of anything, as it turned out. He was kept in the dark
to maintain plausible deniability.’
‘How could you possibly know this?’
‘The same way I found out who hired us for the job in the first
place. I followed the money.’
It hadn’t been quite that simple. Dirk and Nico had kid-
napped an upper-level manager at the Department of Defense and

V ELOCIT Y 291
tortured him until he gave up his access codes to the encrypted

files on the DoD servers, after which he was killed, his severed
body parts dumped in the Potomac and, surprisingly, never found.
Even with unfettered access to the servers it took six months
of forensic investigation before they could locate the funds that
bankrolled 9/11. It had cost just over three hundred and twenty
million dollars to stage and they traced it to the office of the vice
president.
‘So you’ve done all of this, to what, kill someone who used to
be the vice president?’
‘Not kill. He won’t be at his house in Virginia. He’s travelling
to South-East Asia today. Only his family will be present.’
‘You don’t want to kill him?’
‘I want to take away his life without killing him. I want to
destroy his community, his home, his family, irradiate it with some-
thing terrible that can never be washed away, deliver him a sadness
he can never escape, just as he did to me and so many others.’
Rhonda looks incredulous. ‘You blame this man for your wife’s
death, yet you’re about to do the same thing to God knows how
many others.’
‘What I will do pales in comparison.’
‘But still, why do it?’
‘Because the truth must be known.’
‘Come on, don’t dress it up as anything other than revenge.’
‘Of course it’s revenge, but it’s more than that. The world
must know what happened and the man responsible must be held
accountable for it. If innocent people are hurt along the way, well,
the needs of the many outweigh the needs of the few.’
‘You’re quoting Star Trek at me? Seriously?’
He can’t help but smile. It’s like arguing with his wife.

292 STEVE WORL AND
‘And why use my shuttle? Why not just fire a missile at his
house and be done with it?’
‘Because it must be a grand gesture so people take notice. And
what grander gesture is there than destroying the space program,
one of the few institutions your country still has pride in?’
‘I gotta tell you this “grand gesture” will be lost on pretty much
everyone but you.’
‘No, it won’t, because you will tell the world the truth. You
will be my conduit.’ He reaches into the backpack that sits on the
chair beside him and extracts a small Sony camcorder.
Rhonda looks at it. ‘You’re going to film me?’
He nods. ‘Then upload it to the net with the satellite phone.
It will be online before we reach our target.’
‘I won’t do it.’
‘Oh, I think you will.’ He pulls a satellite phone from the back-
pack.
She glares at him. ‘I won’t.’
‘Then I will instruct my men to visit your parents when this is
over. They live in that little Michigan town near the Canadian bor-
der, don’t they? Port Huron. Seventeen Baker Street, Port Huron,
if I’m not mistaken. Sky-blue house, one garage.’
Rhonda flinches.
‘You will tell the world the truth, including where all the files
detailing Edgar’s conspiracy can be found. And they will listen to
NASA’s golden girl, the one who would have been first on Mars.’
‘They’ll know you forced me.’
‘Of course, but they will still hear the truth.’ Henri turns back
to the controls.

V ELOCIT Y 293
Corey watches Judd drag himself towards the viewports.

The Australian scans the instrument panel. Their altitude is fine.
They’ve only just reached 6000 feet and the Loach’s ceiling is over
15 000, though the air gets too thin to breathe above 8000 so he
needs to watch that. No, his concern is the Galaxy’s acceleration.
The Loach is quickly approaching its maximum speed of 225 knots.
They have a couple of minutes at most. After that Corey won’t
be able to keep up. ‘Hurry up!’ Corey shouts it, even though he
knows Judd can’t hear.

47
Rhonda doesn’t know if she believes Henri’s stories of the 9/11 con-
spiracy but she’s certain of one thing – Martie Burnett did. She had
lost her mother when the second plane hit the World Trade Center.
Martie might have been one of the smartest women at NASA but
she was also deeply Mississippi, southern, where ‘an eye for an
eye’ was an accepted form of Old Testament–style justice. Over
the years she had sometimes spoken, in vague terms, about taking
revenge on those who had killed her mother. Rhonda now under-
stood why.
The ‘get him talking thing’ hadn’t worked as Rhonda planned.
The Frenchman had talked but he’d also looked at her the whole
time. He now stares out the windscreen, seemingly lost in thought.
She needs to get him speaking again but not about anything that
will make him turn around. She goes with a technical question that,
she hopes, doesn’t warrant eye contact. ‘How do you expect to fly
this thing through US airspace without getting shot down?’
‘The trick is to be in US airspace for as short a period as pos-
sible. We’re going to fly over the North Pole, approach across
Canada’s Eastern Territories . . .’ He doesn’t turn around.
It’s time to straighten, tense, roll. She draws her right arm as
far down the flight suit’s sleeve as it will go, straightens it at the
shoulder, tenses it and rolls it backwards. The pain is just as she

V ELOCIT Y 295
imagined. She reminds herself not to scream and waits for the arm
and shoulder to bid each other adieu.
It doesn’t happen. She stops tensing and draws in a rough
breath, lets the pain subside. The Frenchman continues talking. She
straightens her right arm again, tenses it, rolls it backwards.
It pops out of its socket.
The pain is imperious. Her arm is now at what seems like a
45-degree angle to her shoulder. She bites her bottom lip to stop any
sound involuntarily escaping her throat and works fast. Within the
suit she drags her right arm back, then up, and bends her hand back
to clear the top of the sleeve.
Her wrist gets caught on it because there’s no power in the move-
ment. She pushes again. Bright slivers of pain dance before her eyes.
It flips past the top of the sleeve and drops in front of her stom-
ach. She breathes out, feels perspiration tickle her forehead.
The Frenchman continues: ‘We didn’t have any trouble when we
took the Galaxy so I’m not expecting any this time . . .’
Rhonda gives herself three seconds to let the pain subside. One.
Two. Three. It doesn’t subside, not even a little. She lifts her hand,
searches for the suit’s zipper. Her fingers brush the metal teeth. She
pushes her arm upwards.
Grunting. She hears grunting, then realises it’s her. She holds
her breath and reaches for the zipper. Her forefinger touches it.
It’s large, made of alloy. She hooks the nail over the top of it, pulls
down. Another jolt of bright, shining pain. The zipper pull doesn’t
budge. She bites her lip harder, tries again. The zipper creeps down
the teeth, then gains momentum, slides to her belly.
She pushes her right arm out of the suit. Yes, she’s half-free. Pain
pulses through the right side of her body as she wrenches at her left
with her right hand. It doesn’t do any good because her dislocated

296 STEVE WORL AND
arm has no strength. She scans the cabin, searches for something,
anything to cut the plastic tie.
A glint, to the right. She leans to get a better look. Something’s
jammed into the crevice between the seat and back of the chair
beside her. What is that?
A Fisher space pen. Steinhower’s Fisher space pen, the one his
daughter gave him. Just its clicker is visible. He’d misplaced it before
he was killed. It seems like a year ago but it’s only been a day and a
half. She reaches for it.
Her chair creaks. Her eyes flick to the Frenchman. He doesn’t
turn, just keeps talking: ‘. . . and your country’s air defences are still
shamefully porous . . .’
Her shoulder screams. She ignores it. It’s only pain. She stretches
her fingers, touches the pen’s pocket clip, coaxes it from the cush-
ions, slumps back into her chair, studies it. She’s never been so happy
to hold a writing implement in her life. She thumbs the clicker and
the ballpoint nib extends.
Henri stares at her, his expression dark as thunder.
Rhonda slashes at the plastic tie that binds her left arm with the
pen. It doesn’t cut it. The pen is not a knife. She changes tack, rams
the pen between her arm and the tie, twists it upwards, grunts as she
does it, stretches it.
It snaps.
She’s free.
The Frenchman stands and pivots, drags the Glock out of the
backpack, swings it towards Rhonda.
She’s not in her chair. Where is she? The cabin’s not that big —
Silver flashes from behind the pilot’s chair, slices into his
shoulder. ‘Ahhh!’

V ELOCIT Y 297
Rhonda had aimed for his throat but the pen is in her left hand
so her accuracy sucks. She tries again, slashes the pen in the oppo-
site direction. Henri throws up his left hand, blocks it. She drives the
pen down, towards his chest.
‘Fuck!’ It slams into the Frenchman’s sternum, stops dead. She
pulls it back, stabs again.
Henri knocks her arm away, aims the pistol at her, finger tight on
the trigger. ‘Stop!’ He doesn’t fire. He needs her.
The pen flicks up, hits his chin, cuts deep, drags across his cheek,
the pain hot and sour. He wrenches his head away and it slices down
his neck towards his carotid artery. He pulls the trigger.
The bullet hits Rhonda in the left shoulder, spins her around. She
drops to the floor, lands on her right shoulder, jams it back into its
socket. She realises, unhappily, that she brought a ballpoint to a gun
fight.
‘I told you to stop.’ Henri stands over her, wipes at the long,
stinging wound that arcs across his face and neck. He studies her
wound, realises he needs to act quickly. He slides the pistol into his
belt line, reaches into the backpack, pulls out the camcorder, opens
its screen —
Rhonda flicks up her right foot, nails him in the groin. Henri is
instantly wracked with pain and involuntarily doubles over.
Rhonda pushes up with her newly relocated arm and thrusts out
her hand, shoves the space pen deep into the soft skin of his throat.
Arterial blood gushes and soaks the collar of his shirt as he drops
to his knees. He balances there for a moment, with, she is certain,
a flabbergasted expression, then slumps to the floor behind the co-
pilot’s chair.
Rhonda stares at his motionless figure in disbelief. There’s no
time to process what just happened because there’s too much to do.

298 STEVE WORL AND
She needs to fire the explosive bolts that attach Atlantis to the
Galaxy and fly it free. Then she must land it, preferably beside a
hospital because she’s not feeling too great.
She pulls herself up – then her head swims and she slumps back
to the floor, eyelids heavy. She wants to take a nap. No, she needs to
take a nap, right now, except she knows that if she falls asleep she
will never wake.
She pushes herself up – but doesn’t even rise an inch. When her
head hits the floor her eyes are already shut.

48
Judd drags himself up to the twin viewports and peers in. Rhonda
lies on the floor of the flight deck, her shoulder a bloodied mess.
What the hell happened?! A minute ago she was fine. His stomach
turns over. He needs to get inside now.
Instant white-out. He can’t see anything, then the cloud passes
and he looks inside again. A body is slumped behind the pilot’s chair.
It’s the French guy from the launch. He’s dead, no doubt.
Judd lets go of the right hook, pulls the pistol from his belt. The
freezing air buffets him, pushes him off the side of the fuselage. His
cauterised wound screams. He grabs the right hook again, stabilises
himself, presses the weapon’s muzzle onto the right viewport’s glass
panel and pulls the trigger.
The panel doesn’t shatter or break. The bullet just buries itself
in the silica-impregnated glass. He grits his teeth and fires into the
same spot again. Same thing happens. He pulls the trigger again.
Click. No more bullets.
‘Christ.’ He releases the weapon and it’s swept away in the air-
stream. He grabs the right hook, twists it out of its tile and swings
it at the glass panel. It bounces off. He swings again. It bounces off.
He is going to get inside, no matter what. He swings again.

300 STEVE WORL AND
Corey watches Judd slam the hook against the viewport like a man
possessed. He can’t get in. Sparkling blue catches the Australian’s
eye. An ocean glimmers on the horizon. He thinks it’s the Gulf of
Carpentaria, but he’s not certain. It’s not far away, a couple of min-
utes’ flying time at most.
He glances at the Loach’s instrument panel. Altitude is 7500
feet. The Galaxy’s gaining height as it burns fuel and lightens its
load. That’s not what worries Corey. It’s the acceleration. Within a
minute the jet will reach the Loach’s maximum speed and he will no
longer be able to keep up. His eyes flick back to Judd. He continues
to smash the hook into the viewport. He’s got sixty seconds to get
inside or Corey’s going to have to drag him off.
‘No!’ Rhonda forces her eyes open. She takes in the viewports above
her. A blur, then something hits one of the glass panels. Then again.
She blinks.
A face appears behind the glass.
‘Judd?’ It’s not possible. She must be hallucinating – then their
eyes meet and she knows it’s him. He came for her.
With her last remaining shred of energy she reaches out with
her good arm, drags the pistol from the Frenchman’s belt, points it
towards the viewport and fires.
His face numb from the freezing wind, Judd watches the bul-
let bury itself in the viewport’s panel. He swings the hook and hits
the point of impact with everything he’s got. The hook bounces off
without effect.
She fires again. Another pockmark. Judd swings the hook, hits
the glass. It bounces off. A small crack snakes its way across the
panel. This isn’t going to work —

V ELOCIT Y 301
The glass explodes out of the viewport, whacks his face on the
way past. A torrent of dust follows, momentarily blinds him. He
doesn’t care. He blinks away the grit, pushes his head over the hole
and looks in.
Yes, the Frenchman is dead and Rhonda isn’t far behind. Her
eyes are glassy and a pool of dark-red blood frames her pale face.
Her right hand drops the gun and applies pressure to what looks
like a bullet wound on her left shoulder. It’s one hell of a mess, a lot
more serious than the one he cauterised earlier. She moves her head,
focuses on him, smiles. It’s weak but it’s a smile. He returns it, pulls
himself into the open viewport.
The rope round his waist is wrenched tight and he’s dragged out.
‘No!’ He flips the hooks down, catches the viewport’s edge.
The Loach drops back as the Galaxy accelerates and there’s
nothing Corey can do about it. He tries to squeeze more power out
of the little chopper but it’s not working. It’s time to cut Judd free.
Corey pulls the knife from its pouch on the side of his seat and saws
at the rope.
The familiar sound cuts across the soundscape. Corey glances in
the side-view mirror. ‘Oh come on!’ In the distance the black chop-
per rises into view. He’s very disappointed. The lucky bucket didn’t
work after all.
It hadn’t taken as long as Dirk feared. The windscreen had been

knocked out of its frame by what appeared to be a bucket filled with
rocks. Thankfully it didn’t hit a rotor or shatter the windscreen, the
latter taking only a few minutes to jam back into place. Big Bird, who
was dazed but otherwise okay, did the job with the soles of his shoes.

302 STEVE WORL AND
It was only a temporary fix but then they wouldn’t be in the air
for long. They were to escort the Galaxy as far as the coast then
abandon the Tiger and head for the rendezvous point in Berlin. That
was the plan, anyway, but then this little yellow chopper turned up
again and threw a spanner in the works.
If Dirk wasn’t looking at it he wouldn’t believe it. A rope runs
from the Loach’s cabin to the front of the shuttle, where it’s tied
around a man’s waist. It’s the astronaut. Judd Bell is somehow
attached to the shuttle’s fuselage.
Dirk could finish him now, open up the Tiger’s cannons and
blow him off there. He doesn’t. He’d risk sending live rounds into
the flight deck where Henri is. His eyes move to the rope tied around
the astronaut’s waist and he instantly knows what to do: take out
that yellow chopper and he takes out the astronaut.
Corey furiously saws at the Dynamica rope. He won’t be able to

take any evasive action until it’s severed. His eyes flick to the rear-
vision mirror. The black chopper closes in, spits white fire.
Bullet rounds slam into the Loach’s fuselage. The turbine coughs,
makes a God-awful sound Corey’s never heard before, then begins
to wind down.
The chopper lurches to the right and the rope pulls at Judd. ‘Not
good.’ Corey plays the controls but there’s no response. The Loach
is dying.
How does he get out of this? The answer is in his hand. He twists
his left arm around the last metre of rope, takes the knife with his
right hand and saws at it. It severs and instantly unravels around
his arm, zips through his fist and scorches his skin. Corey drops the
knife, grabs what little remains of the rope around his right hand

V ELOCIT Y 303
and wrenches his fists in opposite directions. The rope skids to a

stop, 10 centimetres to spare —
The Loach tips right and Corey scrambles left, dives over the pas-
senger seat towards the open doorway. He’s not sure what’s worse,
not knowing if his life’s about to end or abandoning the chopper his
father left to him in his will.
The rope around Judd’s waist goes light. He looks back, watches
the Loach tumble away. Its cockpit misses the shuttle’s engine pod
by centimetres then its tail boom swings around and slams into the
Galaxy’s tail, shears it off at the base.
‘No!’ He is racked with grief. Corey only came along because
Judd asked him to.

49
Horrified, Dirk watches the Loach and the Galaxy tail tumble
towards the Tiger.
‘What did you do?’ Big Bird’s voice rattles in his headset as he tips
the chopper into a steep, diving bank to avoid the wall of wreckage.
The rope around Judd’s waist twangs tight, cuts into his hip, almost
wrenches his hands off the hooks. He looks over his left shoulder.
Corey!
He’s holding the end of the rope with both hands, slapping
against the shuttle’s fuselage like a ribbon in a breeze. Judd’s so
delighted he laughs out loud.
The Galaxy convulses. Kelvin wrestles the controls. He instinctively

knows the Galaxy has lost its tail and rear stabiliser. It takes every
ounce of his experience to stop the jet from nosing over and diving
towards the ocean.
Nico panics. ‘What’s going on? Can we still make it to Virginia?’
Kelvin doesn’t look at him. ‘We’ll be lucky to make it back to
land.’
*

V ELOCIT Y 305
The Galaxy’s turbofans spool up, then down, then up again, sounds
like a braying animal. Judd realises the pilot is using thrust vector-
ing, increasing engine power on one wing, then the other, to keep
the jet stable. It is the option of last resort and means Judd must get
Atlantis free of the Galaxy now.
He pushes his head over the viewport as the shuttle lurches and
tilts down. It’s good and bad. Good because Judd slides straight into
the cabin, bad because Atlantis and the Galaxy now head towards
the ocean.
Judd lands on his chest and a volt of pain shoots through his
cauterised wound. He ignores it, finds his feet as the rope around
his waist wrenches him back towards the viewport. He turns to
Rhonda. ‘Can you get us off this thing?’
She can barely shake her head. Her white face is a stark contrast
to the pool of dark blood she lies in. She’s dying. Judd knows it as
clearly as he’s known anything in his life. He wants to go to her, help
her, but the rope is so tight he can barely move. He turns, grabs it,
braces a foot against the side of the cabin and pulls hard.
‘Whoah!’ Corey thumps along the fuselage towards the viewport.

It’s 2 metres away. His hands are numb from holding the rope but
he’s not letting go. He’s yanked forward again . . .
Corey slides through the viewport and Judd breaks his fall as he
thumps to the floor. ‘You okay?’
The Australian finds his feet, nods. ‘The lucky bucket didn’t
work. Tango in Berlin’s chopper’s back there.’
‘Right. Christ.’ Judd nods at the viewport. ‘Keep your eye on

306 STEVE WORL AND
him.’ Corey nods, moves to it as Judd kneels beside Rhonda. He

slides his arms under her back and legs, gently lifts her into the
pilot’s chair, straps her in. Leaving his singlet on, he pulls off his
shirt, wraps it around her wound, then places her right hand on top
of it. ‘Keep pressure on it and stay awake.’ Rhonda nods faintly.
Judd slides into the commander’s chair, the rope still knotted
around his waist. There’s no time to take it off. He scans the instru-
ment panel. The flight deck has power and all systems appear to
be operational. He glances at the altimeter. Four thousand, three
hundred feet and dropping like a stone. Atlantis is pointed at the
green-blue expanse of water below.
They’re just a minute from auguring in. His left hand grasps the
rotational controller and his right hand reaches for a small toggle
switch on the panel above. He knows what will happen when he
triggers it but can’t see another way forward.
He flicks the switch.
The three explosive bolts on the underside of Atlantis fire and
release the spacecraft.
Through the windscreen of the Galaxy, Kelvin watches the shuttle

sweep away to the starboard side. The Galaxy instantly shudders
and noses down at an even steeper angle. It needs a tail and a verti-
cal stabiliser to fly. The only thing that kept it aloft this long was the
shuttle’s wings and tail.
Kelvin wrestles the controls but it’s useless. He’d hoped to turn the
jet around, land it somewhere near the coast. That will not happen
now. His eyes flick to the altimeter. Three thousand, eight hundred
feet and falling fast. The nose drops again and the jet picks up speed.
The Galaxy shudders and metal tears. It’s a terrible sound. Kelvin

V ELOCIT Y 307
knows it means a wing has detached, the airframe not designed to

travel at this speed. The jet rolls around its axis and noses down
again, almost vertical now. Beside him Nico closes his eyes.
Kelvin stares out the windscreen as the blue-green water rushes
up to greet him. Maybe he should have crashed into that herd of
cattle after all. The irony is he’d wanted to die somewhere in the
Pacific, he just never thought it would be in the Pacific.
Above the passenger compartment the fuselage rips open.
Buffeted by the wind, Martie sits with the rest of Henri’s crew and
looks through the jagged tear in the fuselage above. She has no
regrets. She will see her mother again soon.
The Galaxy hits the ocean travelling at 700 knots and blows apart.
Judd doesn’t watch. He has other things on his plate, like trying to
work out where to land this spacecraft.
He tips Atlantis into a steep right turn, can see the Australian
coast in the distance but knows they won’t make it. The shuttle
has no engines, so there’s no way to throttle up and fly it back to
land, and it’s not much of a glider either, which, of course, is Teddy
Kennedy’s fault.
Where can he land it? He searches the ocean. An island would
be good. Even a reef would be better than open water, but that’s all
he can see.
He glances at the altimeter. Two thousand, seven hundred feet
and dropping like a stone. He turns to Rhonda beside him. She
stares, her eyes unfocused.
‘You need to hold on.’
She can barely nod.
*

308 STEVE WORL AND
Dirk stares down at the Galaxy’s wreckage, spread wide across

the surging ocean, and feels sick to the stomach. The people he’d
spent the better part of two decades with, friends and workmates,
all gone.
Through his headset he can hear Big Bird berate him in German,
his voice laced with a pain and invective Dirk’s never heard from his
countryman before. What he’s saying is true. It is Dirk’s fault. He
should have been more careful when he fired at the Loach.
The needs of the many outweigh the needs of the few. The words
were tattooed across Dirk’s back yet he’d failed to heed their mes-
sage. His obsession with killing the astronaut destroyed his crew
and yet Judd Bell is still alive. Dirk saw him tip into one of the shut-
tle’s viewports, which was somehow missing its glass panel, just
before Atlantis separated from the Galaxy.
Dirk locks eyes on the spacecraft. ‘Get closer.’
Big Bird works the controls and the chopper surges towards the
shuttle.
A man’s head pokes up through Atlantis’s open viewport. It’s
not Henri.
Dirk speaks into his headset: ‘Commander, do you read?’
‘Henri, do you copy?’
Nothing.
He aims the Top Hawk helmet at Atlantis. A tone beeps as the
targeting grid skips across the sky.
‘What are you doing?’ Big Bird’s frantic voice buzzes in Dirk’s
headset. ‘The commander’s on board.’
‘Why doesn’t he respond?’
‘He could be injured, he – the radio could be out.’
‘No. It’s over.’

V ELOCIT Y 309
A long pause. ‘What do we do?’ Big Bird’s voice is small, his

question not just about this moment but their future.
‘We destroy the shuttle, land this thing, go home and rebuild the
crew.’
Dirk can’t imagine doing anything else. So he will start again. He
has the resources, almost seventy million in various bank accounts
scattered around the globe, and three major assignments already
contracted for the next year.
Big Bird speaks again. ‘I will be 2IC.’
‘I wouldn’t have it any other way.’ Dirk doesn’t know if Henri’s
alive or not. Maybe Big Bird is right, maybe he’s just injured or the
radio is out, either way he can’t take a risk. The astronaut knows
who Dirk is and so must die.
The targeting grid finds Atlantis, the tone turns solid.
‘I’m sorry, Henri.’
Dirk blinks.

50
The missile blasts away from the black chopper.

Corey sees it, shouts into the cabin: ‘Missile! On the way!’
‘Okay!’ Judd wrenches Atlantis into a steep right turn. The missile
alters direction and follows, grey exhaust vapour trailing behind it.
Corey watches it close in. It’s so fast there’s no way they can out-
run it. He thinks about Spike, wonders who’ll look after him. ‘I’m
sorry, mate . . .’
Shards of white light streak across the sky, slam into the missile.
It detonates in a ball of fire.
‘Got it!’ Disser grins, tips the Harrier into a hard right bank.
Behind him Severson’s eyes are squeezed shut, his face drained of
colour. His voice is little more than a whisper. ‘Great.’
Disser holds the Harrier in the bank, searches the sky for the air-
craft that launched the missile.
‘There!’ Disser pinpoints a black chopper. He drags the target-
ing sight towards it but he’s too slow. The black chopper’s cannons
blaze.
Bullets rip into the Harrier’s fuselage. Severson’s eyes spring
open. ‘Oh Jesus!’ A bullet ricochets around the cabin. He prays it
doesn’t hit him.

V ELOCIT Y 311
‘Ahhh! Christ!’ It hits Disser.

‘You okay?’
The marine’s voice is weak. ‘Hit – in the – arm.’
‘Oh, man. Are you going to be able to land this thing?’
Disser’s breathing is laboured. ‘Stupid – question. Take out –
that chopper.’
‘What?! I can’t do that.’
‘Don’t be – a pussy —’
‘I can’t do it! You need to rally.’
‘Disser! Are you rallying?’
He is not.
The Harrier shudders and falls out of the sky. Mortified,
Severson stares at the vibrating control stick between his knees. His
eyes flick to the altimeter, which spins down. He wishes he’d never
answered the damn phone.
Corey watches the Harrier drop into a cloudbank and disappear.

He looks up and locks eyes on the black chopper. It surges towards
Atlantis again.
‘What’s going on back there?’
Corey hears Judd’s question. What does he tell him? That there’s
no way out of this? That they’re all about to die? Is it better if that
kind of information comes as a surprise? He doesn’t answer, just
watches the black chopper approach.
Dirk focuses on Atlantis. ‘As close as you can.’

‘Copy that.’ Big Bird pushes the Tiger towards the spacecraft.

312 STEVE WORL AND
Dirk flicks the switch from cannons to missiles and aims the Top
Hawk helmet at Atlantis for the last time. The tone beeps as the tar-
geting grid skips across the sky. It locks on and the tone turns solid,
like the ECG of a flatlining patient.
He blinks.
The black chopper explodes in a vivid fireball.
‘Severson Burke, you magnificent bastard!’ Severson grips the

Harrier’s control stick so hard his hand is numb. Yes, he’s petrified,
but it beats the hell out of the alternative, a horrible death on the
ocean below.
Corey flinches, astonished, relieved and euphoric all at once. He has

no idea how it happened – then he sees the Harrier punch through
the wall of orange flames and knows exactly.
Burning chunks of the black chopper tumble towards the ocean,
trailing thin ribbons of smoke behind them. Corey watches them
fall, notices something, far below, leans to get a better view but loses
sight of it under the shuttle’s wing.
He looks up as the rasp of the Harrier’s engine cuts across the
soundscape. It approaches off the shuttle’s port side.
Something catches Judd’s eye to the left. He turns and looks out
the windscreen. ‘What the hell?’
It’s a Marine Harrier, 30 metres away. The pilot is slumped in his
seat. Behind him sits another guy. He unclips his oxygen mask and
grins.
‘Severson?’
He gives Judd a wave.

V ELOCIT Y 313
‘You’ve got to be kidding.’

Corey drops down from the viewport. ‘He destroyed the
chopper!’
Severson nods as if he heard what the Australian said.
The hand Rhonda holds to her wound falls to her lap. Judd turns
to Corey, nods at her. ‘Keep pressure on the wound.’
Corey kneels beside her, presses her hand to the wound. ‘How’re
you going?’
She doesn’t respond, her eyes now closed. He leans close to her,
listens, then turns to Judd, grim. ‘She’s hardly breathing, mate.’
Judd takes in the dreadful tableau, tries to solve this life-or-death
problem. If they ditch in the ocean Atlantis will sink immediately.
The shuttle isn’t designed to land on water, nor float on it. Even if
they could get out of Atlantis before it sank and inflate the life raft it
wouldn’t help. Rhonda’s too badly injured.
Judd looks across at the Harrier. Could he transfer her to the jet?
He spends five seconds thinking about the logistics before he realises
it’s crazy.
He notices Severson pointing. He turns, follows the gloved
finger towards the horizon. ‘That’s it.’
Corey sees it too. ‘You can’t be serious.’
‘There’s no choice.’ Judd finds a headset on the floor, pulls it on,
plugs it in, works the radio’s controls.
In Flight Control on the island of aircraft carrier USS George W Bush,

the radar operator notices a blip on the radar screen before him and
speaks into his headset: ‘Inbound, this is the USS George W Bush.
You are approaching a US naval ship, please identify —’
‘George Bush, this is space shuttle Atlantis. We request

314 STEVE WORL AND
permission for immediate landing.’

The radar operator looks up and scans the crowded room, sure
somebody’s playing a joke on him. ‘Say again?’
‘This is astronaut Judson Bell aboard space shuttle Atlantis. We
request immediate landing with all precautions. We are inbound,
time critical with no capability for go round. Please advise.’
The operator stares at his screen, speechless.
‘What is it?’ His immediate supervisor stands behind him, gently
sips a mug of coffee.
‘We have an aircraft on approach that identifies itself as the
shuttle Atlantis.’
The supervisor spits the coffee back into his mug then speaks
through a cough: ‘Get a visual.’
The radar operator hits a button, barks into his headset: ‘We
need a visual on an inbound from the south-west.’
At the far end of Flight Control beside a panoramic window the
ensign hears the order through his headset. He pushes binoculars to
his eyes and scans the sky to the south-west.
‘Hell, no.’ He yanks the binoculars from his eyes, blinks hard,
then puts them back. ‘We have a space shuttle inbound. It’s – I think
it’s gonna land on deck!’
There’s a pause, then every alarm on the boat sounds.

51
‘Atlantis, you are cleared for landing.’ The radar operator’s voice
buzzes in Judd’s headset.
‘Copy that.’ Judd works the controller, tips Atlantis into a steep
bank, lines it up with the distant carrier and the runway that cuts
diagonally across its deck.
There’s no technology to help him. No autoland system, no
laser guidance, and that 180-metre runway’s a whole lot shorter
than the 3000 metres the shuttle usually lands on. Most impor-
tantly he must forget about the hash he made of his last landing in
the simulator and use what he’s learned since then.
He stops, thinks. What has he learned?
He turns to Corey. ‘You said something, when we looked at
the stars, about flying. It was – insightful.’ The Australian stares
at him blankly. Judd’s hands go Rubik as he tries to recall what
it was. ‘Something about believing you can trust the machine or,
I can’t remember exactly —’
‘I believe I can and I trust the machine won’t break.’
‘Yes! That’s it. Thank you.’ Judd turns back to the windscreen,
locks eyes on the carrier and whispers to himself: ‘I believe I can
and I trust the machine won’t break.’ Saying it makes him feel
better.
Corey holds Rhonda’s wrist. ‘Her pulse is weak.’

316 STEVE WORL AND
Judd nods, speaks into his headset: ‘USS George Bush, do you
copy?’
The operator’s voice buzzes in his ears: ‘We read, Atlantis.’
‘We request immediate medical assistance once on deck. There’s
an astronaut on board with a serious bullet wound to the right
shoulder. Lost a lot of blood. Blood type is O negative.’
‘Copy that.’
‘We’ll be on deck within ninety seconds. Is the barrier net in
place?’
‘We’re working on it.’
‘Copy that.’
What they’re working on is raising the overrun barrier net. A
large net slung across the runway, it’s only used in emergencies.
Efficient crews can have it up and ready in three minutes, though
Judd hasn’t given them that much time. Of course it might not
matter. The barrier net is designed to catch relatively light jets, not
100-tonne spacecraft.
Judd needs to slow Atlantis down as soon as it hits the runway,
otherwise it’ll just roll off the end and drop into the ocean, barrier
net or not. His options are limited. He can deploy the drogue para-
chute in the tail. It’ll help, but won’t be enough. He can open the tail
rudder’s air brake. Again, it’ll do some good but won’t get the job
done. He can apply the wheel brakes. They’ll do their bit too, but
won’t make that much difference. Even together these things won’t
stop a shuttle in 180 metres. He needs something else.
Work it backwards.
He uses his crazy Grandpa Bernie’s theory and thinks about
what comes before the end of the carrier’s runway.
The arrestor cables. Three cables that lie across the runway and
catch hold of a landing jet’s tail hook.

V ELOCIT Y 317
‘Of course.’ Judd silently thanks his long-dead grandpa and

scans the cabin. ‘Where are the hooks?’ One lies on the floor behind
his chair. He points at it. ‘Grab it.’ Corey reaches, nabs it. ‘Where’s
the rope?’
The Australian nods to it. ‘Around your waist.’
Judd looks down, sees it. ‘Oh, right. How strong’s this stuff
again?’
‘It’s 44-mil Dynamica. Breaking strength’s about 140 000 kilos.’
Judd glances at it, skeptical. ‘Really?’
‘Thought it was better to be safe than sorry so I got the strong
one. Cost a bit more but —’
‘Okay.’ Judd undoes the rope, passes it to Corey. ‘Tie the rope
onto the hook.’
Judd turns back to the windscreen. The USS George W Bush
rocks on the blue-green ocean before him. The sea is rough and
choppy, the wind gusting, white tops visible everywhere.
The warship sways hard left. Judd works the controls, keeps
Atlantis aligned with its runway. Then the boat heaves right. He
chases it, keeps it lined up.
Corey threads the rope through the eye in the shank of the hook
and whispers: ‘The weasel comes out of the hole and runs around
the tree and jumps into – into —’ He stops, has no idea where the
weasel jumps next.
‘Done yet?’ Judd says it without turning.
‘Getting there.’ Corey tries not to panic and starts again: ‘The
weasel comes out of the hole and runs around the tree and jumps
into – into – the —’
‘The hole! The weasel jumps into the hole!’
Corey stares at the half-tied knot. For the life of him he can’t
see it. ‘What hole?’

318 STEVE WORL AND
Judd glances back at him. ‘The one in front of you.’

‘Where?’
Judd points. ‘There!’
‘I can’t – oh, there.’ Corey pushes the rope into the hole, pulls it
tight – and it’s a knot! He’s overjoyed. ‘I did it! I did it —’
‘Good, now do it again!’ Judd points. ‘The chair. Tie the other
end around it.’
Corey nods, loops the rope around the point where the second-
row chair bolts to the floor.
Judd turns back to the controls, checks the airspeed. They’re
coming in too hot. He doesn’t want to fly over the ship so he needs
to slow the shuttle, but not too much. If he washes off too much
speed they’ll be too low and slam into the carrier’s hull. So he works
the controller, feathers the spacecraft’s angle of attack, pulls up the
speed brake and bleeds the speed. Atlantis’s nose pulls up and it
slows. Then keeps slowing. If it stalls it’ll just belly-flop into the
ocean. He drops the nose and it quickly picks up speed again. Judd’s
landed jets on carriers more than two hundred times so he knows
the forces at play. If he comes down fast and hits the deck too hard
the spacecraft will snap in two and he won’t have to worry about
trying to stop it rolling off the end of the runway because everyone
on board will be dead.
The enormity of what he’s trying to do suddenly overwhelms
him. To land something this big on an aircraft carrier without engine
power is – impossible. There’s no way he can do it. No way anyone
can do it.
He freezes. Brain lock. Just like in the simulator.
A hand squeezes his arm. He turns. Rhonda’s face is drained of
colour but her eyes are open and meet his. ‘You can do it. I know it.’
Her voice is barely a whisper and she only says those seven

V ELOCIT Y 319
words, but it’s the first time she’s ever reassured him and it means
more than she will ever know. He nods, then turns back to the wind-
screen.
He tightens his grip on the controller and focuses on the carrier.
The runway looms before him, sways left. He corrects for it then
reaches up, flicks a switch on the panel above. The landing gear low-
ers and locks with a clunk below him. It bleeds a little speed but not
enough. They’re still travelling too fast. He pulls up Atlantis’s nose,
washes off some of its velocity, then drops the nose and lets it run.
‘— and into the hole!’ Corey pulls the rope tight and knots it
around the base of the chair. ‘Done!’
Judd eyes are locked on the ship. ‘Get to the viewport.’
Corey moves to it. ‘Then?’
‘When you see the drogue, throw the hook over the back of the
wing.’
‘Okay!’ A moment. ‘What’s a drogue?’
‘Big parachute. You’ll know it when you see it.’
Corey nods and scales the rear instrument panel, pushes through
the viewport.
The carrier is close. Judd works the controller, caresses Atlantis
onwards, whispers his new mantra: ‘I believe I can and I trust the
machine won’t break.’
His eyes flick to the end of the runway. A group of men works
on either side but the barrier net isn’t up. He can’t worry about that
now. He needs to get this thing down.
The carrier sways right. Judd finesses the controller, corrects the
spacecraft’s trajectory, pulls up the nose, washes off some speed,
then lets it run. It’s the only way to fly it that works. ‘I think I’ve
nutted this out.’ He glances at Rhonda. Her eyes are closed and her
head has rolled to the side. He takes it in, stricken. ‘Hold on, baby,

320 STEVE WORL AND
we’re almost there.’ She doesn’t respond.

He turns back to the windscreen. The carrier is right in front of
him. He works the controls, repeats his mantra: ‘I believe I can and
I trust the machine won’t break. I —’
The ocean surges and the deck rises sharply, takes him by sur-
prise. ‘Hold on!’
Atlantis’s rear wheels spank the deck. Everyone is jolted for-
ward. The airframe shudders and groans but doesn’t break. Judd
reaches, flicks two switches.
Wind roars. Corey stands through the viewport, twirls the hook
above his head like he’s a cowboy about to rope a steer.
The rudder splits and the chute explodes from the tail. ‘That’ll
be the drogue.’ Corey launches the hook with everything he’s got,
shouts at it as it flies: ‘Go!’
The hook arcs across the wing, trails the blue rope behind it,
then drops fast, thumps into the trailing edge of the wing. ‘No!’
Then it bounces up and over the edge and drops out of view.
Judd brings Atlantis’s nose down with another shuddering jolt.
The airframe convulses, but doesn’t break. He looks down the run-
way; the barrier net is not up. He has less than 120 metres to stop
this spacecraft before it dives into the ocean.
He plays the controls. Flaps up full. They wash off some speed but
not enough. Drogue parachute deployed and tail-rudder air brake full
open. They help but only a little. Wheel brakes on full. They screech
in protest but don’t stop the spacecraft. It’s all down to Corey’s rope.
The hook slams into the runway. It bounces over the first arres-
tor cable, grazes over the second – and snags the last.
The rope stretches tight. Atlantis convulses. ‘Yes!’ Corey’s elated.
The rope snaps and whips back at him. He ducks as it slashes
overhead.

V ELOCIT Y 321
Atlantis jolts – and races onwards. It’s slower, but not that
much. Corey pivots in the viewport, looks down the runway to the
surging ocean beyond.
Judd watches the end of the runway speed towards him, just 25
metres away. Men still work on either side but the barrier net’s not
up. ‘Better get ready to swim —’
The barrier net flies up. It’s only six metres high but it’s there.
Atlantis’s front landing gear ploughs into it and the spacecraft shud-
ders and slows – but keeps moving. The net stretches and Atlantis
reaches the edge of the deck. Judd can see nothing but the roiling sea
before him.
The front landing gear drops over the side of the ship and the
shuttle’s underside slams into the edge of the deck. Thermal tiles
grind and tear as it slides towards the water below.
The net stretches. Atlantis shudders – then stops.
‘Out! Now!’ Corey jumps down from the viewport as Judd piv-
ots out of his chair and undoes Rhonda’s belts. ‘Grab her shoulders!’
Corey does it as Judd takes her legs and leads him down the lad-
der to mid-deck. He goes to work on the front door, unlocks the
hatch faster than he’s ever done it before, swings it open.
The hatch is just two metres off the deck. Directly to the right
is an abrupt drop to the roaring ocean. To the left two sailors look
up at him, stunned expressions on their faces. Judd shouts at them:
‘We need doctors now!’
One shouts back: ‘They’re on the way.’
‘Quick! Get close!’ The sailors move forward as Judd picks
up Rhonda’s legs. Her face is bleached white; there’s blood every-
where. Judd eases her through the hatch and the sailors take hold
of her, turn, run her towards a gurney that’s being hustled across
the tarmac by a three-member medical team.

322 STEVE WORL AND
Judd gestures to Corey. ‘Out!’ The Australian doesn’t need to be

asked twice. He jumps, lands hard, stays on his feet.
Judd pushes through the hatch as the barrier net snaps. ‘Fu—’
He’s jolted left and whacks his head against the side of the space-
craft. He falls back inside as the shuttle grinds along the edge of the
ship towards the surging ocean.
The spacecraft noses down then flips into the sea, tail over
cockpit.

52
A sailor shouts: ‘We need boats in the water now!’

Corey sprints to the edge of the deck and looks down, searches
for Judd. He can’t see him. Upside down, Atlantis wallows on the
surface as a wave crashes over its ripped thermal tiles. Its nose
drops low as water rushes in through the open viewport and hatch.
A sailor runs to Corey, a walkie to his ear: ‘How many people
inside?’
‘Just one.’
The sailor barks the information into his walkie then scurries
away as a deafening howl cuts across the sky. Corey glances behind
him, sees the Harrier, the one that blew the black chopper out of
sky, touch down at the far end of the deck.
He turns back to the shuttle. It’s sinking fast, is almost fully
submerged. He scans the ocean, willing Judd to surface. ‘Come on!’
He doesn’t. Atlantis slips below the waterline and disappears.
Judd floats in the shuttle’s mid-deck. His eyes slowly open. It’s dark
and murky and he can’t see a damn thing. The water is freezing.
Something presses down on him from above. He touches it,
thinks it’s the mid-deck’s rear wall but can’t be sure. Whatever it is,
the spacecraft is sinking, and it’s taking him down with it.

324 STEVE WORL AND
A hand touches his arm. He turns. The dead Frenchman floats

in front of him. Judd pushes the body away, reaches out, searches
for the hatch. He can’t find it, can’t see anything, can’t seem to
devise an ingenious solution to this life-or-death problem. It’s too
dark and so cold. His lungs scream, his head feels light. He thinks
about Rhonda, hopes they can save her.
His eyes close.
A hand seizes his arm.
Corey drags Judd through the shuttle’s hatch. Light glints far
above. It’s not gold or diamonds or treasure but something even
more valuable, the ocean’s surface.
He kicks hard, wills himself towards it. This is not how he
imagined his first swim in the Pacific would go. He hopes the
surface is close because his lungs are burning and his head feels
light . . .
He explodes out of the water, gasps air, drags the unconscious
American to the surface. A wave swamps them, drives them into
the hull of the carrier. It hurts more than he thought it would. He
pushes his hand under Judd’s head to keep his face above water,
scans the ocean. He’s not sure how long he can keep him afloat.
A Zodiac inflatable skid-thumps over the swell towards them.
Corey’s thrilled to see it. ‘Thank you, US Navy!’
The boat swings around and hands reach down, drag them
onto the deck. Corey moves to Judd, clears his mouth, listens to
his chest. His heart has stopped. He pumps his chest. No response.
A sailor leans over Judd, performs mouth-to-mouth.
‘Breathe! Come on!’ Corey pumps Judd’s chest but it’s not
working. He’s not responding —
A cough, and water gushes from Judd’s mouth and he gulps

V ELOCIT Y 325
air. His eyes blink open and find Corey, his voice a croak: ‘Thanks,
Blades.’
Corey grins his crooked grin. ‘No worries, Mandy.’

53
One minute.
According to the doctor, when Rhonda hit the gurney she was
one minute from death’s door. She’d be pushing up daisies if not for
the exemplary work of the USS George H. W. Bush’s medical crew.
And Judd. He landed a space shuttle on an aircraft carrier for her.
She lies in bed in the ship’s infirmary. Her newly relocated shoul-
der is numb, as is the bullet wound, but she’s not thinking about her
injuries. She’s spent the time since she came out of surgery think-
ing about Judd, how he’d put his life on the line to rescue her. She
thought she knew him so well but he had surprised her more than
she thought possible.
The infirmary’s door swings open. It’s Judd. He wears a fresh
flight suit but looks like he’s passed through the gates of hell,
his face scarred and bruised, his left arm in a sling. Then he smiles
and she sees his eyes are bright and, it seems to Rhonda, full of joy.
‘How are you?’
He gingerly sits in the chair beside her bed. ‘Cracked ribs,
stitches. You?’
‘Better.’ She studies him. ‘Thanks to you.’ Tears fill her eyes.
Surprised, she brushes them away with an embarrassed smile. ‘Oh
man, I’m Costnering. Haven’t cried in front of anyone since I was
seven.’

V ELOCIT Y 327
Judd grins. ‘It’s okay.’

‘I could have done more.’
He tilts his head, not sure what she means.
‘When you needed me I – I should have done more, to support
you.’
‘You did it before the landing. That’s when it counted.’
‘Should’ve happened long before that.’
‘Don’t blame you. The way I was acting, it just – it wasn’t a good
look.’
‘I’m so sorry.’
He gently wipes a tear from her cheek. ‘My God, tears, apolo-
gies? What have you done with Rhonda Jacolby?’ He nods at the
intravenous drip connected to her arm. ‘Must be the morphine.’
She chuckles, then grimaces from the pain. ‘Please don’t make
me laugh.’
‘Sorry, but it is great to hear.’
Her eyes find his and she studies him for a long moment, this
man she thought she knew so well. ‘I missed you.’
He smiles. ‘Well, I’m back.’
She leans over and kisses him and realises she couldn’t be
happier about that.
A deep noise rolls across the desert. It sounds like a thunderstorm

except there are no clouds in the sky.
Spike looks up at the giant grey shape overhead. He turns and
runs from it as fast as his little doggie legs will carry him, self-
preservation overpowering curiosity.
The grey shape pulls into a tight bank then lands gently on the
desert with a blast of red dust. Thirty metres away, Spike stops and

328 STEVE WORL AND
looks back at the giant machine.

A figure emerges through the red dust. Spike focuses on it.
Corey.
Spike trots over and barks at him.
‘Somewhere at the bottom of the Pacific, mate.’
Another bark.
‘Long story, but yes, that’s why my clothes are wet.’
Another bark.
‘He’s on the aircraft carrier. Where the shuttle landed.’
A bark.
‘It’s true, and I’ve got to go back there now. I need to be debriefed
or something. Mandy had to pull a favour so I could get you. Come
on, we need to go.’
A bark.
‘I came back, didn’t I? If you’d been on the chopper you’d be at
the bottom of the Pacific too.’
A bark.
‘I’m not doing that.’
A growl.
Corey takes a moment and sighs. ‘Sorry.’
A bark.
Corey hangs his head. ‘And I won’t do it again.’ He points at the
Sea Stallion. ‘Can we go now?’
Spike barks, turns and trots away.
‘Where are you going?’
Corey turns to the two crew members sitting in the Sea Stallion’s
rear compartment. He forces a smile then holds up a finger and
mouths ‘one minute’. They nod, and both look quite unsettled.
Spike trots back to Corey, something swinging from his mouth.
‘My lucky bucket! You found it.’

V ELOCIT Y 329
A bark.
‘Finders keepers? No, it’s mine!’
Corey grabs at it but Spike scrambles out of reach. ‘Give me
that!’ Corey quickly realises he’s never going to catch him and gives
up. ‘Oh, for God’s sake, get in the chopper.’
Spike saunters towards the Sea Stallion. Corey’s right behind
him. ‘You know that’s mine.’
They climb into the giant chopper and ten seconds later it lifts
off in a blast of red dust.

EPILOGUE
It’s a perfect Houston dusk, the breeze warm, the sky burnt orange.
Spike barks.
‘Don’t know, mate.’ Weighed down with shopping bags, Corey
scans the busy streetscape. Though he’s been living in Houston for
the last three months he’s never been to this part of town before.
‘He said around here somewhere.’
Spike barks again.
‘Where?’
Corey turns, sees Judd approach along the footpath. ‘There you
are. ’Sup, Mandy?’
Judd smiles. ‘Hey guys.’
Corey grins his crooked grin. ‘See what I did there? I said “sup”.
Learned that today. How’d it sound?’
‘Pretty good, actually.’
‘Picked it up it from the guy who sold me this.’ Corey gestures
to the Cincinnati baseball cap emblazoned with a ‘C’ that sits on
his head. ‘I’m thinking about wearing it at an angle.’
‘Nice.’ Judd pats Spike on the head then takes a couple of bags
from Corey to lighten his load. ‘Get everything you need?’
‘Reckon so.’ Corey’s been stocking up for his impending jour-
ney. If his experiences with the hijackers in the Northern Territory
had taught him anything, it was that life could be short, bloody
short. So, with some folding stuff in his pocket from the Loach’s

V ELOCIT Y 331
insurance payout, he’s decided to hit the road with Spike and hitch
around the States for a year, ‘to see what all the fuss is about’.
It’ll be hard to leave Houston. He really likes the place. Rhonda
is great value and Judd has become a good mate. That he’d decided
to find the whole talking-to-the-dog thing charming rather than off-
putting means a lot to the Australian. And the guestroom at their
house was deluxe. Spike even liked hanging out with The Ghost
and The Darkness. But that wasn’t enough reason to stay. Corey
had never travelled, had never even been out of Australia before,
so he wanted to grab this opportunity and have an experience to
remember. These were meant to be the best years of his life, after
all.
‘Hey Corey!’ A convertible Mustang rolls past and a young cou-
ple twirl their hands above their heads as if they’re about to rope
a steer. It’s been a common occurrence since Corey arrived for the
debrief after the hijacking. A sailor on the USS George W Bush had
used his iPhone to film the Atlantis landing and the most striking
part of the footage was Corey standing up through the viewport,
swinging the rope above his head like a lasso. With over fifty mil-
lion views on YouTube the video had gone viral, and with it Corey
E. Purchase.
‘Hey there!’ Corey excitedly twirls his hand above his head in
response, then turns to Judd, amazed. ‘I have no idea who those
people are.’
Judd grins. The Australian had taken his sudden fame in stride.
They all had. The ‘Atlantis Four’, as Judd, Rhonda, Corey and
Severson were now known, had become the biggest news story of
the year. Instead of being a negative episode for NASA, the hijack-
ing was spun as an upbeat, feel-good tale about three astronauts,
an Australian and a dog who had prevented the shuttle from being

332 STEVE WORL AND
used as a weapon of mass destruction. NASA hadn’t had this kind

of positive press for decades so it milked it for all it was worth. The
public relations blitz was unprecedented. The ‘Atlantis Four’ were
everywhere, on news shows and the newsstand. Making the cover
of DeLorean Magazine had been a personal favourite of Judd’s.
Corey looks up at the letters on the side of the building beside
them. ‘What are we doing here? What’s IMAX?’
‘A movie theatre.’
‘Is Max the guy who owns it?’
‘No. It means it’s a big screen. Max as in maximum size.’
‘Right. So what’s the movie?’
‘Remember you said you wanted to see the view from orbit?
Well, this is the best way to do it, apart from actually being in orbit.
The movie’s called Magnificent Desolation and IMAX is the only
place to see it. It’s about the moon.’
‘Cool magool.’
Spike barks.
Corey shakes his head. ‘Pretty sure you’ll have to wait outside,
mate.’
Judd will miss the Australian. He’d shared a lot with Corey
over that day in the Northern Territory and not much of it had been
sweetness and light. Judd had, at times, been a bit of prick, but, in
his darkest moments, Corey had come back for him with a very big
herd of cattle and had dived into a raging ocean to pull him out of
a sinking spaceship, so Judd knew exactly the kind of man he was
and was happy to call him a friend.
‘We going in?’
‘Gotta wait for Rhonda. And Severson said he might drop
by —’
‘Here she is now.’ Corey nods at Rhonda as she approaches.

V ELOCIT Y 333
‘Hey Corey, hey Spike.’ She lays a kiss on Judd then shoots him
a wide grin.
‘You look happy.’
‘I am.’ It’s taken a while but she’s back to feeling her old self.
Her experience since the hijacking had been quite different to
Judd’s, any post-traumatic stress he’d felt had been offset by hav-
ing shared the journey with Corey, and as the Australian loved to
talk, they had talked it out at length. But Rhonda had no one who
directly understood what she’d been through and she found it hard
to explain to Judd, even considering how supportive he’d been dur-
ing her recuperation.
She’d thought about the Frenchman quite a bit. In spite of the
circumstances she still had difficulty coming to terms with his fate
and was surprised by how it weighed on her. She also wondered if
the 9/11 conspiracy, which the Frenchman had been so sure of, was
real or imagined. Of course the truth had died with the hijackers,
and Edgar, who had a heart attack while gardening a day after the
hijacking ended, but it would still cross her mind from time to time.
Judd takes her hand and they move towards the cinema. ‘So
why are we happy?’
‘I just heard.’
He stops, looks at her, shocked. ‘It’s on?’
‘It’s on. Official announcement’s tomorrow.’
‘And?’
‘We’re in! First group.’
‘Oh, man.’ They embrace, euphoric.
Corey watches, confused. ‘What’s on?’
‘Mars!’ Judd turns to him. ‘We’re going to Mars.’
‘Well that’s bloody fantastic!’
It sure is. As a result of the hijacking the shuttle program had

334 STEVE WORL AND
been cancelled, NASA reluctantly deciding to utilise Russia’s Soyuz

launch vehicles to service the International Space Station for the rest
of its operational life. The hijacking also prompted a swift review
of the space program’s security measures and its long-term objec-
tives. The rumour being that the White House would declare a new
goal for NASA, capitalising on the renewed interest and goodwill
generated by the ‘Atlantis Four’, which the President hailed as ‘an
unexpected yet indisputably galvanising “Sputnik” moment’.
That goal, as Rhonda had just informed Judd, is the red planet.
Best news of all is that being a member of the ‘Atlantis Four’ meant
that Judd, along with Rhonda, had been included in the first group
of astronauts to train for the mission, something that would not
have happened before the hijacking. He may yet fly into space again
and no longer be that guy, the one-hit wonder.
As awful as the hijacking had been, Judd now realises it
changed everything for him. The Frenchman and Tango in Berlin
had, unwittingly, helped repair his faulty life and for that he feels
oddly grateful. The world even thinks he’s a steely-eyed missile man
after he performed the impossible and landed a space shuttle on an
aircraft carrier. Personally he’s not sure. He’d only found the con-
fidence to make the landing because of a moment of reassurance
from Rhonda and a mantra of self-belief from Corey. And once
Atlantis was on deck it only stopped because of the barrier net,
and even then it ended up in the drink, after which he would have
drowned if not for Corey . . .
Behind Rhonda something catches Judd’s eye. She turns to
where he’s looking. ‘What?’
The colour drains from Judd’s face and he glances at the
Australian. ‘Corey?’
‘Hmm?’

V ELOCIT Y 335
‘Remember the black chopper, the one Severson blew up?’

‘Yes.’
‘And how you thought you might have seen —’
‘A parachute?’ Corey studies him cheerlessly. ‘Why are you ask-
ing me this?’
‘You saw a parachute.’
‘How do you know?’
Judd points down the footpath. Twenty metres away Corey
focuses on a man with blond hair wearing a trench coat. ‘Oh,
damn it!’
Rhonda’s confused. ‘What’s going on? Who’s that —?’
‘Tango in Berlin.’ Judd and Corey say it together.
Rhonda studies the blond man, astonished. ‘That’s – Dirk? The
hijacker? I thought he was dead.’
The German sweeps back the right side of the trench coat and
draws out a sawn-off shotgun.
‘So did I.’ Judd turns to the crowd gathered by the cinema’s
entrance. ‘Everybody down!’ They look at him like he’s mad, then
they see the blond man swing the large shotgun towards Judd and
they scatter to the four winds.
Judd moves fast, drags Rhonda, pushes Corey and kick-sweeps
Spike behind a white Toyota parked on the roadway nearby.
The shotgun fires and the Toyota’s back window explodes.
Shards of glass spray as they crouch behind the car’s boot. Judd
can’t believe he’d been feeling grateful to this guy a minute ago.
Spike barks.
Corey turns to him with a hard whisper: ‘Does it look like
I have the lucky bucket with me?’
Judd takes a breath, rises and scans the sidewalk to locate the
German. He doesn’t see him but another blast of shotgun pellets

336 STEVE WORL AND
rattles into the car’s roof. He ducks, mind racing. The whole world
thinks he’s a steely-eyed missile man so this would be the perfect
time to devise an ingenious solution and prove it to himself.
His hands go Rubik and he turns to the others. ‘Okay. I’ve got
a plan.’

ACKNOWLEDGEMENTS
First, I must thank my agent, Selwa Anthony. Without your tireless

effort this book would not have seen the light of day. I couldn’t be
more grateful for your guidance and support.
To Belinda Byrne, thank you for believing in Velocity and mak-
ing the editing and publication process such a joy. Also, a big thanks
to Arwen Summers and the talented gang at Penguin.
Thank you to my family, Gus, David, Janelle and Ian for your
love and encouragement. And thanks to Hugh for reading the man-
uscript and providing a great quote.
To Robert Connolly, Mark Lazarus, Siobhan Hannan, Tony
McNamara, Rhett Walton, Malla Nunn and Andrew Jeffery, thank
you for your enthusiastic support and insight.
Special thanks to Roberta Ivers, Prue Jeffery, Robert Patterson,
Mark Morrissey, Michael King, Anthony Altomonte, Charlie
Fairfield-Smith, Eddie Rippard, Maureen Wyer, Dode Levenson,
Yvette and Isabelle Azzam, David and Steph Griffiths, Rose and Eric
Campbell, Tony and Denise Parker, Kiff and Franchesca Newby,
and Lousie and Joe Tawfik.
I must also thank the teachers from whom I learned so much.
Ron Blair, Paul Thompson, Helen Carmichael and John Lonie from
the AFTRS and Peter Green from North Sydney TAFE.
Finally, to my wife and soulmate Georgie and our gorgeous
daughter Holly. I am blessed to have such love in my life. This
book is for you.

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STEVE

9781921901102_Velocity_pages_fnl.indd 3 7/6/12 3:42 PM

Published by the Penguin Group

First published by Penguin Group (Australia), 2012

Text copyright © Steve Worland 2012

The moral right of the author has been asserted

Cover and text design by Adam Laszczuk © Penguin Group (Australia)

National Library of Australia

9781921901102_Velocity_pages_fnl.indd 4 7/6/12 3:42 PM

Place Of Origin: Houston, Texas.

Circa: Early 1960s.

Type: NASA slang.

Definition: An astronaut or aerospace engineer who

9781921901102_Velocity_pages_fnl.indd 1 7/6/12 3:42 PM

He’s smart and good-looking with a satisfying, desirable job. He

9781921901102_Velocity_pages_fnl.indd 3 7/6/12 3:42 PM

by a crowd of back-office staff. Judd and Rhonda stand behind them

9781921901102_Velocity_pages_fnl.indd 4 7/6/12 3:42 PM

could prepare them for this. For today.

9781921901102_Velocity_pages_fnl.indd 5 7/6/12 3:42 PM

Gerhard Krawl draws the long-handled wire-cutters from his back-

9781921901102_Velocity_pages_fnl.indd 7 7/6/12 3:42 PM

Gerhard nods to him. ‘No problems.’

9781921901102_Velocity_pages_fnl.indd 8 7/6/12 3:42 PM

9781921901102_Velocity_pages_fnl.indd 9 7/6/12 3:42 PM

minutes to empty it into the Galaxy. It isn’t much compared to the

Henri scales a ladder to the Galaxy’s forward-entry hatch, swings

9781921901102_Velocity_pages_fnl.indd 10 7/6/12 3:42 PM

they continue the pre-flight checklist in silence.

At the Galaxy’s open hatch Gerhard pulls a large black remote

9781921901102_Velocity_pages_fnl.indd 11 7/6/12 3:42 PM

9781921901102_Velocity_pages_fnl.indd 12 7/6/12 3:42 PM

of little more than painted plyboard, glued and screwed together by

9781921901102_Velocity_pages_fnl.indd 13 7/6/12 3:42 PM

Henri speaks into his headset’s microphone. ‘Gerhard, are you

9781921901102_Velocity_pages_fnl.indd 14 7/6/12 3:42 PM

lever forward. The Mack accelerates towards the runway.

9781921901102_Velocity_pages_fnl.indd 15 7/6/12 3:42 PM

parameters and the airframe groans like a prehistoric beast in its

9781921901102_Velocity_pages_fnl.indd 16 7/6/12 3:42 PM

‘Christ.’ He hasn’t taken a breath in what feels like a week. He

9781921901102_Velocity_pages_fnl.indd 17 7/6/12 3:42 PM

Cobbin answers by gently pushing Gerhard in the chest. He falls

9781921901102_Velocity_pages_fnl.indd 18 7/6/12 3:42 PM

9781921901102_Velocity_pages_fnl.indd 19 7/6/12 3:42 PM

the ground, causing loss of signal, or LOS. Communication will be

9781921901102_Velocity_pages_fnl.indd 20 7/6/12 3:42 PM

9781921901102_Velocity_pages_fnl.indd 21 7/6/12 3:42 PM

‘We copy, Discovery —’

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Judd doesn’t do it. He freezes. Brain lock.

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9781921901102_Velocity_pages_fnl.indd 24 7/6/12 3:42 PM

He turns. It’s Severson, trying to lighten the mood.

9781921901102_Velocity_pages_fnl.indd 25 7/6/12 3:42 PM

‘They handed me the keys to the castle and I dropped them in

Judd stares at the ceiling. He can’t sleep. He blames Richard Nixon.

9781921901102_Velocity_pages_fnl.indd 26 7/6/12 3:42 PM

answer all manner of questions, from who’d been siphoning gas