Since I’m on somewhat of a blog roll today, I thought I’d best update you about If I Fall, my radio play.

For those that don’t already know, my producer has sent it, along with my synopsis to Radio 4, and we’re awaiting a decision.

I was asked to write 300 words or so about the play to be sent with the script. I, at first, thought this was supposed to be some sort of pitch; a short teaser to ‘sell’ someone on reading the script.

I was wrong.

What was actually needed was a synopsis of the play. I had difficulty with that, and it was my mentor John Burgess who came to the rescue.

He had a go and emailed his attempt to me. I could see straight away what was needed, and will have no problem in writing more for other plays, should I need too.

I edited what John had done and sent it back. He was pleased and sent it straight onto the producer, who was also pleased saying “just what’s needed” and promptly sent it, and the script, off to Radio 4.

Here’s the said synopsis:

If I Fall by PAFoster

“I’m looking at her standing here, hoping I’m not giving my thoughts away, and I’m thinking how stupid it is being attracted to my next-door neighbour.”

Nathan’s not looking for love, but when Anna asks for help, his head starts spinning.

He asks her out for pizza and they start to hit it off. Turns out she was once married to a rock star and has a son named after David Bowie.                         

“And she’s stabbing her fork and talking about the drugs and the drink and the highs and the lows and the hell of it all and I’m thinking I’ve read too many books to find this surprising.”

But Anna’s not about to admit she’s a bad mother, or talk about her troubled teenage son who’s growing increasingly distant and erratic.

A few weeks later and Nathan gets a panicked call. David’s lost and can he come and get him.            

“And I’m pulling on a pair of jeans and ‘No it’s not a prank’ and ‘Please don’t call the police’ and ‘Yes I am his father’ and why did I say that?”

The story is told in interlocking monologues all in the present continuous tense so there is no escape as the suspense builds to a shattering climax.  The eerie music of Bowie’s ‘Space Oddity’ is woven through the play adding to the growing sense of dislocation.

Meanwhile Anna has a visitor; an irate woman claiming to be the mother of David’s friend who’s suddenly gone missing.

In the car David sobs, “They said I had to do it”.  Nathan’s confused. “Do what, for Christ sake?” And then David’s freaking out and screaming “make them stop!”

Back at home and Anna’s fraught. “I’m asking where he’s been and he’s not answering. ‘Were you out with Hayden?’  And the shock on his face is enough. So I’m asking who this Hayden boy is but he’s off up the stairs and I’m shouting after him.”

And Nathan’s guessing something’s gone badly wrong. “And I’m stepping into the bathroom now, and I’m vaguely aware of the neatly folded clothes and the streaks of blood up the tiles.”

In hospital, Nathan holds Anna’s hand. Behind them a policeman paces, and Nathan knows it’s something worse than the attempted suicide, it’s something to do with the boy they found dead in the ditch.

“Ground Control to Major Tom. Can you hear me, Major Tom?”

We should hear by the end of the month, so all fingers crossed please!