The Steel Bayonet - Plot

Plot

Tunisia 1943

As the end of the North African Campaign draws to a close, and the German and Italian forces are being pushed back on Tunis. A company of British Infantry are tasked with holding a small Arab farm against an expected last-ditch counter-attack; the farm's water tower will be used as an observation point by a few Royal Artillery spotters. To defend the farm British Lt. Colonel Derry picks a company led by Major Alan Gerrard; these men have been in the thick of the fighting around Tunis and are greatly reduced in number (described by the narrator as down to barely two platoons). So Gerrard's company set out on foot for the farm; on the way they are joined by Captain Dickie Mead and his signaller, Ames. Arriving at the farm, Gerrard's men chase out the occupants and dig slit trenches out in front of the farm. With the water tower and its ladder in clear view, Mead decides to wait until just before dawn to climb the tower while it is still dark. The next day Mead uses the his position to target the artillery onto the German forces, all is going well until the Germans send out a reconnaissance patrol to pin point the observation post, which Gerrard's men dispose of. With the Germans sure of their position, it becomes a test of nerve for Gerrard's men, seasoned troops and new boys alike. All of them stick it out until they are finally ordered to retreat with their job done. Mead decides to stay behind and cover their escape with artillery fire, leading to the death of Sergeant Major Gill and Private Middleditch. And when Mead finally succumbs to German fire, only the wounded Gerrard is left. With the Germans in the farm and his surviving men well on their way to safety, the mortally wounded Gerrard radios for the artillery to totally destroy the farm, killing Gerrard and the Germans' last chance at the same time.

Read more about this topic:  The Steel Bayonet

Famous quotes containing the word plot:

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)

    There saw I how the secret felon wrought,
    And treason labouring in the traitor’s thought,
    And midwife Time the ripened plot to murder brought.
    Geoffrey Chaucer (1340?–1400)

    Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.
    Jane Rule (b. 1931)