Hoarding his ammunition like a miser, Fauchard fired short bursts from the Hotchkiss. The Aviatik rolled left and right and the tracers went to either side of the plane. It flew lower, trying to stay below Fauchard and his deadly machine gun. Again, Fauchard tried to line up a shot. Again, the Aviatik went lower.

The planes skimmed over the fields at a hundred miles an hour, staying barely fifty feet above the ground. Herds of terrified cows scattered like windblown leaves. The twisting Aviatik managed to

stay out of Fauchard's sights. The rolling contours of the ground compounded the difficulty of a clear shot.

The landscape was a blur of rolling meadows and neat farmhouses. The farms were growing closer together. Fauchard could see the roofs of a town ahead where the valley narrowed to a point.

The Aviatik was following a meandering river that ran up the center of the valley directly toward the town. The pilot flew so low his wheels almost touched the water. Ahead, a quaint field stone bridge crossed the river as the waterway entered the town.

Fauchard's finger was tightening on the trigger, when an overhead shadow broke his concentration. He glanced upward and saw the wheels and fuselage of another Aviatik less than fifty feet above. It dropped lower, trying to force him down. He glanced at the lead Aviatik. It had started its climb to avoid hitting the bridge.

Pedestrians crossing the span had seen the trio of advancing planes and were running for their lives. The sleepy old plow horse pulling a wagon across the bridge reared up on its hind legs for the first time in years as the Aviatik skimmed a few yards over the driver's head.

The overhead plane dropped down to force Fauchard into the bridge, but at the last second he pulled back on his control stick and goosed the throttle. The Morane-Saulnier leaped upward and carried him between the bridge and the Aviatik. There was a huge explosion of hay as the plane's wheels clipped the wagon's load, but Fauchard kept his plane under control, guiding it up over the roofs of the town.

The plane on Fauchard's tail pulled up a second later.

Too late.

Less agile than the monoplane, the Aviatik smashed into the bridge and exploded in a ball of fire. Equally slow to climb, the lead Aviatik grazed a church steeple whose sharp spire gutted its belly. The plane came apart in the air and broke into a hundred pieces.

"Go with God!" Fauchard shouted hoarsely, as he wheeled his plane around and pointed it out of the valley.

Two specks appeared in the distance. Moving fast in his direction. They materialized into the last of the Aviatik squadron.

Fauchard aimed his plane directly between the approaching aircraft. His lips tightened in a grin. He wanted to make sure the family knew what he thought of their attempt to stop him.

He was close enough to see the observers in the front cockpits. The one on his left pointed what looked like a stick, and he saw a flash of light.

He heard a soft tun\ and his rib cage felt as if a fiery poker had been thrust into it. With a chill, he realized that the observer in the Aviatik had resorted to simpler but more reliable technology he had fired at Fauchard with a carbine.

He involuntarily jerked the control stick and his legs stiffened in a spasm. The planes flashed by on either side of him. His hand went limp on the control stick and the plane began to waver. Warm blood from his wound puddled in his seat. His mouth had a coppery taste and he was having trouble keeping things in focus.

He removed his gloves, unbuckled his seat belt and reached down under his seat. His weakening fingers grasped the handle of the metal strongbox. He placed it on his lap, took the V strap that ran through the handle and attached it to his wrist.

Summoning his last remaining reservoir of strength, he pushed himself erect and leaned out of the cockpit. He rolled over the coaming, his body hit the wing and bounced off.

His fingers automatically yanked the ripcord, the cushion he'd been sitting on burst open, and a silk parachute caught the air.

A curtain of blackness was falling over his eyes. He caught glimpses of a cold blue lake and a glacier.

/ have failed.

He was more in shock than pain and felt only a profound and angry sadness.

Millions will die.

He coughed a mouthful of bloody froth and then he knew no more. He hung in his parachute harness, an easy target for one of the Aviatiks as it made another pass.

He never felt the bullet that crashed through his helmet and drilled into his skull.

With the sun glinting off his helmet, he floated lower until the mountains embraced him to their bosom.

The Scottish Orkneys, the present

JODIE MICHAEL SON was steaming with anger. Earlier in the evening, she and the three remaining contestants of the Outcasts TV show had had to walk in their heavy boots on a thick rope stretched out along a three-foot-high berm made of piled rocks. The stunt had been billed as the "Viking Trial by Fire." Rows of torches blazed away on either side of the rope, adding drama and risk, although the line of fire was actually six feet away. The cameras shot from a low side angle, making the walk seem much more dangerous than it was.

What wasn't phony was the way the producers had schemed to bring the contestants to near violence.

Outcasts was the latest offering in the "reality" shows that had popped up like mushrooms after the success of Survivor and Fear Factor. It was an accelerated combination of both formats, with the shouting matches of Jerry Springer thrown in.

The format was simple. Ten participants had to pass a gamut of

tests over the course of three weeks. Those who failed, or were voted off by the others, had to leave the island.

The winner would make a million dollars, with bonus points, which seemed to be based on how nasty the contestants could be to one another.

The show was considered even more cutthroat than its predecessors, and the producers played tricks to ratchet up the tension. Where other shows were highly competitive, Outcasts was openly combative.

The show's format had been based in part on the Outward Bound survival course, where a participant must live off the land. Unlike the other survival shows, which tended to be set on tropical isles with turquoise waters and swaying palm trees, Outcasts was filmed in the Scottish Orkneys. The contestants had landed in a tacky replica of a Viking ship, to an audience of seabirds.

The island was two miles long and a mile wide. It was mostly rock that had been tortured into knobs and fissures aeons ago by some cataclysm, with a few stands of scraggly trees here and there and a beach of coarse sand where most of the action was filmed. The weather was mild, except at night, and the skin-covered huts were tolerable.

The speck of rock was so insignificant that the locals referred to it as the "Wee Island." This had prompted a hilarious exchange between the producer, Sy Paris, and his assistant, Randy Andleman.

Paris was in one of his typical raves. "We can't film an adventure show on a place called "Wee Island," for god sakes We've got to call it something else." His face lit up. "We'll call it "Skull Island." "

"It doesn't look like a skull," Andleman said. "It looks like an overdone fried egg."

"Close enough," Paris had said, before dashing off.

Jodie, who had witnessed the exchange, elicited a smile from An

dleman when she said, "I think it rather resembles the skull of a dumb TV series producer."

The tests were basically the kind of gross-out stunts, such as ripping live crabs apart and eating them or diving into a tank full of eels, that were guaranteed to make the viewer gag and watch the next installment, to see how bad things would get. Some of the contestants seemed to have been chosen for their aggressiveness and general meanness.