Sin Nombre Page #16

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WILLY:

I’m going to help her find her

family. That’s it.

TIA TO.A

Then what’ll you do?

WILLY:

Disappear.

TIA TO.A

And what’s in it for you?

WILLY:

Nothing.

Tia To.a laughs. Maybe she believes him. She shakes her

head.

TIA TO.A

The border? You know what’s

waiting for you there?

Willy ignores her.

TIA TO.A

They called.

WILLY:

What’d you tell them?

TIA TO.A

I ain’t seen you. Which was the

truth, until now.

WILLY:

You won’t tell them now, will you?

TIA TO.A

I always do what’s right.

They both share a tense laugh.

83.

91A EXT. MARA HOUSE, D.F. - DAY 91A

Smiley sits on the back patio, a cigarette in his hand. His

head is on the lap of a CUTE GIRL while El Happy, a local

marero, uses a homemade tattoo gun to scrawl “M S 13” on the

inside of his lip. El Scarface sits approvingly nearbye.

It’s painful, so Smiley closes his eyes. When he opens them

again, El Sol, El Bomba, El Smokey, and El Piqaro are

standing over him.

91B EXT. PLACE HOLDER - TIA TO.A’S HOUSE - DAY 91B

Sayra and Willy have some moments of relaxation, happiness,

optimism. Picking fruit. Playing with a kid or feeding

animals. Putting on fresh clothes. Just being kids.

92 EXT. MEXICAN HIGHWAY - DAY 92

Willy and Sayra sit in the back of a beat up Van filled with

MICHELADA MIX boxes. Tia To.a sits in the passenger seat, a

YOUNG BOY is driving, he doesn’t even look old enough to have

a license.

TIA TO.A

The madrina will get you as far as

Monterrey. From there you’ll make

the delivery where Tia Estela will

arrange for a car to take you to

Reynosa.

We notice Willy holding a paper bag between his legs.

stuffs it into a backpack.

He

93 EXT. BETWEEN TRAIN CARS, SOUTH OF SAN LUIS POTOSI, MEXICO -

DAY:

93

SUPER:
SAN LUIS POTOSI

SUPER:
U.S. BORDER, 550 MILES NORTH

On the rolling hills north of Mexico City, Horacio and

Orlando’s red freight train speeds around reservoirs and

quaint villages.

It moves faster than the other trains and they have to brace

themselves for the turns and bumps that are more shocking

than the previous trains were.

84.

There are few immigrants on this train. Perhaps no more than

100 for a train bigger than the one they began on in Chiapas.

The train passes through a neighborhood where the children

are walking to class in their school uniforms.

As soon as they see the train, the kids begin to yell.

At first Orlando think it’s cute, all of the kids running

along with them. But then the kids start picking up rocks

and throwing them. The large rocks bounce hard off the fast

moving train.

He is shocked. The CHILDREN laugh as they throw the rocks and

yell at the immigrants on the train.

ADULTS watch from the doorsteps of dilapidated concrete

houses, but they do nothing to stop the kids.

One rock bounces off an immigrant’s head and lands next to

Horacio. The immigrant grasps his head in pain. The duck for

cover.

94 EXT. SAN LUIS POTOSI - DAY 94

Tia To.a’s Van drives them down an industrial road. A

concrete tower looming over them is marked with an “MS” and

the Devil’s Hand. Below is written: “Lil' Mago, El Casper

no pasar.!”

He notices but does not point it out to Sayra. At the end of

the block Willy notices a medium sized CAR TRAILER loaded

with THREE crashed cars.

WILLY:

Thank you Tia.

TIA TO.A

Don’t thank me, just make the

delivery.

Tia To.a hands him a plastic bag of snacks for the journey.

Willy and Sayra slip out of the car and skitter towards the

madrina. Tia To.a looks at the caller ID of her ringing

phone. She picks it up.

TIA TO.A

Sol...

85.

95 EXT. MADRINA - DAY 95

Willy and Sayra climb up the madrina. Willy opens the door

and motions for Sayra to get in, she’s about to when she

pauses...

SAYRA:

Why do you get to drive?

WILLY:

Because Nena, this is my ranfla.

She rolls her eyes and gets in. He gets in after and settles

in.

WILLY (CONT’D)

You really want to sit here?

(he gestures to move)

Wait? Do you have a license Miss?

SAYRA:

No.

WILLY:

Ah, well, then you can’t.

He sits back down, then notices her mood has shifted. She

feels an undesirable sense of loneliness setting in and tries

to play it off.

WILLY:

What?

SAYRA:

Nothing.

WILLY:

Scared?

SAYRA:

No. Why? I’m with you, I’m fine.

WILLY:

You’re not fine because you’re with

me.

SAYRA:

I don’t care... I trust you.

She touches his cheek. He leans away.

86.

WILLY:

Why? I don’t even trust me.

He lifts up his pant leg. A scar crosses his calf.

WILLY (CONT’D)

You see this scar here, a police

officer in Tamaulipas shot me when

I was leading a group of pollitos

to the border, for my clica.

He lifts up his shirt, showing another keloid scar on his rib

cage.

WILLY (CONT’D)

This is where I took a bullet from

a diecioyo, for my clica.

He points at more scars across his body.

WILLY (CONT’D)

And here, and here, and here, all

for my clica --my family.

Willy points at his cheekbone.

WILLY (CONT’D)

I got this the night my “homies,”

who I’d been defending with my

life, killed the girl I loved.

(BEAT)

And I couldn’t do nothing for her.

That’s “trust,” Sayra.

SAYRA:

We both know loss.

WILLY:

What I know... I know I f***ed up

my life already, I f***ed her

life... and now maybe... maybe I

f***ed up your life, too.

SAYRA:

You didn’t f*** it up. You saved

me.

96 INT. CAR - NIGHT 96

Sayra sleeps hard against the window. Willy watches her

breath fog up the window around her mouth rhythmically.

87.

He pulls out his camera and turns on the playback. He looks

at an IMAGE that he took of he and Martha Marlene together.

His TEAR tattoo looks striking in the photo. He turns off

the camera. Sadness leads to anger.

He adjusts the rearview mirror so that he can look at

himself. He feels the tear drop tattoo next to his eye and

starts to rub it hard. Then he begins to scratch at it,

until it bleeds, but he doesn’t stop, he keeps scratching.

Sayra winks one eye open, notices what he’s doing but doesn’t

say anything, pretending to sleep.

97 EXT. NUEVO LEON - DAWN 97

The truck speeds through a desert highland with sharp bedrock

mountains rising high into the sky like piled tombstones

stacked one against another.

The towns are as sandy and brown as the landscape. There are

few signs of the lush greenery they saw in the south.

98 INT. CAR - CONTINUOUS 98

As the sun rises, Willy still sleeps. Sayra notices the sun

illuminating the northern plains. In the distance, Sayra can

see the purple haze of the metropolis of Monterrey

approaching.

Willy?

SAYRA:

Willy turns away, trying to keep sleeping.

SAYRA (CONT’D)

(nudging his shoulder)

Willy?

Willy doesn’t wake up. Sayra looks in the mirror at herself.

She’s still pretty, but her beauty is hidden by fatigue,

dirt, and scraggly hair.

She smells and notices the air is slightly foul. She smells

her clothes, sucking in hard with her nose, then she leans

over and breaths in Willy.

She scrunches her nose; he stinks, too. He opens his eyes

when her face is next to his, but they only look at each

other, Willy does nothing.

She pulls away slowly.

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