This chapter considers Luis Rafael Sánchez’s 1983 essay “La guagua aérea” [“The Flying Bus”] alongside Luis Molina Casanova’s 1993 filmic adaptation of the same title and suggests that, in an era marked by ever-increasing global migration, “La guagua aérea” continues to signal the possibilities of aerial adaptations and archipelagic identities some four decades after its original publication. Remapping the space of the isla, or island, to point to the possibilities of the archipelago, Sánchez’s rendition of New York as a Puerto Rican location in “La guagua aérea” transgressively reframes the space of the (nominally tiny) island to incorporate that of its (putatively powerful) continental neighbor. Offering a series of flashbacks that cut between past and present to shed light on passengers’ backstories, Molina Casanova’s film encourages spectators to “mind the gaps,” as Thomas Leitch puts it, and highlights the ways in which adaptations and archipelagos alike reframe our ideas about (trans)national identities. In the aerial, archipelagic space of la guagua aérea, intersectional identities can be more fully seen and celebrated, and the gaps between islands and continents (as well as between essays and adaptations) can contribute to a richer understanding of edges and their effects on and within Latin American cultures.