No Shelter by Richard Buzzell | Script Revolution

No Shelter

In this disturbing story about consensus, coercion, and control, a man who invites three people into his shelter finds himself embroiled in a power struggle as his guests come to question his motives.

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Page Count: 
90pp

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Bill, the owner of the shelter, takes a leadership role in trying to prepare the others for the psychological challenges that lie ahead during their extended period of confinement. He is the epitome of reason as he engages the others in the process of developing a protocol for resolving differences.

Bill’s romantic partner, Riga, appears to be anything but reasonable as she throws up a continuing series of obstacles to Bill’s efforts.

Bill attempts to solicit the support of the other two, Hector and Noori, to try to bring Riga’s obstructionist behavior to a halt. Initially he is successful and Riga finds herself alienated from the rest of the group.

Slowly Riga is able to pry Noori away from Bill’s influence, but Hector remains a firm supporter of Bill.

Then Bill has a few drinks and a different side of him appears to Hector. This is a vengeful side that views the pandemic as a punishment on those who ridiculed Bill over the years for building his shelter. “Who’s laughing now?” he asks repeatedly, as Hector listens helplessly to Bill’s rant against his former tormentors.

Hector’s support for Bill is undone and he falls in with Riga and Noori. They decide to leave the shelter by sneaking out at night without telling Bill.

This plan fails when Bill catches them in the act of leaving and a dramatic confrontation ensues during which Bill’s cataclysmic worldview is exposed.

Bill is unable to convince the others to stay and he ends up alone railing against their treacherous betrayal.

Tagline: Consensus. Coercion. Control.

NOTE: Three internal locations and four characters.

Submitted: August 7, 2020
Last Updated: May 22, 2024

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Richard Buzzell's picture

The Writer: Richard Buzzell

I'm the author of twenty feature scripts, one of which, "Robot Love," has been sold through Script Revolution. I'm an audience-oriented writer, which means that I emphasize the interests of the audience over the dictates of the screenwriting formulas. I'm attracted to drama but I have a strict "no fake drama" rule in my writing. I have a number of scripts that are especially well-suited to the streaming platforms. Audiences are looking for something special that’ll make them feel more alive, and that’s exactly the same thing I’m looking for when I’m writing. This is why I feel so in sync with the audience. We’re on the same mission. As all writers should be. Go to bio

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