Sin Nombre

Synopsis: Honduran teenager Sayra reunites with her father, an opportunity for her to potentially realize her dream of a life in the U.S. Moving to Mexico is the first step in a fateful journey of unexpected events.
Director(s): Cary Joji Fukunaga
Production: Focus Features
  14 wins & 18 nominations.
 
IMDB:
7.6
Metacritic:
77
Rotten Tomatoes:
88%
R
Year:
2009
96 min
$2,436,392
Website
3,059 Views


1 EXT. COLONIA CONFETI, TAPACHULA - DAY 1

SUPER:
TAPACHULA, MEXICO

A weathered, yet serene poster, of a green landscape (Texas?)

fills our frame. We pan around revealing EL CASPER, a gaunt-

faced 17 year-old wiping water from his face. He stares at

the image with a curious indifference, it’s hard to read what

he thinks.

Behind him a slum like neighborhood of one-story concrete

homes that resembles a favela, linked with the familiar maze

of paths, scavenged roofs and satellite dishes powered by

dangerously improvised cables.

His cell phone BEEPS.

and leaves.

He finishes washing his face and head

1A EXT. COLONIA CONFETI, STREET - DAY 1A

Casper walks briskly down the street. People give him a

respectful amount of space. We see more details of his body,

a tattoo on his neck “perdoname madre mia” and a TEAR DROP is

on his right eye, the shape of a pistol in his back pocket.

1B INT. COMBI (MINIBUS) - DAY 1B

A combi pulls up to a line of 8 waiting PASSENGERS. Casper

walks past them and sits in the front seat with the driver.

The driver hands him a wad of CASH, with out saying a word

nor Casper look at him. At the next stop lined with 5

waiting passengers, Casper gets down.

1C EXT. COLONIA CONFETI, STREET - CONTINUOUS 1C

Casper passes THREE fellow FOOT SOLDIERS of his gang. Long

rifles lean against a wall next to them as they lounge in the

hot sun watching the border of their territory. He picks up

one of their bikes and rides down the blocks.

He arrives at a corner MINI-MARKET, again silently collecting

cash from the WOMAN running it.

2 EXT. COLONIA CONFETI STREETS - DAY 2

El Casper rides a bike through the maze, weaving around

pedestrians and vendors.

2.

He pauses on his bike. A train passes in front of him.

THREE similarly tattooed men ride atop, they acknowledge

Casper with nods.

CUT TO:

2A Casper rides into another alley and stops in front of an

unremarkable concrete house. A television blasts a Game Show

inside while an ancient woman, ABUE, cools off next to the

window. She eats raisins from a bowl. El Casper takes one

and eats it with out asking, charmingly.

2A

Se.ora.

EL CASPER:

She looks at El Casper disapprovingly, then makes an

incomprehensible call into the house.

A BOY, 12, appears wearing a tattered middle-school uniform.

He sees El Casper and motions for him to come in.

2B INT. SMILEY’S HOUSE - CONTINUOUS 2B

The boy hands him a backpack unceremoniously, it’s an old

routine.

El Casper checks the contents of the backpack, CD players,

Gameboys, radios, batteries, headphones, and other random

stolen goods. He nods approvingly, then notices a slim

DIGITAL CAMERA. He picks it up, inspects it, then stuffs it

in his own pocket before zipping up the bag. El Casper holds

his finger up to his mouth...

EL CASPER (CONT’D)

Shhh, our secret.

The boy nods.

EL CASPER:

Lil’ Mago wants to see you.

3 EXT. EL LIL' MAGO’S HOUSE, BACK PATIO 3

The KID stands before EL LIL' MAGO, a striking man in his

early-twenties, with a face covered in MARA SALVATRUCHA

tattoos, crowned with “devil’s horns” scrawled in detail on

his forehead. About a DOZEN other similarly clad GANG

MEMBERS, including El Casper, stand around him.

The Kid nervously pulls at his tattered school pants.

Mago smiles...

Lil’

3.

EL LIL' MAGO

One...

El Casper and TWO other men, El Smokey, a teen with crazy

eyes and EL BOMBA, a hefty Guatemalan in his late-twenties,

jump up and begin beating the boy. EL SOL, mid-twenties,

stoic, watches from behind.

The boy tries to fight back, spinning around in a fury of

punches and kicks but is no match to the three men’s

experience. He is quickly pummeled to the ground.

EL LIL' MAGO (CONT’D)

...Four, five. Five... Five and

half... Six...

He is knocked again and again, all he can do is protect his

face.

EL LIL' MAGO (CONT’D)

...nine, ten, eleven, eleven...

twelve.

El Casper looks at El Lil' Mago, waiting for “thirteen.” The

Boy’s face is cut and his left eyelid sags. El Casper only

halfheartedly punches him now.

EL LIL' MAGO (CONT’D)

Twelve.

El Casper feels El Lil' Mago glaring at him, so he launches a

kick into the boys chest. The boy YELPS as El Casper kicks

him over and over.

EL LIL' MAGO (CONT’D)

Thirteen.

El Casper finally stops, breathing heavily. Despite his

tears, whimpers and quivering body, the Boy forms a smile --

a crying smile.

El Lil' Mago pulls him up. The men HOLLER as they rush in,

throwing Mara Salvatrucha (MS13) gang signs (”M” then “S”

shapes with their hands) and stacking those with their

clica’s name “CONFETI LOCOS” in a form of sign-language.

They hug him.

EL LIL' MAGO (CONT’D)

Look at this kid, Casper, he’s all

smiles.

4.

4 EXT. COLONIA STAIRWAY - TEGUCIGALPA, HONDURAS - DAY 4

SUPER:
TEGUCIGALPA, HONDURAS

We see a large expanse of the capitol and its foothills. A

city covered with colorful homes, patches of tropical green

and smog.

On the bottom of the frame THREE ADOLESCENT GIRLS make their

way up a long set of stairs towards us, sharing a cigarette.

SAYRA, 15, an olive-skinned girl with long hair and bright

eyes stands between CLARISSA and YAMILA.

CLARISSA:

You’re so lucky, Sayra.

(BEAT)

If my Dad came back to take me

north with him...

SAYRA:

Mine didn’t, he was deported.

CLARISSA:

And? At least he can make the

journey with you, instead of paying

a pervy pollero to take you.

(BEAT)

Yamila’s dad was a pervy pollero,

from what her mom remembers.

Yamila, cigarette in mouth, gives Clarissa the finger.

CLARISSA:

(to Sayra)

Look, I don’t even know why you’re

wetting your pants over this, it’s

not like your Grandma wants to take

care of your ass anymore. And if

Orlando goes? You should get the

hell out of here while you can.

SAYRA:

(sarcasticly)

And leave this?

CLARISSA:

Pendeja.

YAMILA:

I wish I could go with you.

5.

Yamila hugs Sayra firmly.

YAMILA:

I’ll pray for you.

Sayra and Clarissa continue on, we linger for a moment on

Yamila who sadly watches them walk away. She finishes off

the butt and drops it to the ground.

We pan away from her to catch up to Sayra and Clarissa as

they enter their neighborhood, past vendors, CAT-CALLING BOYS

who they give the finger and soccer playing children.

4A Sayra and Clarissa climb into the room from a window. They 4A

laugh as they fall to the floor-5

INT. HOUSE - CONTINUOUS 5

--landing on a stained mattress, half covered with a worn

flower print sheet in a tiny, sparse room with two other

similar mattress on the floor. Clothes, sheets and blankets

sit in tidy piles along the walls.

ORLANDO, 19, Sayra’s almost equal in age Uncle, waits for her

in the room. He has kind eyes, but you can tell he’s

irritated with her. She reacts, shrugging in a “what do you

expect?” kind of way.

ORLANDO:

He’s here.

Clarissa trips over a BACKPACK. Sayra quickly stuffs it

under a shelf.

ORLANDO:

Come on.

(BEAT)

We have a front door you know.

Sayra trips Orlando, sweeping his back leg just as he

stumbles into the NEXT ROOM, a compact concrete space that

doubles as a kitchen and a bedroom. The girls try to contain

their laughter before entering. Sayra pauses, her mood

shifts, she looks nervously at Clarissa. To comfort her,

Clarissa presses their foreheads together...

5A The next room -- serious faced Sayra looks around, an old 5A

woman, NANA, glares up at her. Lying on a blanket covered

couch, her sick eyes guide us to a some seats where Orlando

sits down abruptly, next to his pregnant girlfriend, CECI,

19, and...

Rate this script:5.0 / 2 votes

Cary Fukunaga

Cary Joji Fukunaga is an American film director, writer, and cinematographer. He is known for writing and directing the 2009 film Sin Nombre, the 2011 film Jane Eyre and for directing and executive ... more…

All Cary Fukunaga scripts | Cary Fukunaga Scripts

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