[Billy McGrath]

PRISON BREAK

Big Picture Hooks – whilst revealing layers of the familiar world of the family (love and broken) we are sucked into the intriguing world of crime, prison, and government agency wrapped around a very clear motive by our protagonist to break his brother out of a high-security prison populated by a hierarchy amongst staff and prisoners. Simmering throughout (and climaxed by the murder of the bishop) is a much powerful force intent in ensuring an innocent man is executed.

CHARACTERS

Opening scenes determine Michael’s wants and needs. Single-minded, he takes chances, ‘thinks big’, and doesn’t ‘have a few years’. This man has a plan. That’s the 1st minute. The next minute (armed and shooting) he robs a bank and breaks court convention by insisting on his guilt offering no defense. Instantly we know this character has a mission and we will follow. His systematic stoic behavior only adds to our engagement. The reveals are dotted throughout – he is a successful structural engineer, his brother’s son is troubled, his lawyer is a family friend (she even dated his brother), he quickly sizes up his allies in prison (good and bad) and a potential love interest is the daughter of the prison governor who by the episode’s he is working for. He is brazen in his mission and the final payoff of the tattoo is brilliant. The tale of a successful white-collar ‘breaking into’ prison to plan an escape is unique in a crowded genre of crime drama.

EMPATHY?

Brotherly love at any cost is a well-used emotional connect and here it is mixed with deeper personal family subtexts and plots. The injustice that an innocent man may die is universal. We emotionally join his brother’s quest – especially after he sacrificd his own freedom and maybe his own life to save him.

BIG QUESTIONS

The writer has skillfully designed the classic narrative of a single hero succeeding in a strange world against increasing odds. The reveals are crafted so we return after the CB. End Act 1 – the most infamous isolated prisoner is Michael’s brother. End of Act 2 he is telling his brother that he is going to ‘break him out’. End of Act 3 the only person able to delay his execution is murdered. And the fact that Michael had the prison structural plan inked to his body is genius. That promises innovative and masterful storytelling as the opening ep sets up so many ‘what ifs’ and potential contexts for disaster. e.g. Not knowing the series – the thought struck that if his cell mate’s relationship breaks down so will he mentally. And who knows to what extreme? Will he insist on breaking out too? Or get violent? So now – whatever about the internal/external crime bosses, secret service and prison staff – there is a danger within those tiny 4 walls. That’s why Ep1 is so good. No character or scene is left without planting potential conflict.

BINGE-WORTHY?

There are so many ticking bombs planted below the clever and clear ‘A’ plotline. As flagged will his cellmate – moods and relationship – implode? Will his nephew be caught up in a world he is not equipped to survive? Will the lost and wayward son ever love his ‘dead’ dad again? Will Michael outsmart the prison boss – governor and criminal? Now that his lawyer (who once loved his brother) believes him, how will that impact his mission? Will romance grow with the prison doctor (daughter of the governor)? And will be the Achilles heel that affects his plans? Will she suspect and turn him in? Or will she turn into an ally? Will his friendship with the governor last? Same with the prison crime boss who wants to keep ‘his enemies close’. So many multiple strands up in the air. How will the many egos, threats, and powerplays impact Michael’s ultimate plan of escape from a high-security prison?

Just going to watch Eps 2 & 3 now!

[Billy McGrath]

1. Billy McGrath

2. Written spec scripts when I took a couple of years away from production in the late 1990s – e.g. sitcom, TV drama, and features – but then well-paid gigs distracted me!

3. Keen to immerse myself in the creative/commercial differences of the US style of writing TV drama – e.g. Irish/UK channels only commission 6 eps per season and often only one series

4. This OAP (Old Age Punk) is a father of 5 (ages 12 to 31) – Owned/ran a successful prodco (mostly factual and comedy) for 15 years – previously award-winning producer/director and once Ireland’s ‘Best Stand Up’ but now semi-retired and returning to my first love of writing. Last year graduated with an MA in Screenwriting (1st Class Hons) at the National Film School in Dublin and focused on a new challenge in life’s 3rd Act

[Billy McGrath]

Name Billy McGrath

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