Sin Nombre Page #17

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88.

99 EXT. OUTSKIRTS OF MONTERREY - DAY 99

SUPER:
MONTERREY, NUEVO LEON

SUPER:
U.S. BORDER 125 MILES

The truck passes a MILITARY checkpoint. Willy and Sayra

watch them from above. The truck is waved through and enters

the urban center of Monterrey.

100 OMIT 100

101 EXT. CAR DEMOLITION CENTER - DAY 101

The madrina pulls into a demolition center. El Sol,

Scarface, Smiley and dozens of others from the gang wait in

hiding. Smiley looks nervous and scared.

With guns out and ready, they quickly open all the cars.

Smiley doesn’t look. When he turns back around, he sees the

disappointment on El Sol and El Scarface’s faces.

102 EXT. CINE-OPERA THEATER - DAY 102

Willy leads Sayra into an abandoned cinema palace.

102A INT. CINE-OPERA THEATER - DAY 102A

Willy leads her up a decaying side concrete staircase to a

room covered in a layer of greasy dust. A a single seat and

rotten mattress adorn the space.

WILLY:

Wait here.

SAYRA:

Where you going?

WILLY:

I’m going to get us water. You

should rest, you look like sh*t.

He smiles and pats her leg, leaving his BACKPACK with her.

89.

103 EXT. DOWNTOWN MONTERREY -DAY 103

Willy walks down a crowded street. The faces, both

indifferent and malevolent streak past. Willy begins to feel

paranoid, the panic becomes so heavy that he forces himself

against a wall to breathe. He spots a telephone. He goes to

it. Dials. Listens.

Tia.

WILLY:

TIA TO.A

(surprised)

Willy? So nice to hear from you.

WILLY:

Surprised?

TIA TO.A

Not at all.

104 INT. CINE-OPERA THEATER - DAY 104

Sayra, bored, begins to explore the building. It’s like

something out of the apocalypse. Blown out windows,

crumbling floors and ceilings, grandiose stairways and

terraces.

She walks up an opulent set of stairs to the 2nd floor and

into the theatre’s main room. It’s an immense space,

probably able to fit thousands at one point.

At the front of the balcony, she sees that many have stayed

this place. Hundreds of names are scribbled around.

One marking:
“Oriana Carbajal-Hernandez, septiembre 2001.”

Sayra takes a piece of concrete and scratches in her own

name:
“Sayra Miranda Guzman.” She stares at her second to

last name, “Miranda.”

She sits in one of the seats and opens up the backpack.

Afraid to open the package that Tia To.a gave him, she looks

at Willy’s camera. She turns it on and flips through the

pictures, the sound of Martha Marlen’s voice fills her with a

rising sense of jealousy.

105 OMITTED 105

90.

106 EXT. HIGHWAY - DAY 106

THREE VEHICLES, El Scarface’s crew, El Sol’s Crew and a new

clica’s car, an early-Eighties LINCOLN cruises down a

highway, past a sign posting: REYNOSA.

107 INT. CAR - CONTINUOUS 107

The stereo system BLASTS beats from a REGGAETONE song.

D.F. RANFLERO, 30, drives with El Sol in the front.

A:

Smiley sits in the back with El Bomba and El Piqaro who talks

on his cell phone. Smiley notices that this ranfla (car*)

has a lot more leg room than previous cars.

SMILEY:

I like your ranfla.

The Ranflero looks at Smiley like he’s talking sh*t.

SMILEY (CONT’D)

No, I’m serious, it’s got leg room.

El Sol get’s off his phone.

EL SOL:

What do you need legroom for?

You’re feet don’t even reach the

floor.

Smiley bristles.

EL BOMBA:

What are you going to do when you

find El Casper, Smiley? Hug him?

Shut up-

SMILEY:

El Bomba slaps him on the back of the head.

EL BOMBA:

Now what are you going to do?

EL PIQARO:

(chuckling)

Casper would f*** Smiley up.

The Mareros can’t stop laughing.

simmering with anger.

Smiley is silently

91.

EL SOL:

Any of you kill Casper before

Smiley and he’ll never be able to

go home.

RANFLERO:

(dead pan)

The kid doesn’t have it in him.

Why don’t you just kill him?

El Bomba and Piqaro bust up laughing.

EL BOMBA AND EL PIQARO

Whoa!

Smiley is on the verge of crying, inside he fumes.

EL SOL:

We don’t kill little girls.

108 EXT. DOWNTOWN MONTERREY - DAY 108

Willy waits near the telephone booth. An older model

Mercedes pulls up and he gets in. The car pulls away.

109 INT. MERMCEDES - CONTINUOUS 109

TIA ESTELA, a well dressed woman, slender and in her fifties

sits in the back seat with him. The driver, HERNAN is a

heavy set man of her same age.

TIA ESTELA:

To.a told me you need a ride.

Willy nods. She gestures to the driver.

TIA ESTELA:

You have a package for me?

WILLY:

No. Not until I get to where I

need to go.

Tia Estela nods, knowing the game.

TIA ESTELA:

Hern.n will take you. You had one

more with you, no?

WILLY:

We’ll pick her up.

92.

TIA ESTELA:

As you wish. Hern.n.

Hern.n pulls the car over. Tia Estela gracefully exits, then

looks seductively at Willy.

TIA ESTELA:

You’ll let me know won’t you?

WILLY:

About the package?

TIA ESTELA:

If you travel alone next time.

She winks at him, closes the door and leaves. Willy slides

down into the leather seats and air conditioning, amused.

109A INT. CINE-OPERA THEATER - DAY 109A

We hear the digitally recorded sound of Martha Marlen and

Willy echoing over the expanse of the theatre. As we hear

the conversation, we see more details of the decaying space,

and evidence of the past immigrants who have gone through it.

MARTHA MARLEN DIGITAL

Come on... Tell me...

WILLY DIGITAL:

I love you.

MARTHA MARLEN DIGITAL

Say it better.

WILLY DIGITAL:

I love you so much I don’t know

better words to describe it.

MARTHA MARLEN DIGITAL

If you had to measure it with your

hands.

WILLY DIGITAL:

I couldn’t, I couldn’t even with

miles, you’d like, you’d like need

light years to measure it.

She giggles. We see Sayra staring at the video. It’s the

last night Martha Marlen and Willy were together.

93.

MARTHA MARLEN DIGITAL

Take me with you to the cemetery

tomorrow night.

WILLY DIGITAL:

No... I’ll see you after.

MARTHA MARLEN DIGITAL

Come on, why?

WILLY DIGITAL:

You wouldn’t like it anyway.

Come here, turn that off... let me

kiss you.

MARTHA MARLEN DIGITAL

Say it...

WILLY DIGITAL:

I love you.

110 EXT. MONTERREY TRAIN STATION - DAY 110

Horacio, Orlando, and Donald sit atop a moving train, exiting

the station. An overpass crosses the train yard in front of

them, providing a welcome bit of shade from the sun.

PLACE HOLDER -- ORLANDO CONFRONTS HORACIO ABOUT SAYRA.

Orlando takes a sip of dirty water from his bottle, using his

shirt as a filter.

ORLANDO:

I keep thinking I see Sayra...

everywhere.

Horacio let’s his thoughts drift to his daughter again.

Sadness covers his face. Orlando and Donald’s eyes have deep

dark rings and their foreheads are burnt.

HORACIO:

All we can hope is that she is

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