Sin Nombre Page #11

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With Willy only a few feet away, Sayra whistles through her

teeth. Willy doesn’t move. She inches closer, Willy spins

around, his hand lingering over his MACHETE. He recognizes

her.

Sayra holds her free hand up, places a tostada with beans and

her lollipop between them. He relaxes, but only slightly.

WILLY:

Thank you.

He stretches his other arm out and grabs the food.

Donald climbs up to the top of the car. Noticing Sayra and

Willy together, he situates himself closer to Willy’s side of

the train, while maintaining a liberal distance.

TWO others follow his lead, extending themselves over more

space of the boxcar. Then, more of the group suddenly spread

out, fed up with the divide of the car, Horacio and Orlando

included.

55.

SAYRA:

My name is Sayra.

He hesitates at first, about to say “Casper”.

WILLY:

Willy.

Saying it, instead of “Casper” fills Willy with remorse.

That part of him is dead now. Sayra retreats back to her

side of the train car. Alone, Willy eats furiously while

keeping a watchful eye on the immigrants around him.

60 INT. EL LIL' MAGO’S HOUSE - DAY 60

The Maras are packed into the living room, most cry. El Sol

speaks into a cell phone.

EL SOL:

(to El Bomba)

...I’m almost out of credit. Call

D.F. with yours.

(back into the receiver)

Yes, on the train.

EL BOMBA:

(to Smiley)

I don’t understand how you let him

go?

El Sol hands his phone away.

EL SOL:

Because Smiley is a little b*tch...

We’ll find Casper. We’ll find him

and cut him up into small pieces.

SMILEY:

(under his breath)

I’m no b*tch... I came back.

EL SOL (CONT’D)

Levanten la garra. Mara

Salvatrucha...

They raise their hands in front of their faces, making the

“devils horns” with their index fingers for 13 SECONDS, then

drop them.

56.

EL SOL:

We need to elect the a new

Ranflero. Who does the Barrio

choose?

With out hesitation the members call out Sol’s name. He

looks around gravely, it is not what he wanted.

EL SOL (CONT’D)

Alright. Alright, I accept.

Now... El Casper.

El Sol scratches his chin in pained thought.

EL BOMBA:

We should all go, get him now.

EL SOL:

We can’t. Not with all the pinche

chavalas on top of us. We’ll loose

everything? No. We spread the

word. Even if we don’t find him

immediately, he has no where to go.

He’ll pop up eventually. And when

he does-

SMILEY:

-I’m no b*tch...

EL SOL:

You’re lucky I haven’t shot you

already Smiley... you’re not a true

Marero. For all we know you helped

El Casper escape. Is that what

happened? Huh? Huh!?

SMILEY:

(fear coursing threw him)

No, no. I didn’t.

EL SOL:

I’m going to banish you from the

colonia.

Smiley sinks into a barely perceptible despair, but somewhere

inside him, a response to the fear is formed, anger. He

tries to find the voice for it...

SMILEY:

Don’t banish me. Please.

El Sol opens himself up for Smiley to hit him. Smiley

doesn’t budge.

57.

EL SOL:

Prove it. Prove to me you’re not a

little b*tch.

El Sol fakes a movement -- Smiley flinches --he shakes his

head in disappointment.

SMILEY:

Send me. Send me to find... to

kill El Casper.

El Sol looks at Smiley, a tear drips down his face.

El Sol pulls out a rusted .38 Special and points it in

Smiley’s face. Smiley flinches. Sol flips the gun around

and gives it to Smiley.

EL SOL (CONT’D)

Go then.

(BEAT)

But Smiley... until El Casper is

dead, you can’t step one foot in La

Confeti.

Smiley avoids the stare of the men, then turns and heads out

of the house. Annoyed and impatient, Sol turns his attention

to the group.

EL SOL (CONT’D)

Call the L.A. ranfleros. Everyone

must know, everyone’s got to be on

the look out for El Casper. He

will have no where to hide...

The hatred in El Sol’s face is palpable.

61 EXT. TOP OF BOXCAR - NIGHT 61

You can see all the immigrants, even the ones far in the

front, holding onto the side of the cars. Horacio slaps his

face to stay awake. Sayra sleeps in between them.

Orlando begins to drift off into sleep, but Horacio slaps

him. Orlando looks at Horacio surprised.

Sayra sits up. She motions for Orlando to lay down. They

switch places and he lies down between her and Horacio.

Horacio grabs her hand. His eyes are heavy with exhaustion.

SAYRA:

Sleep, I’ll hold on to both of you.

58.

He shakes his head no, silently mouthing that he’s okay.

Branches swoosh by, whipping the faces of immigrants sitting

too high.

62 OTHER SIDE OF BOXCAR - CONTINUOUS 62

Willy struggles to stay awake. He unbuckles his belt, wraps

it through a ring on the wagon top and around his waist

again.

Below him, between the train cars, a group of immigrants SING

to keep themselves awake, their voices are rough, but they

sing with conviction.

His eyes close for a moment, then he shakes awake again.

feels something in his pocket, realizing he still has the

camera, he pulls it out. Turns it on. The glow of the

screen illuminates his face. He looks at the IMAGES of

Martha Marlene. His eyes tears.

He

63 EXT. TOP OF BOXCAR - DAY 63

It’s quiet, other than the sound of the creaking train cars

and the muffled hammering of iron wheels.

The dawn light reveals the overwhelming fatigue on everyone’s

face, some of whom haven’t slept in four days.

The train cruises through the largest town they’ve seen yet.

A sign reads ISLAS next to the train tracks. The creaking

train rolls past stores and markets opening their doors to

the new day.

Pedestrians on the streets watch the passing train, half

amused, half asleep, while the Immigrants watch the passing

town hypnotized with fatigue.

Willy, LOLLIPOP in mouth, starts to climb down the stairs,

but notices Sayra is watching him. She shakes her head, as

if to say, “don’t go.”

He drops down between the cars anyway, unzips his pants and

urinates. The idea of jumping off and disappearing into the

town dissipates as soon as he begins seeing “M” “S” graffiti

along the tracks, just beyond the observing stares of the

CITIZENS of the town. The train is the only home he has now.

His phone beeps again. He pulls it out. It’s dead. He

drops it beneath the train and climbs back up. Sayra and he

make prolonged eye contact, she smiles to herself.

59.

64 EXT. TIERRA BLANCA - DAY 64

SUPER:
TIERRA BLANCA, VERACRUZ

SUPER:
U.S. Border, 1100 NORTH

The train pulls into a similarly ragged and industrial

station as the one in Tapachula.

Willy notices the large “Devil’s Hand” of the Mara

Salvatrucha spray painted on the side of a concrete building.

Willy scans the horizon, looking for other signs of his

former “brothers.” Every LONE FIGURE looks like a danger to

him.

Along the tracks he spots a MAN scanning the immigrants on

the trains. Willy’s defenses immediately go on alert. They

make eye-contact, the man walks towards the train, then

disappears behind a wagon.

The train slows to a crawl as the 300 Immigrants pile off the

train. Some, including Orlando, kneel to the ground and

pray.

Willy stays atop the train, glancing between Sayra and a

GROUP OF MEN he thinks could be Mareros melting into the

crowd. Just as he’s about to lose sight of Sayra she motions

for him to follow her. He jumps down, tucking his machete

under his arm.

65 EXT. COLONIA CONFETI BRIDGE - DAY 65

Smiley throws rocks into the trash filled river below.

same THREE KIDS from the colonia sit and listen to him.

The

BENNY:

You’re going to hurt him?

Smiley nods. The kids mimic his side armed throwing style.

KID #2

You’re not going to kill him

though, are you?

Smiley nods.

BENNY:

But it’s Casper.

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