Ogre's review is hilarious, but don't let this distract you from the point he got across so nicely: Writing is tough. You have a picture in your mind, a pattern of excitement in your neurons, and you want to get other people's brains to see the same picture, their neurons to be excited in the same way. To make it worse you have to do it by making marks on a piece of paper, or in this case, a computer screen.
After you wrote this you probably (hopefully) checked if the writing matched the picture, the pattern of excitation that was on your mind. However this is the wrong question, what you need to proofread for is if the words evoke the right picture in somebody who hasn't the picture in mind yet. Ogre has done a fantastic job at illustrating what may go on in the mind of the reader.
If you think about this writing can seem like an intimidating challenge. How could you ever put down words that cannot be misunderstood? The answer is that you couldn't if there wasn't something more to work with. This extra bit is our shared human experience. In a sense you are already using these shared experiences alot. When you write plane, you don't need to explain that it is a machine used for flying, every reader will roughly know what you are talking about, but only roughly. By dropping in some more words you can control whether the picture that pops up in the reader's mind is a rickety biplane whose canvas wings have been patched numerous times, the new XR155T with it's sleek black body that seems to absorb all light, or maybe the type-C support lifter which only technically becomes a plane once it has reached sufficient altitude to fold out it's wings and rotate thrusters to their horizontal position (see what I did here). Funnily, even stuff that is completely made up (XR155T) can evoke a certain image if you hit the right tone.
The real kicker though is that we actually have shared expectations that apply to every story.
For example one such shared expectation is that the protagonist is introduced in the beginning. This is a way of telling the readers brain who to pay attention to. Quite a lot of such expectations exist and if you know them you can work with them to great effect, if you ignore them you will find that your stories fail to achieve the desired effect.
Here is another concrete example: On my first reading I entirely missed the twist in your story (that the base is guarding an entrance to hell). I only really understood it when you pointed it out explicitly in your reply to Ogre.
So how can I miss the hole point. First the ending was too quick and too confusing, the story ended before I really had a chance to process. But, I think the deeper more important reason is that my brain wasn't watching for something like this. The reason is that you were not controlling expectations. Basically the first thing you want to make sure in writing is that the reader understands what genre you are in. The genre sets down the ground rules of what can happen and what can't. In a pirate movie people everybody can swing on ropes, in slapstick movie everybody fails when they try. In fantasy a dragon could be hiding behind the next corner, in historical drama not so much. The genre lays down the ground rules of the world, then you can put some more effort in to modify them. But, see what happened, Ogre reads the story as far-future SciFi, I read it as thriller, so we are reading it with completely different expectations. None of these expectations includes Hell, so we aren't watching for this at all, and when it appears it is so implausible that at least my brain decided to ignore the possibility completely.
So what can be done about this? Think what you want to achieve, then think carefully about what bits need to be established beforehand. In your case just describing the plane in more detail in the beginning will set the tone and fix the genre. You want to break the conventions of the genre a bit by having hell show up. This is great. Breaking rules is always good, but to get away with it, it needs to be set up right. So if you want to have hell appear you need to lay the groundwork for this at the start. Perhaps the narrator and Bruce can have a discussion about the afterlife, maybe the narrator is worried that stealing is a sin. Such a dialog has the added benefit of telling us alot about who the characters are.
There is at least one other thing you want to set up in the beginning, can you guess what it is?
You might have them wondering why there is a base there, or what it is guarding to plant the question in the readers mind. In that way it is less surprising but not totally unexpected when the answer hits.
Normally that's another thing that could work well in the beginning, but since you already need to signal the religious dimension in the beginning, it can't be there (a discussion about two topics seems disconnected and you can't connect them without giving the game away.)
So if I would write it they would have a somewhat religious discussion while looking at the plane. Then steal it, see something from the air that prompts a discussion about the purpose of the base. Then land get the big surprise and then end with a proper ending that picks up on the starting dialog.