by Richard Bach
There is a subtle feeling that this is not good; that the front-line pilots are not as experienced as they should be. But the only difference that exists is that the pilots since Korea do not wear combat ribbons on their dress uniforms. Instead of firing on convoys filled with enemy troops, they fire on dummy convoys or make mock firing passes on NATO convoys in war games a few miles from the barbed-wire fence between East and West. And they spend hours on the gunnery ranges.
Our range is a small gathering of trees and grass and dust in the north of France, and in that gathering are set eight panels of canvas, each painted with a large black circle and set upright on a square frame. The panels stand in the sun and they wait.
I am one of the four fighter airplanes called Ricochet flight, and we come across the range on a spacing pass in close formation, echelon left. We fly a hundred feet above the dry earth, and each of the pilots of Ricochet flight is concentrating. Richochet Lead is concentrating on making this last turn smoothly, on holding his airspeed at 365 knots, on climbing a little to keep from scraping Ricochet Four into the next hill, on judging the point where he will break up and away from the other airplanes to establish a gunnery pattern for them to follow.
Ricochet Two is concentrating on flying as smoothly as he can, to give Three and Four the least amount of difficulty in flying their formation.
Ricochet Three flies watching only Lead and Two, intent on flying smoothly smoothly so that Four can stay in close to fly his position well.
And as Ricochet Four I think of staying in formation and of nothing else, so that the flight will look good to the range officer in his spotting tower. I am acutely conscious that every other airplane in the flight is doing his best to make the flying easy for me, and to thank them for their consideration I must fly so smoothly that the credit will be theirs. Each airplane flies lower than Ricochet Lead, and Four flies closer to the ground than any of them. But to take even a half second to glance at the ground is to be a poor wingman. A wingman has complete total unwavering unquestioning faith in his leader. If Ricochet Lead flies too low now, if he doesn’t pull the formation up a little to clear the hill, my airplane will be a sudden flying cloud of dirt and metal fragments and orange streamers of flame. But I trust the man who is flying as Ricochet Lead, and he inches the formation up to clear the hill and my airplane clears it as though it were a valley; I fly the position that I am supposed to fly and I trust the Leader.
As Ricochet Four, I am stacked back and down to the left so that I can see up across the formation and line the white helmets of the other three pilots. That is all I should see and all I care to see: three helmets in three airplanes in one straight line. No matter what the formation does, I will stay with it in my position, keeping the three white helmets lined on each other. The formation climbs, it dives, it banks hard away from me, it banks toward me; my life is dedicated to do whatever is necessary with the throttle and the control stick and the rudder pedals and the trim button to stay in position and keep the helmets in line.
We are over the target panels and the radio comes to life.
“Ricochet Lead breaking right.” The familiar voice that I know well; the voice, the words, the man, his family, his problems, his ambitions; is this instant the sudden flash of a swept silver wing pitching up and away to begin a pattern of gunnery practice, to develop a skill in a special brand of destruction. And I have only two helmets to line.
When Lead pitches away, Ricochet Two becomes the formation leader. His helmet flicks forward from watching the first airplane to look straight ahead, and he begins to count. One-thousand-one, one-thousand-two, one-thousand-break! With his own sudden flash of smooth metal wing, Ricochet Two disappears, and I have the luxuriously simple task of flying formation on only one airplane. Whose pilot is now looking straight ahead. One-thousand-one, one-thousand-two, one-thousand-break! The flash of wing happens to Three, only a few feet from my own wing, and I fly alone.
My head locks forward with Three’s break, and I count. One-thousand-one isn’t it a pretty day out today there are just a few clouds for a change and the targets will be easy to see. It is good to relax after that formation. Did a good job, though, Two and Three held it in well one-thousand-two good to have smooth air this morning. I won’t have to worry about bouncing around too much when I put the pipper on the target. Today will be a good day for high scores. Let’s see; sight is set and caged, I’ll check the gun switch later with the other switches what a lonely place for someone to have to bail out. Bet there’s no village for ten miles around one-thousand-break!
In my right glove the control stick slams hard to the right and back and the horizon twists out of sight. My G-suit inflates with hard air, pressing tightly into my legs and stomach. My helmet is heavy, but with a familiar heaviness that is not uncomfortable. The green hills pivot beneath me and I scan the brilliant blue sky to my right for the other airplanes in the pattern.
There they are. Ricochet Lead is a little swept dot two miles away turning onto base leg, almost ready to begin his first firing run. Two is a larger dot and level, following Lead by half a mile. Three is just now turning to follow Two; he is climbing and a thousand feet above me. And away down there is the clearing of the gunnery range and the tiny specks that are the strafing panels in the sun. I have all the time in the world.
Gun switch, beneath its red plastic guard, goes forward under my left glove to guns, sight is uncaged and set to zero angle of depression. The gunfire circuit breaker is pushed down under my right index finger. I twist the thick black throttle with my left glove to bring the computed range for the gunsight down to 1,000 feet. And my grip on the control stick changes.
With the gun switch off and the gunfire circuit breaker out, I fly formation holding the grip naturally, right index finger resting lightly on the red trigger at the front of the contoured plastic. Now, with guns ready to fire, the finger points straight ahead toward the instrument panel in an awkward but necessary position that keeps glove from touching trigger. The glove will stay off the trigger until I swing my airplane in a diving turn that brings the white dot on the sight reflector glass over the black dot painted on the strafing panel.
It is time to put the finishing touches on my attitude. I tell the audience behind my eyes that today I am going to shoot better than anyone else in this flight, that I will put at least 70 percent of my bullets into the black of the target, with the other 30 percent left to be scattered in the white cloth. I run through a picture of a good strafing attack in my mind; I see the black dot growing larger under the white dot of the gunsight, I see the sight-dot stay smoothly in the black, I feel the right index finger beginning to squeeze on the red trigger, I see the white now fully inside the black, I hear the muffled harmless sound of the guns firing their 50-caliber copperclad, and I see the powdered dust billow from behind the square of the target. A good pass.
But caution. Careful during the last seconds of the firing run; don’t become too concerned with putting a long burst into the cloth, I remember for a moment, as I always do before the first gunnery run of the day, the roommate of cadet days who let his enthusiasm fly his airplane a second too long, until his airplane and its target came sharply together on the ground. That is not a good way to die.
Power to 96 percent on the base leg, airspeed up to 300 knots, watch Three go in on his target.
“Ricochet Three’s in, white and hot.” And down he goes, a twisting silhouette of an ’84F.
It is interesting to watch a firing pass from the air. There is no sound from the attacking airplane as it glides swiftly toward its target. Then, abruptly, grey smoke breaks noiselessly from the gunports at the nose of his airplane, streaming back to trace the angle of his dive in a thin smoky line. The dust of the ground begins to spray the air as the airplane breaks away, and a thick brown cloud of it billows at the base of the target when he is gone and climbing.
Now the only untouched target is target number four.
The warning panel on
the ground by the spotting tower is turned red side down, white side up; the range is clear and safe for my pass. I note this, and fly along the base leg of the pattern, at right angle to my target. It is a mile away on the ground to my right. It drifts slowly back. It is at one o’clock low. It is at one-thirty low. I recheck the gun switch to guns. It is at two o’clock low and slam the stick whips to the right under my hand and my airplane rolls like a terrified animal and the sky goes grey with the G of the turn and the G-suit inflates to press me in a hard vise of trapped air. Beneath the canopy is pivoting blurred ground moving. It is the beginning of a good firing pass. The microphone button is down under my left thumb, “Ricochet Four is in, white and hot.”
White and hot. The target is clear and the guns are ready to fire. Airspeed is up to 360 knots in the dive, and my wings roll level again. In the windscreen is a tiny square of white cloth with the speck of a black dot painted. I wait. The white dot called the pipper, the dot that shows on the windscreen where my bullets will converge, bounces in lazy slow bounces as it recovers from the sharp turn that began the pass. It settles down, and I touch the control stick back very gently in the dive so the pipper ambles up to cover the square of the target. And the target changes swiftly, as I wait, to become all things. It is an enemy tank waiting in ambush for the infantry; it is an antiaircraft gun that has let its camouflage slip; it is a black and puffing locomotive moving enemy supplies along a narrow-gage track. It is an ammunition dump a fortified bunker a truck towing a cannon a barge in the river an armored car and it is a white square of cloth with a black spot painted. It waits, I wait, and all of a sudden it grows. The spot becomes a disc, and the white pipper has been waiting for that. My finger squeezes slowly down on the red trigger. A gun camera starts as the trigger is half closed. Guns fire when the trigger is all the way down.
Like a rivet gun finishing a last-minute sheet metal job on the nose of the airplane, the guns sound; there is no ear-splitting roar and thunder and confusion in the cockpit. Just a little detached tututut while beneath my boots hot brass shell casings shower down into steel containers. I smell powder smoke in my oxgyen mask and idly wonder how it can find its way into a cabin that is supposed to be sealed and pressurized.
In ultra-slow motion I watch the target on the ground; it is serene and quiet, for the bullets have not yet arrived. The bullets are on the way, somewhere in the air between the blackening gunports on the nose of my airplane and the pulverized dust on the range. I once thought of bullets as being such fast things, and now I wait impatiently for them to touch the ground and verify my gunsight. Finger is off the trigger; a one-second burst is a long burst of fire. And there is the dust.
The ground comes apart and begins throwing itself into the air. A few feet short of the target the dust flies, but this means that many bullets will have found their way to the meeting point shown by the white dot in the center of the gunsight. The dust is still flying into the air as my right glove pulls back on the many-buttoned stick and my airplane climbs in the pattern. As my airplane and its shadow flick across the square of canvas, the bullets that are able to tear a concrete highway to impassible crushed rock still whip the air and rain on the ground. “Ricochet Four is off.”
I bank to the right in the pattern and look back over my shoulder at the target. It is quiet now, and the cloud of dust is thinning in the wind and moving to the left, covering Three’s target with a tenuous cloud of brown.
“Ricochet Lead is in.”
I fired low that time, short of the target. There goes my 100 percent score. I must move the pipper up a little next time; place it on top of the disc of black. I smile at the thought. It is not very often that the air is smooth enough to let me think of placing the pipper inches high or inches low on the black spot of the target. I am normally doing very good to keep the pipper somewhere on the square of the strafing panel. But today is a good day for gunnery. Let the tanks beware the days of calm.
“Ricochet Two is in.”
“Lead is off.”
I watch Two, and in the curved plexiglass of the canopy I see myself reflected as I watch; a Martian if I ever saw one. Hard white helmet, smooth-curved glare visor down and looking like a prop for a Man in Space feature, green oxygen mask covering all the face that the visor does not cover, oxygen hose leading down out of sight. No indication that there is a living thinking creature behind the hardware. The reflection watches Ricochet Two.
There it is, the grey wisp from the gunports in the nose. The target is still and waiting as though it will stand a year before seeing a sign of motion. Then, suddenly, the thick fountain of dust. To the left of the panel a twig on the ground jumps into startled life and leaps into the air. End over end, slowly it turns, shifting after its first instant into the familiar slow motion of things caught in the swift rain of machinegun bullets. It twists two full turns above the fountain and sinks gracefully back beneath the thick cloud of it. The concrete highway is torn to rock and the twig survives. That should carry a moral.
“Two is off.” Smoke disappears from gunports. The airplane turns its oval nose to the sky and streaks away from the target.
“Three is in.”
What is the moral of the twig? I think about it and I turn sharply into the base leg of the pattern, rechecking the gunsight, right index finger pointing forward at the altimeter. What is the moral of the twig?
The wisp of smoke trails from the gunports of the smooth aluminum nose of Ricochet Three, and I watch his pass.
There is no moral. If the target was a pile of twigs, the hail of copper and lead would turn it into a scattered blanket of splinters. This was a lucky twig. If you are a lucky twig, you can survive anything.
“Three is off.”
The safety panel is white, the gun switch is at guns, and slam the stick whips to the right under my glove and my airplane rolls like a terrified animal to the right and the sky goes grey with the G of the turn and the G-suit inflates to press me in a hard vise of trapped air.
I have never been so rushed, when I fly my airplane, that I do not think. Even in the gunnery pattern, when the airspeed needle is covering 370 knots and the airplane is a few feet from the ground, the thinking goes on. When events happen in split seconds, it is not the thinking that changes, but the event. Events fall obediently into slow motion when there is a need for more thought.
As I fly tonight, navigating with the TACAN locked firmly onto the Laon transmitter, there is plenty of time for thought, and obligingly, events telescope themselves so that seven minutes will pass in the moment between the haunted land of Abbeville and the TACAN transmitter at Laon, France. I do not pass time as I fly, time passes me.
The hills slip away. There is a solid layer of black cloud from the ground to within a thousand feet of my airplane. The ground is buried, but in my chariot of steel and aluminum and plexiglass I am carried above, and the stars are bright.
In the red light, on the windowed face of the radiocompass, are four selector knobs, one switch, and one coffee-grinder tuning crank. I turn the crank. It is as old-fashioned in the cockpit of a fighter plane as would be a hand-wound telephone in an atomic research center. If it was much more quiet and if I wore no helmet, perhaps I could hear the crank squeak as it turned. I turn the handle, imagining the squeaks, until the frequency needle comes to rest over the number 344, the frequency of the Laon radio-beacon.
Turn up the volume. Listen. Crank the handle a little to the left, a little to the right. Static static crank dih-dih. Pause. Static. Listen for L-C. Dah-dih-dah-dih. . . . Dih-dah-dih-dih. . . . That is it. My right glove turns the selector from antenna to compass, while the left has the unnatural task of holding the control stick grip. The slim luminous green radiocompass needle spins majestically from the bottom of its dial to the top—a crosscheck on the TACAN—Laon radiobeacon is ahead. A little adjustment with the crank, an eighth of an inch, and the radiocompass is locked strong on Laon. Turn down the volume.
The Laon radiobeacon i
s a solitary place. It stands alone with the trees and the cold hills in the morning and the trees and the warm hills in the afternoon, sending its L-C into the air whether there is a pilot in the sky to hear it or whether there is nothing in the sky but a lone raven. But it is faithful and ever there. If the raven had a radiocompass, he could find his way unerringly to the tower that broadcasts the L-C. Every once in a long while a maintenance crew will go to the beacon and its tower and check its voltages and perform some routine tube-changing. Then they will leave the tower standing alone again and jounce back the rough road the way they came.
At this moment the steel of the tower is cold in the night and the raven is asleep in his stony home on a hillside. The coded letters, though, are awake and moving and alive, and I am glad, for the navigation is working out well.
The wide TACAN needle shares the same dial with the radiocompass needle, and they work together now to tell me that Laon is passing beneath my airplane. The radiocompass needle is the most active of the two. It twitches and quivers with stiff electronic life, like some deep sea life dredged and placed on a microscope slide. It jerks to the left and right; it quavers at the top of the dial, swinging in wider and wider arcs. Then, in one decisive movement, it swings all the way around, clockwise, and points to the bottom of the dial. The Laon radiobeacon has passed behind. The TACAN needle swings lazily five or six times around the dial and finally agrees with its more nervous companion. I am definitely past Laon.
That part of my thought that paid serious attention to navigation classes guides my glove to tilt the stick to the left, and the crowd of instruments in the center of the panel swings into an awareness of the seriousness of my action. Heading indicator moves on tiny oiled bearings to the left, turn needle leans to the left a quarter of an inch. The miniature airplane on the attitude indicator banks to the left against its luminous horizon line. Airspeed needle moves down a knot, altimeter and vertical speed needles drop for just a second, until I see their conspiracy and add the thought of back pressure through the right glove. The errant pair rise again into line.
