UNIQUE SELLING POINT
Where most coming-out narratives build toward a confrontation or liberation, this script withholds both — loss arrives as formal structure rather than dramatic event, and the people who fail C.J. simply disappear from the story the way they disappear from a life, leaving only objects behind: a red Converse, a black cowboy hat, a chalk drawing washed away by water.
STANDOUT FEATURES
In late-’80s Sierra County, the closeted son of a born-again ex-biker turned youth pastor is outed after a forbidden dip in the church baptistry and must choose whether to remain the face of his family’s megachurch or flee for Los Angeles before the congregation—and his volatile father—destroy him.
In late-’80s Sierra County, the closeted son of a born-again ex-biker turned youth pastor is outed after a forbidden dip in the church baptistry and must choose whether to remain the face of his family’s megachurch or flee for Los Angeles before the congregation—and his volatile father—destroy him.
UNIQUE SELLING POINT
Where comparable films (Boy Erased, Moonlight) grant the protagonist at least one relationship that holds, this script withholds that comfort structurally — Shawn dies, Owen self-destructs, God stays silent — so that the motif objects (red Converse, black cowboy hat, chalk drawings) carry the full emotional weight of what the story refuses to resolve, making the form itself the argument.
STANDOUT FEATURES
UNIQUE SELLING POINT
The script is told entirely from the protagonist's point of view across two timelines (1982 and 1990), with characters who abruptly exit the story by design—mirroring the theme that life, God, and people fail you without resolution. It's a deeply subjective, art-house coming-of-age that refuses to tie up loose ends.
STANDOUT FEATURES
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