(TO SCHULTZ AND DJANGO) This here is my Overseer .Cap't, and n******g fight trainer extraordinaire, Ace Woody. 915 Pointing at the two shadows that flank Ace Woody. CALVIN CANDIE And that's Brown and that's Jingle Bells Cody. (TO ACE) Ace, this here is Dr.Ring Schultz, and Django Freeman, they're big customers with big pockets wanna buy a big n******g. So I brought 'em out here so you could give 'em a little display of our African flesh. Ace takes off his hat, bows from his horse, welcoming them. ACE WOODY Welcome to Candyland, gentlemen. Astride their horses Brown and Jingle Bells Cody just make faces at Django. Ace's attention goes to the five new mandingos.just walked from Greenville to here. ACE WOODY These the new chickens? CALVIN CANDIE Yes siree bob. ACE WOODY How many you get? (HE COUNTS) One, two, three, four, five. CALVIN CANDIE Five real strong bucks. ACE WOODY How many you get rid of? CALVIN CANDIE We still got three left. Ace looks to see who came back from the auction. Leo Moguy chimes in; MOGUY I already wired the LeQuint Dickey people, they'll be here tomorrow. Ace turns to Brown. ACE WOODY Get 'em away from the others. Put 'em in the pen till tomorrow. Brown with his horse, yells, chases, and herds the three men away into the slave pen. Ace yells from his horse down to the five new mandingo arrivals, Big Fred, Banjo, Sidney James, Tatum,.and Joshua. ACE WOODY Y'all stand over there and make a line! They do. Ace climbs down from off his horse. Cody stays in his saddle, circling the black men with his horse. Everybody, including Django and Dr.Schultz, watch the show. Ace'Woody walks up and down the line looking at the new men. Candie, sitting comfortably up on his horse, says; CALVIN CANDIE What do you think? ACE WOODY I think you lookin' for n******gs to push a plow, 'dem your boys. Candie rolls his eyes. CALVIN CANDIE What's wrong with them? ACE WOODY Hold it...hold it, you done bought r em, let me look at 'em. Unimpressed Ace Woody continues to examine them. ACE WOODY Okay, how 'bout that one, did you buy that one? CALVIN CANDIE Which one? ACE WOODY What you mean, which one? The one I'm pointing at, that one. 77 CALVIN CANDIE Actually, that one was purchased by our mister Moguy. ACE WOODY (TO MOGUY) You bought him? MOGUY Yes I did. ACE WOODY Why? MOGUY I like his prospects. ACE WOODY His prospects? Now you know Mr..Moguy, I ain't a educated fella like yourself. Remind me again what prospects means? MOGUY Hope for the future. Jerking a thumb towards the slave in question. ACE WOODY You got hope for his future? MOGUY I did. ACE WOODY Well I don't. Ace walks over to the slave in question. ACE WOODY What's your name, boy? The mandingo says; SIDNEY JAMES Sidney James, sir. ACE WOODY So long Sidney James. Ace takes the peacemaker out of the holster on his hip, and SHOOTS Sidney James point blank in the belly. Everybody reacts. Especially the four other mandingos standing next to him. Sidney James rolls in the dirt, screaming and holding his bleeding gut. Till Cody puts a bullet in his head, putting him out of his misery. Moguy, shakes his head, "Typical," he thinks. Django and Schultz, on their horses next. to Candid, watch. Ace looks up at his boss. ACE WOODY Boss Candie, which one did you buy? CALVIN CANDIE Well to me the pick of the litter is Big Fred over there. ACE WOODY (POINTING AT FRED) This one over here? CALVIN CANDIE Yes. ACE WOODY (TO FRED) You Fred? A very scared Fred answers. BIG FRED Yes, sir. ACE WOODY Well good to meet'cha Fred, I'm'Ace Woody, I'm a man of influence 'round here. Now Fred am I mistaken, or were you already in a kurfuffle? CALVIN CANDIE I had 'em fight one of Amerigo's n******gs last night. 'ACE WOODY How is of Amerigo? CALVIN CANDIE His n******g lost. 99 ACE WOODY (TO FRED) Really? You won? BIG FRED Yes, sir. ACE WOODY Wup'ed his a**? CALVIN CANDIE Beat 'em to d**h. Smiling impressively at Big Fred. ACE WOODY (TO FRED) Really? CALVIN CANDIE He did have fifteen pounds on 'em, but still, he still beat his a** to d**h. ACE WOODY (TO FRED) You did? BIG FRED) Yes, sir. ACE WOODY Good job, boy. Got any more wins in ya? BIG FRED Yes, sir. Ace gives Cody a slight head nod, and Cody SHOOTS Big Fred in the back. Candie acts out mock frustration. The remaining three mandingos jump a mile. CALVIN CANDIE Now why did you do that? ACE WOODY He won his last fight last night. Ace puts his eyes on the three remaining mandingos 1 00 ACE WOODY (TO MANDINGOS) Those of you with exceptional ability will find it ain't so bad here. Those of you who don't possess exceptional ability, will wish you did. Ace looks up to Cody on his horse. ACE WOODY Run 'em over to the Arena. Git 'em doin push ups. First one gives out, shoot 'em in the head. (TO MANDINGOS) Welcome to Candyland, boys! Cody runs the terrified mandingos to the arena. Candie leans over to Schultz and says; CALVIN CANDLE We only get about two out of every batch of five fighters we buy. But those two tend to be lucky. Ace Woody hops back up on his horse. CALVIN CANDIE You know Mr.Woody, I'm beginning to think that you don't trust my judgement? Ace Woody just smiles at his boss, and says; ACE WOODY Oh you know I always trust your judgement, Boss Candie...eventually. He rides off. Stephen limps back to the action. CALVIN CANDIE Ahhh, Stephen my boy, rooms ready? STEPHEN All ready for your guest and his n******g. Candie'shakes his head in mock frustration. CALVIN CANDIE Stephen, you're incorrigible. (TO SCHULTZ AND DJANGO) Gentlemen, let Stephen show you to your rooms. /O+ CALVIN CANDLE (CON'T) There you can lie down and rest up for a couple of hours. Then we'll have some lemonade, and I'll show off some of my finer specimens. Dr.SCHULTZ Splendid. Both Dr.Schultz and Django climb down from their horses. Candie looks to a black little stable boy of about eight named TIMMY. CALVIN CANDIE Timmy boy, go take their horses for 'em. Fix 'em up at the stable, give 'em a load of oats. Django hands the boy the reigns. DJANGO That's Fritz, this is Tony. You take good care of 'em now. TIMMY Yes, sir. Django takes an apple out of his saddle bag, and hands it to the boy. DJANGO Once he's in the stable, give 'em that. He reaches back in the saddle and pulls out another one. DJANGO Give that one to Fritz. Timmy leads the horses away. The two visitors start to follow Stephen to their rooms, when Dr.Schultz pretends to remember something; Dr.SCHULTZ Oh, Monsieur Candie, about that matter about the n******g girl we were talking about? CALVIN CANDIE n******g girl? Dr.SCHULTZ I believe you said she spoke German? CALVIN CANDIE Oh Yes, Hildi, what about her? ,oz. Dr.SCHULTZ Do you think before the demonstration you could send her around to my room? CALVIN CANDIE I don't see why not. (TO STEPHEN) Stephen, when you get through showing them to their rooms, go fetch Hildi. I want her cleaned up and smellin' nice, and sent over to Dr.Schultz's room. Stephen has to be the bearer of bad news. STEPHEN Actually... . Monsieur Candie... . there's somethin' we ain't tole you yet. CALVIN CANDIE What? STEPHEN Hildi's in The Hot Box. This gets Django's, Schultz's, and Candie's attention. CALVIN CANDIE What's she doin' there? STEPHEN What 'cha think she doin' in The Hot Box, she bein punished. CALVIN CANDIE What she do? STEPHEN She ran away again. CALVIN CANDIE Jesus Christ, how many people ran away when I was gone? STEPHEN Two. CALVIN CANDIE When did she go? STEPHEN Last night. They brought her back this morning. CALVIN CANDLE How bad did Stonesipher's dogs tear her up? Django's hand falls to the bu*t of his smoke wagon. If they sicked those dogs on his angel, he's going to just k** all these motherf**ers right now. STEPHEN Lucky for her they were busy lookin' for D'Artagnan's a**. Brown and Cody went out lookin' for her and found her. She a little beat up, but she did that to herself. Runnin' through them damn bushes. Django's hand moves away from his gun. CALVIN CANDIE How long she been in the box? STEPHEN What'cha think, all goddamn day! Little fool got ten more days to go. CALVIN CANDLE Take her out. STEPHEN (INCREDULOUS) Take her out? Why! CALVIN CANDLE Because I said so, that's why. Hildi is my n******g. Dr.Schultz is my guest. Southern hospitality dictates I make her available to him. STEPHEN But Monsieur Candie, she just ran away? CALVIN CANDLE Jesus Christ Stephen, what's the point of havin' a n******g speaks German if-you can't wheel 'em out when you have a German guest? I realize it's inconvenient. Still, take her out. (to Cora and LARA LEE) Lara Lee would you and Cora be responsible for getting her cleaned up and presentable for Dr.Schultz? The overseers,'Tommy Giles and Hoot Peters go to The Hot.Box. While Billy Crash goes to the well to draw a bucket of water. Django watches them walk to The Hot Box. Dr.Schultz's eyes shift to Django, to watch him watch this. Stephen notices Django's interest in both The Hot Box and whoever's sizzling in it. The HOT BOX itself is a large IRON SOLITARY CONFINEMENT CELL DOOR (from Yuma Prison) built into the ground. They put a key in the lock, and the two men lift the heavy iron door open. REVEALING: A naked Broomhilda broiling in a small coffin like iron box dug into the ground. Broomhilda reacts to the sudden burst of blinding sunshine. WHEN ... Billy Crash TOSSES the bucket of water on her. Django watches this. DJANGO'S POV:.From his wide shot perspective we see them yank the NAKED BROOMHILDA (incoherent) out of the hole. REVENGE MUSIC PLAYS as we move into a Sergio Leone CU of DJANGO'S FACE. Stephen breaks the mood. STEPHEN (TO DJANGO) You comin', or you wanna sleep in that little box? Django turns his back on the naked Broomhilda and follows Stephen and Dr.Schultz up the front steps of The Big House. INT - THE BIG HOUSE - DAY Stephen leads the two guests up the big prominent sweeping staircase in the entry way of The Big House. Then down the hallway with the guest rooms. Dr.Schultz is shown his guest room by Stephen. Schultz enters the room and shuts the door behind him. Stephen takes Django to the room next door, opens the door, and leads him in. INT - DJANGO'S GUEST ROOM - DAY A guest room with a big feather bed, dresser drawer with a flowery pitcher of water and basin on top of it. A little bedside table with a lamp and a tiny bell on it. 105 STEPHEN This one's yours, boy. That bed's damn nice too. Django walks over to the window, parts the curtains and peers out. Broomhilda's gone. As he looks through the gla**, snotty Stephen rattles on in the background. STEPHEN Feel free to touch anything you want, cause we burnin' all this sh** once you gone. I'll have somebody knock on the door when the demonstration ready. Django sits down on the bed. Stephen turns to leave. DJANGO Not so fast. STEPHEN I got more important things to do then jaw with you. DJANGO n******g, when I say stop you plant roots. Both the words and the tone stop Stephen dead. He turns around. DJANGO This tiny bell on this little table... .is this for you? I ring this, you do fer me? STEPHEN Me or somebody. Django reaches over and picks up the bell. (a soft) DING-A-LING STEPHEN (UNAMUSED) What 'cha want? DJANGO I want you to pour some water in that bowl for my wash up. Stephen does what he's told, but with attitude. )O' Django shuts the guest room door so the two men are alone. Once Stephen's done, Django stands up from the bed. DJANGO Gimmie. Stephen hands him the basin full of water. Django takes it from him. Then throws the water in Stephen's face. The dripping wet old slave can do nothing against this free man. DJANGO Whatsamatter Stephen, you don't like that? Django takes his hand and SLAPS the old man hard across the face knocking him to the floor; DJANGO That's my kinda bell ringin'. Git up. The old man timidly, slowly, and shaky rises off the floor - as soon as he does - Django SLAPS HIM TO THE FLOOR again. Then Django sits back down on the bed, looking at the old man on the floor below his knees. DJANGO I've known me House n******gs like you my whole life. Play your dog tricks with your Ma**a'. Ya' lip off to him every now an' then, as long as ya' keep it funny. He rolls his eyes and puts up with it, and all the white folks think it's so cute. Meanwhile you got all these n***as round here hoppin' and jumpin' to stay on your good side. Well this time Snowball, you gonna listen to me. You got anymore sa** you wanna sling my way, before they give us a mandingo demonstration, I'm gonna give this whole motherf**in plantation a demonstration, of ME beatin' the BLACK off your a**. I will make you drop your drawers, I'll take off my belt, and I will Wup' your bare a** with it, in front of every n***a on this plantation. And after I do that, let's see you play the rooster round here. X07 STEPHEN Calvin wouldn't. let you do it. DJANGO Oh that's right, he gives you first name privileges... . ain't that cute. Sa** me me again n******g, see what happen'. Stephen lying on the floor, bites his tongue. DJANGO That's what I thought. Now git outta"here. With as much dignity as he can muster, Stephen stands up. Before he leaves, Django tells him;, DJANGO When I ring this bell, you better come a runnin'. You - not nobody else. While I'm on this property, you my n******g Snowball. Stephen leaves. Django lies down on the bed. He covers his eyes with his arm. A door joins Django and Schultz's room. The adjoining door opens, and Schultz stands there. Dr.SCHULTZ Was that wise? Django doesn't remove his arm from.his eyes. DJANGO He ain't tellin' nobody 'bout that. That's all that needs to be said. INT - HALLWAY (BIG HOUSE) - DAY Lara Lee, Cora, and a traumatized, but cleaned up (she's dressed in a domestic maid uniform) Broomhilda stand outside Dr.Schultz's door, after Calvin's sister raps on it. Dr.Schultz opens the door. Dr.SCHULTZ Hello ladies. DOG LARA LEE Dr.Schultz, may I introduce to you, Hildi. Hildi, this is Dr.Schultz, he speaks German. Dr.SCHULTZ (TO BROOMHILDA) I've been informed you do as well. BROOMHILDA (GERMAN) It would be my, pleasure to speak with you in German. Schultz acts for the benefit of Miss Lara's astonishment. Dr.SCHULTZ Astonishing. (IN GERMAN) Please come inside Fraulein. She does, and just'as Lara Lee is to say something, Schultz says, "Thank You very much," and closes the door in her face. Miss Lara looks to her Mammy, and the two women head off nonplussed. INT - SCHULTZ'S GUEST ROOM (BIG HOUSE) - LATE AFTERNOON With the door closed, Schultz turns to the weak, frightened, disoriented girl. He gives her a pleasant smile. Dr.SCHULTZ They call you Hildi, but your real name is Broomhilda, isn't it? BROOMHILDA Yes. How do you know that? Dr.SCHULTZ Stands to reason who ever taught you German would also give you a German name. Can I pour you a gla** of water, Broomhilda? Hearing her name being spoke properly for the first time in awhile, not to mention with a German accent, does have a bit of a calming influence on the frightened girl. 107 WE CUT TO DJANGO on the other side of the adjoining door, listening, waiting for his cue to present himself. BACK TO BROOMHILDA AND Dr.SCHULTZ As Dr.Schultz calmly pours the young lady a gla** of water, he begins talking to her in GERMAN SUBTITLED IN ENGLISH; Dr.SCHULTZ (GERMAN) I'm aware you haven't spoken German in a long while. So I'll talk slowly. I'm only speaking German to you now, Broomhilda, in case Candie's people are listening to us. Myself and a mutual friend of ours, have gone through a lot of trouble, and rode a lot of miles, to find you fraulein - to rescue you. He hands her a tall clear gla** of water. She looks at him weird, rescue me? Dr.SCHULTZ (GERMAN) Please drink. She absentmindedly obeys. Dr.SCHULTZ (.GERMAN). Now it's myself and our mutual friend's intention to take you away from here forever. BROOMHILDA (GERMAN) I don't got any friends. Dr.SCHULTZ (GERMAN) Yes you do. BROOMHILDA (GERMAN) Who? Dr.SCHULTZ (GERMAN) I can't tell you. Our mutual friend has a flair for the dramatic, and he wants to surprise you. !!0 BROOMHILDA (GERMAN) Where is he? He points at the adjoining door. Dr.SCHULTZ (GERMAN) Standing right behind that door. Her head moves in the direction of the door. He looks to the young woman; Dr.SCHULTZ (GERMAN) Promise me you won't scream? She nods her head, yes. Dr.SCHULTZ (GERMAN) Say, I promise. BROOMHILDA (GERMAN) I promise. Dr.Schultz moves to the door, and lightly raps on it. The door knob turns. The door slowly opens revealing... Her husband Django, but different, all cowboyed out and cleaned up. He smiles at her, and says; DJANGO Hey Little Trouble Maker. Obviously a pet name between them. Broomhilda goes into a bit of shock... .first she loses strength in her wrist, so the gla** tips over, and the water spills on the floor ... .followed quickly by herself spilling on the floor in a dead. faint. 1/1 The two men look at the woman on the floor, then at each other; Dr.SCHULTZ You silver tongued devil you. MONTAGE WE DISSOLVE to later, as we see Dr.Schultz and Django explain what- they're doing there, who they're pretending to be, and what their plan is to Broomhilda. We hear a woman whistle a soft pretty tune on the soundtrack. It's not a happy tune.. .per se. But it's pretty, and vaguely optimistic ... WE DISSOLVE TO The SLAVE PEN The doomed men who didn't sell at Greenville, brooding Rodney and Chester and Chicken Charly, spend their last night at Candyland sleeping under the stars in The Slave Pen. The same whistling tune continues over this scene. Rodney sees, The whole slave selling and buying group, Django, Dr.Schultz, Candie, Bartholomew, Moguy, Ace Woody, Brown and Cody, and the Overseers, walk across the plantation grounds on their way to The Arena. Laughin' and joshin' all the way. The hatred Rodney feels for that group of men burns inside him like a red hot poker. A study in powerless fury. DISSOLVE TO BROOMHILDA SETTING THE DINNER TABLE in the dining room of The Big House with its knives, spoons and forks. She's all by herself as she goes through this duty. The whistling tune we've been listening to has been coming from Broomhilda whistling as she sets the table. Suddenly out of the darkness of the background appears Stephen. STEPHEN What you. whistlin', girl? Broomhilda stops whistling and spins surprised in Stephen's direction. STEPHEN What was you whistlin'? BROOMHILDA Oh nuttin'. STEPHEN You weren't whistlin' nothin', you were whistlin' somethin'. What'cha whistlin'? BROOMHILDA I dunno. Somethin' I heard. I don't know no.name. )/Z STEPHEN It's kinder pretty. She doesn't say anything in return. STEPHEN That was a compliment. BROOMHILDA Thank you. Stephen steps out of the shadows into the light closer to Broomhilda. STEPHEN I'm just sayin', two days ago you wus' in such misery here, you hadda run off. So you run off, we catch your a** an' drag you back. Then we stick your bare a** to sizzle in The Hot Box for' 'bout ten hours. Now here you are two days later, whistlin' while you work. I'm just sayin', I.wouldn' think you'd have a hellva lot to whistle 'bout. .I'm jus' sayin'. He watches the effect his words have on Broomhilda's face. BROOMHILDA I'm done here, may I be excused? STEPHEN Yes you may. She moves off to another part of the house. He watches her shuffle off. INT - DINING ROOM (BIG HOUSE) - NIGHT Later that evening, Django and a lot of other white people (Calvin Candie, Lara Lee, Moguy, and Dr.Schultz) sat around the dinner table. They are being served by the black people we've come to know at Candyland (Stephen, Cora, and because Dr.Schultz likes her Broomhilda). Along with an army of DOMESTIC SLAVES acting as wait service. Knowing Django's a slaver, and for his dinner table privileges, the Domestic Slaves despise Django. Even Broomhilda will be shocked to hear him speak like a slaver, even though they obviously gave her a heads up on their masquerade. We pick up the conversation in mid-negotiation. "5. Dr.SCHULTZ Look Monsieur Candle, they were all fine specimens, no doubt about it. But the best three, by far, were Sampson, Goldie, and Eskimo Joe. - By the way, why's he called Eskimo Joe? CALVIN CANDIE Oh you never know how these n******g nicknames get started. His name was Joe-...maybe one day he said he was cold.. .who knows? Dr.SCHULTZ Irregardless, we all know Samson's your best, and you'll never sell him and I can see why, he's a champion. CALVIN CANDIE All three are champions. Django contradicts, as he chews his steak; DJANGO Samson's the champion. The other two are pretty good. All the Domestic Slaves around the table STIFFEN at witnessing Django contradict Calvin Candie. Including Broomhilda, who's wielding the Gravy Boat. After Django says that, while in shock, she over pours beef gravy on Lara Lee's mashed potatoes. LARA LEE Hildi! Broomhilda snaps back. Instead of getting angry, Candle seems to reflect on that an*lysis, then issues his own appraisal; CALVIN CANDIE Can Eskimo Joe whip Sampson, no. Can he take Goldie, probably not - Goldie's the best dirty fightin' n******g I ever saw. But as long as you don't put 'em up against those two., Eskimo Joe will whip any n******gs a**. DJANGO Maybe. The Domestics FREEZE for a jerky second when Django says that. // F Dr.SCHULTZ You must understand, Monsieur Candie, while admittedly a .neophyte in the n******g fight game, I do have a bit of a background in the European traveling circus. Hence, I have big ideas when it comes to presentation. I need something more then just a big n******g. He needs to have panache. A sense of showmanship. I want to be able to . bill. him as. The Black Hercules. I said., and I quote; "I would pay top dollar for the, right n******g." Now I'm not saying Eskimo Joe is the wrong n******g - per se ... but is he right as rain ... ? Everyone waits for Calvin's response. He milks the moment by taking a sip of his mint julep, then says; CALVIN CANDIE Dr.Schultz, i will have you know, there is no one in the n******g fight game that appreciates the value of showmanship more then, Monsieur Calvin J. Candie. But one must not forget the most important thing in the n******g fight game. (BEAT) A n******g that can win fights. That should be your first, second, third, four, and fifth concern. After you have that, and you know you have that, then, you can start to implement a grande design. But since I enjoy oldest man 'at the table status - beating Moguy by one year for that honor allow the old sage to advise, first things first. Broomhilda comes around with a bowl of string green beans. Dr.Schultz says something pleasant to her in German.. She smiles, and says something pleasant back. CALVIN CANDIE I see you two gettin' on? Dr.Schultz breaks into a wide grin; Dr.SCHULTZ .Famously. (DRAMATIC PAUSE) Monsieur Candie, you can't imagine what it's like not to hear you native tongue for four years. CALVIN CANDIE Hell, I can't imagine two weeks in Boston. Â»5 Everybody at the table chuckles. Dr.SCHULTZ I can't express the joy I felt conversing in my mother tongue. And Broomhilda is a charming conversation companion. As Broomhilda holds the bowl of green beans for Moguy, Lara Lee notices how Django and Broomhilda look and try not to look at each other. Stephen enters the room with a fresh mint julep for Monsieur Candie. LARA LEE I don't know doctor, you can lay on all the German sweet talk you want, but it looks like this ponys got big eyes for Django. Lara Lee has no idea how right she is, but when she said it, all three, Django, Broomhilda, and Schultz, involuntarily jerk. AND ... .STEPHEN sees it. Schultz covers the jerk with more of his verbal gobbilty gook. Except for Stephen, no one else was the wiser. Broomhilda takes her greenbeans and leaves the dining room for the kitchen. Stephen watches her go, then looks at Django, then hands Candie his mint julep, and goes into a broad routine for the table's benefit. CALVIN CANDIE Stephen, you're amazing. I haven't finished a drink in this house in twenty years. STEPHEN When a man likes a cold drink, a man likes a COLD drink. Chuckle... . chuckle... CALVIN CANDIE Did you overhear that joke I said about me spending two weeks in Boston STEPHEN (MOCK INDIGNANT) You don't have any idea the work I do to see food gets on the table. 1/6 CALVIN CANDIE What does that hafta do with the price of Tea in China? STEPHEN You think when I'm in that kitchen, I got nothin' better to do then listen in here to you tellin' unfunny jokes? Chuckle... . chuckle... CALVIN CANDIE (MOCK INDIGNATION) What? They laughed! STEPHEN Of course they laughed, their parents raised them right. When they're a guest in somebody's house, and the master of of the house thinks he's- funny, you suppose to laugh. They'd be rude not to. Chuckle... .chuckle... They play their little comedy routine for all it's worth. CALVIN CANDIE No it was really funny, (TO TABLE) wasn't it? STEPHEN Now what do you expect these people to say? What you need to do is stop embarra**ing your guest. (TO TABLE) Everybody don't laugh at him, you're being polite, I understand, you mean well, but it just encourages him. Chuckle-chuckle... As the white folks chuckle, Stephen moves back into the kitchen. TNT - KITCHEN (BIG HOUSE) - NIGHT Once Stephen enters the kitchen, his smile melts away, and he locks eyes on Broomhilda. He moves over to her. STEPHEN You know that n******g? /ï¿½ She spins around. 11 7 BROOMHILDAÂ€¢ Who? STEPHEN Don't stall me b**h, you know who? BROOMHILDA At the table? I don't know him. STEPHEN. You don't know him? BROOMHILDA No. STEPHEN You wouldn't lie to me now, would you? She shakes her head, no. Stephen looks at her skeptical. STEPHEN Okay, if you say so. BACK TO DINNER TABLE Pick it up again in mid-negotiation. DJANGO Eskimo Joe's a quality n******g, no doubt about it. But if it was my money, I wouldn't pay twelve thousand dollars for him. Dr.SCHULTZ What would your price be? DJANGO Well, if I ,was inclined to be generous,. and I don't know why I would be inclined to be generous... . nine thousand ... . maybe. Candie's lawyer chimes in. MOGUY But the real question is, not how much he cost, but how much he can earn? Dr.SCHULTZ Django? DJANGO In a years time, seven or eight fights - outside of Mississippi - where his Candyland pedigree weren't well known - Virginia... (CON'T) 11Y DJANGO (CON'T) Georgia -- all goes well ...twenty to twenty one thousand dollars. CALVIN CANDIE Precisely Bright Boy, good on ya. Any way you cut that cake, that spells profit. Not to, mention a years worth of action at the big table in a blood sport with a winner n******g. However let me reclarify how this whole negotiation came about. It wasn't me who came to you to sell a n******g, it was you who approached me to buy one. Now that nine thousand dollar figure Bright Boy was banding about, ain't too far off from right. And if I wanted to sell Eskimo Joe for that, I could sell 'em any day of the week. But like you said in Greenville doctor, I don't wanna sell 'em. It was only your ridiculous offer of twelve thousand dollars that would make me consider it. Dr.Schultz considers'Calvin Candie's words, then suddenly says; Dr.SCHULTZ You know Monsieur Candie... . you do possess the power of persuasion. Candie smiles at that remark. Then SUDDENLY Schultz SLAPS the table hard with his hand, and says; Dr.SCHULTZ Why not! Monsieur Candie, you have a deal, Eskimo Joe, twelve thousand dollars! The White people at the table get very happy. Dr.Schultz continues; Dr.SCHULTZ However, that is a tremendous amount of money. And the way you have your Mr.Moguy, I have a lawyer, a persnickety man named Tuttle. And I would need my man to draw up a legal contract before I would feel comfortable exchanging that amount of money for flesh. Not to mention having Eskimo Joe examined by a physician of my choosing. So say I return in about five days time with my Mr.Tuttle. And then my Mr.Tuttle and your Mr.Moguy can hash out the finer points between themselves. 117 CALVIN CANDIE Splendid. (CALLING TO THE KITCHEN) Stephen, time for dessert! Stephen, Cora, Broomhilda, and the other Domestics come out of the kitchen to clear away the dirty dishes. Broomhilda goes to Calvin. BROOMHILDA Can I take away your dishes, Monsieur Candle? CALVIN CANDIE Yes you may, Hildi. She begins gathering the dirty dishes. Candie looks up at her as she works. CALVIN CANDIE So Hildi, how you like servin at the big table in the big house? BROOMHILDA I like it a lot Monsieur Candle. CALVIN CANDIE It's a lot better then sizzling in that hot box, or draggin' your a** through a bramble bush, ain't it? BROOMHILDA Yes 'em. With Candie interrogating Broomhilda, Django tenses up. Stephen clocks this. Stephen decides to test Django's reaction. STEPHEN You know Monsieur Candle, the doctor might be interested in seein' Hildi's "peeled" back. Seein' as he don't see many n******gs where he from. CALVIN CANDIE (TO SCHULTZ) When you was alone with Hildi here, didja just speak German, or did ya git her clothes off? !20 Dr.SCHULTZ We just spoke. CALVIN CANDIE So you haven't seen her back? Dr.SCHULTZ No I haven't. CALVIN CANDIE Then Stephen's right, you would probably find this interesting. Hildi, take off your dress, and show us your back. Django hears this. Broomhilda instinctively shoots a look to Django. Stephen clocks it. LARA LEE Calvin, I just got her all dressed up and looking nice. CALVIN CANDIE But Lara Lee, Dr.Schultz is from Dusseldorf, they don't got n******gs there. And he's a man of medicine. I'm sure it would fascinate him, the n******gs endurance for pain. I mean Hildi got something like fifteen lashes on her back. Lara Lee get one, she'd lose her mind. These n******gs are tough, no doubt about it. LARA LEE Calvin, we are eating - dessert, no less. Ain't no one wanna see her whipped up back. Django continues to watching this play out. Stephen watches him. Candie folds. CALVIN CANDIE Okay okay Lara. Maybe after dinner. During the brandies. Broomhilda - dismissed - takes Calvin's dishes and heads back into the kitchen. Stephen takes one more look at Django, and follows Broomhilda behind the kitchen door. 121 INT - KITCHEN (BIG HOUSE) - NIGHT In the kitchen with the OTHER DOMESTICS, Stephen says to Broomhilda; STEPHEN I thought you said you didn't know him? Broomhilda turns around. BROOMHILDA Huh? Stephen approaches her, the other Domestics get quiet and watch. STEPHEN I said, you said, you didn't know him? BROOMHILDA I don't. STEPHEN Yes you do. BROOMHILDA Mister Stephen, I don't. STEPHEN Why you lyin to me? As tears begin to well in her eyes. BROOMBILDA I ain't. STEPHEN Why you cryin'? BROOMHILDA Because you're scarin' me. STEPHEN Why am I scarin' you? BROOMHILDA Because you're scary. Things have become so tense and quiet in the kitchen, that the dinner table conversation begins to bleed inside. We hear Dr.Schultz in the next room say; Dr.SCHULTZ (OS) .to speak German,with Hildi this afternoon was positively soul enriching. Stephen hears this, he's starting to get the idea. 1ZL His eyes to to Broomhilda. STEPHEN You, stay in the kitchen. Stephen moves to the kitchen door, swings it open, and watches Dr.Schultz prepare to proposition Candie for Broomhilda. Stephen knows these two jokers (Django and Schultz) are up to something, and now he's just figured it out. INT - DINNER TABLE (BIG HOUSE) - NIGHT Dr.SCHULTZ You indicated earlier you would be willing to part with Hildi? CALVIN CANDIE Yes siree bob I did. Dr.SCHULTZ Well in that case allow me to propose another proposition? In full "Ole Jimmie" performance, Stephen BARGES in the room, INTERRUPTING Dr.Schultz. STEPHEN - Monsieur Candie? CALVIN CANDIE Stephen, you just interrupted Dr.Schultz. STEPHEN (to Dr.Schultz) Oh, I do apologize, doctor. My hearin' ain't worth a damn these days. (TO CANDIE) Monsieur Candie, I need a word with you in the kitchen. CALVIN CANDIE What, you mean get outta my chair? STEPHEN If you could manage it. It's about dessert. CALVIN CANDIE What about dessert? STEPHEN I would rather tell you in private. CALVIN CANDIE We're having rhubarb pie, what sort of melodrama could be brewing back there? 123 Stephen bends down and whispers in his ear; STEPHEN Meet me in the library. Well that's a horse of a different color. That means whatever Stephen has to say, hasn't anything to do with rhubarb pie. "Meet me in the library" is their secret signal. CALVIN CANDIE Fine friend Stephen, I'll be along momentarily. Stephen exits. Candie stands up from his chair and addresses the table. CALVIN CANDIE Well as you can see, talented no doubt as they are in the kitchen, from time to time, adult supervision is required. If you'll excuse me a moment. Candie exits. TNT - LIBRARY (BIG HOUSE) - NIGHT A masculine sanctuary for Calvin Candie. Walls of perfectly bound books. Stuffed animal heads (deer, boar) that he's shot, sit mounted on the walls. There's comfy red leather chairs and a bar in the globe. When WE CUT TO this room, we cut to Stephen sitting in one of the red leather chairs, drinking a brandy out of a brandy sifter. Calvin enters the room, sees Stephen sitting in the chair, drinking his brandy, and doesn't bat an eye. It appears, in this room, Calvin's and Stephen's life long friendship exits on a different plane. Outside of outside eyes, in this room, all pretense of master and slave is dropped, and the number one and number two.. men of Candyland can talk turkey. CALVIN CANDIE What's the matter? STEPHEN Those motherf**ers ain't here to buy no mandingos. They want that girl. - CALVIN CANDIE What the hell you talkin' about? STEPHEN They playin your a** for a fool, that's what I'm talkin' bout. They ain't here for no muscle bound Jimmie, they here for that girl. CALVIN CANDIE What girl, Hildi? STEPHEN Yeah, Hildi. The n******gs know each other. CALVIN CANDIE He just bought Eskimo Joe. STEPHEN Did he give you any money? CALVIN CANDIE Well not yet, but - STEPHEN - Then he didn't R ..Y diddly, not yet no how. But he was just about to buy, who he came here to buy, when I interrupted him. Thank you Stephen - you're welcome Calvin. CALVIN CANDIE Where you gettin' all this? Why would they go through all that trouble, to. buy a n******g with a chewed up back, ain't worth five hundred dollars? STEPHEN Well they're doin' it cause Django's in love with Hildi. She's probably his wife. Now why that German gives a f** about who that uppity son-of-a--b**h is in love with, I'm sure I don't know. CALVIN CANDIE If she's who they want, why the whole snake oil pitch about mandingos? STEPHEN Because you wouldn't pay no never mind to four hundred dollar. But twelve thousand got you real friendly. Calvin thinks ... .as per usual, Stephen's right. CALVIN CANDIE Those lyin' goddamn.time wastin' sonsab**hes! (LOUDER) Sonsab**hes! You just watch, I'm gonna fix their wagon but good! Stephen, we .gonna have us a Candyland tar and feathering! FL5 STEPHEN Now Calvin.. .not that I wouldn't enjoy seein' something like that ... . but why don't you sit down and let's talk about this. CALVIN CANDLE I let a goddamn n******g and n******g lovin' huckster insinuate themselves at my dinner table, and play this whole goddamn plantation for a fool! STEPHEN Calm-the-f**-down, sit down, and let's discuss this. A frustrated Calvin finally collapses in the chair. STEPHEN Now look, you knew, and I knew, there was something up with these two. We just didn't know what. But now we do. They don't want you to know how bad they want that girl. But these ole boys have rode a lotta miles, went t6 a whole lotta trouble, and done spread a whole lotta bull to get this girl. They must want her mighty bad. Way I see it, ain't nothin' changed. They wanna buy a n******g, you wanna sell a n******g.The only thing done changed is the advantage. (BEAT) Now we got it. .So let's go back in there and busts these motherf**er's chops. INT - DINING ROOM (BIG HOUSE) - NIGHT The Dinner Table Guests listen to Lara Lee'Candie-Fitzwilly hold court melodramatically ... . Till ... . Calvin Candie enters the room from the kitchen door. Lara Lee, oblivious to her brothers change in demeanor, blurts out upon SEEING HIM; LARA LEE There you are! I was beginning to think you and that of crow ran off together. Schultz and Django feel the change in their host's demeanor, as he stares down the table at them. CALVIN CANDLE That'd be a hellva note, wouldn't it Lara Lee? (CON'T) 1Z J CALVIN CANDIE (CON'T) Lara Lee, I just looked out the big winda. Ace Woody's out there dealin' with some shady slaver sellin' a pa**el of Ponys. Would you be a dear and go out there and give them gals an eyeball. That of boy knows everything to know 'bout mandingos, But he don't know diddly 'bout black puddin'. Lara Lee excuses herself and leaves the room, as she goes out, Bartholomew, with his Sawed Off Shotgun, comes.in behind Schultz and Django. CALVIN CANDIE Can I ask you two gentlemen to look over your shoulder? Schultz and Django do, and see Bartholomew with his sawed off shotgun pointing at them. Calvin Candie removes his arm from behind his back, and in his hand he's holding a big ugly hammer. CALVIN CANDIE Now lay your palms flat on the table top. They put their palms on the table. CALVIN CANDIE Now you lift those palms off that turtle shell table top, Bartholomew gonna let loose with both barrels of that sawed off. There's been a lotta lies said around this table tonight-but that.. .you can believe. (BEAT) Mr.Moguy, would you be so kind as to collect the pistols hangin' on those boys'hips? Mr.Moguy does. Holding the hammer in his hand, Candie continues to hold court. CALVIN CANDIE Now where were we? Oh yes, I do believe you were just getting ready to make me a proposition to buy Broomhilda. Right? Dr.SCHULTZ Right. CALVIN CANDIE (YELLING TO STEPHEN) Stephen! Bring out Hildi! Ix? Stephen enters the dining room through the kitchen door, holding roughly in his grip, Broomhilda. He holds a small Derringer pistol against the side of her head. Django and Schultz react. CALVIN CANDIE Now it should be quite clear by now I know you're not here to buy no mandingos. Reason y'all came to Candyland, is y'all want Broomhilda. But y'all don't want me to know how much you want 'er. So instead, you waste my time with all this Eskimo Joe horsesh**. (TO STEPHEN) Stephen, put her in that chair. Stephen sits the young lady down in Moguy's old chair. With their palms against the table, unarmed, Django and Schultz silently watch Candie's next move. Candie, still holding the hammer, continues. CALVIN CANDIE Now the way I see it, ain't nothin' changed.. You still wanna buy a n******g, I still wanna sell one. So, with that in mind, in Greenville, Dr.Schultz, you yourself said, "For the Right n******g you'd be willing to pay what some would consider a ridiculous amount." To which, me myself said, "What is your definition of ridiculous?" To which you said, "Twelve thousand dollars." Now considering you two have ridden a whole lotta miles, went to a whole lotta trouble, and done spread a whole lotta bull, to purchase the lovely lady to my left, it would appear that Broomhilda is, "The Right n******g." And if y'all wanna leave Candyland with Broomhilda, the price is twelve thousand dollars. Dr.SCHULTZ I take it you prefer the take it or leave it style of negotiating. Candie continuing to hold the hammer continues. CALVIN CANDIE Under the laws of Chickasaw County, Broomhilda is my property. And I can do anything with my property I so desire. He brings the big hammer down hard on the dinner table, making everybody jump. IN CALVIN CANDIE And if you think my price for this n******g is too steep, what I'm gonna desire to do is, take this hammer and beat her a** to d**h with it. Right in front of both y'all. He SMASHES the arm rest of the chair Broomhilda's sitting in. CALVIN CANDIE Put up or shut up, Schultz. You wanna save this n******g b**h, you gonna pay my price. Dr.SCHULTZ May I lift my hands from the table top in order to remove my billfold? CALVIN CANDIE Yes you may. Dr.Schultz removes his long brown leather billfold from his gray suit jacket, and says;, Dr.SCHULTZ Easy come, easy go. He slides the billfold down the table to Candie. The plantation owner takes out the money, does a quick count, then looks down the table at the seated Schultz, and says; CALVIN CANDIE Pleasure doin' business with you. TIME CUT INT - DINING ROOM (BIG HOUSE) - NIGHT INSERT: Calvin signing over Broomhilda's BILL OF SALE. .Moguy signs as a witness. Broomhilda stands next to Django, and watches her Master sign her freedom papers. Dr.Schultz sits off by himself. He's very disturbed. All the white people with Calvin Candie are happy and celebrate Candie's successes with gla**es of Brandy. Lara Lee, Ace Woody, and Brown and Cody have joined the' celebration. For an experienced horsetrader, the just concluded transaction is a thing of legend. He just sold a Pony, with a tore up back, and a runaway "r" burned in her cheek - ain't worth five hundred dollars- for twelve thousand. Stephen smiles and laughs it up with everybody else. The Other domestics bring out little plates of rhubarb pie, and buzz around pouring coffee for the white people. Candie walks over to the seated Schultz, he carries a small plate of rhubarb pie with him. CALVIN CANDIE (TO SCHULTZ) Rhubarb pie? Schultz looks at the pie and the man. Dr.SCHULTZ No. CALVIN CANDIE Are you brooding 'bout me getting the best of ya? Dr.SCHULTZ Actually, I was thinking of that poor devil you fed to the dogs today, D'Artagnan. And I was wondering what Dumas would make of all this. Calvin hands the doctor the two pieces of paper he needs. Broomhilda's bill of sale, and her freedom papers. As he says the following he examines he papers. CALVIN CANDIE Dumas...? Dr.SCHULTZ Alexander Dumas. He wrote "The Three Musketeers." I figured you must be an admirer. You named your slave after that novel's lead character. If Alexander Dumas had been there today, I wonder what he would of made of it? CALVIN CANDIE You doubt he'd approve? Dr.SCHULTZ Yes his approval would be a dubious proposition at best. CALVIN CANDIE Soft hearted Frenchy? Dr.SCHULTZ Alexander Dumas is black. 1 30 Schultz rises, puts the papers in his back pocket, .looks to his two companions, Django and Broomhilda, and says; Dr.SCHULTZ We got it, let's go. (TO CANDIE) Normally Monsieur Candie, I would say, auf wiedersehen. But since what auf wiedersehen actually means is, till I see you again, and since I never wish to see you again, to you sir, I say, goodbye. Schultz begins to cross the room towards the exit. When Calvin says to the German's back; CALVIN CANDIE One more moment, Doc! Dr.SCHULTZ What? CALVIN CANDIE It's a custom here in the South, once a business deal is concluded, for the two parties to shake hands. It implies good faith. Dr.SCHULTZ I'm not from the South. He turns to leave. CALVIN CANDIE You're in my house, doctor, I'm afraid I must insist. This turns Schultz around. Dr.SCHULTZ Insist what...? That I shake your hand before I leave? Then I'm afraid I must insist in the opposite direction. Calvin walks closer to the German doctor. CALVIN CANDIE You know what I think you are? Dr.SCHULTZ What you think I am? No I don't. 1310, CALVIN CANDLE I think you are a bad loser. Dr.SCHULTZ And I think you're an abysmal winner. CALVIN CANDLE Never the less, here in Chickasaw County a deal ain't done till the two parties have shook hands. Even after all this paper signin', don't mean sh** you don't shake my hand. Dr.SCHULTZ If I don't shake your hand, you're gonna throw away twelve thousand dollars...? I don't think so. Schultz looks to Django and Broomhilda. Dr.SCHULTZ Let's go. CALVIN CANDIE Bartholomew, if she tries to leave here before this German shakes my hand. Cut 'er down. Schultz looks to Django... . then to Candle.. .and then with a smile on his face, and a twinkle in his eye, asks CANDLE; Dr.SCHULTZ. You really want me to shake your hand? Django gets it. CALVIN CANDIE I insist. DR -Schultz smiles. Dr.SCHULTZ Well, if you insist. Django goes to stop him... 1 714 The German crosses toward Candie, offering him his hand... Candie offers his hand to Schultz... The small DERRINGER POPS into Schultz's outstretched hand... POP! He SHOOTS CALVIN CANDIE in the heart. Candie has a look of shock as blood explodes from his heart, and he falls to the floor. Everybody is stunned. Schultz looks to Django. Django looks back. Dr.SCHULTZ (TO DJANGO) I'm sorry. I couldn't resist. Dr.SCHULTZ is BLOWN APART by Bartholomew's SAWED OFF SHOTGUN. The room comes to its senses and attacks Django and Broomhilda. FADE TO BLACK We FADE UP FROM BLACK to see: The soles of Django's bare feet. A rope is tied around the ankles, and it's obvious he's been strung up, upside down. The CAMERA moves down his naked body, down his legs (we see his wrists are'bound with ropes to his thigh), down his bare bu*tocks, down his whip scarred back, to the back of his head which hovers just about three inches from the barn yard wooden floor. INT - BARN - AFTERNOON Eight year old stable boy, Timmy, wipes the unconscious Django's face with a wet rag. They are all alone in the barn. Django begins to come to ... TIMMY (SHHH'S HIM) Act like you still sleepin'. DJANGO Where's Broomhilda? TIMMY Who? DJANGO Hildi, the slave girl that ran away a couple of days ago. They had her in The Hot Box. TIMMY I don't know 'bout no girl. DJANGO How 'bout that German white man I came here with? TIMMY Oh he's dead. His body's over there. Django twists upside down on the rope, and sees the corpse of his friend King Schultz dead on the filthy barn yard floor. The sight of the lifeless carca** of the doctor fills Django with pain and anger. Just then head overseer Ace Woody walks in the barn. Upon seeing Ace, Timmy hightails it out of there, Ace throws an empty bucket at the fleeing boy. ACE WOODY Git on outta here, boy! 133 Django, slightly..swaying to and fro from the rope, looks upside down at Ace Woody, all dressed up in a black suit with a string tie, which makes him look a bit like Wyatt Earp. ACE WOODY So y'all bounty hunters,.huh? Django thinks, "How does he know?" ACE WOODY I knew there was something fishy 'bout, y'all. We found your wanted posters and book of figures in your saddle bags. I gotta say, ain't never heard of no black bounty hunter before. A black boy paid to k** white men? How did ya like that line of work? Django retorts, upside down. DJANGO Well, it turns out I was a natural. Ace woody laughs. ACE WOODY Boy, people 'round here are cross wit you. Ace Woody pulls up a tiny milking stool, and sits down on it, a body length from the hanging man. ACE WOODY See Boss Man was a rather beloved figure 'round here. Now he's dead as fried chicken, everyone 'round here blames you. Ace Woody opens his black suit jacket, we see not only does he wear a gun and holster around his waist, he carries a HUGE BOWIE KNIFE ina shoulder holster. He removes the big blade from its sheath. ACE WOODY Yep, Boss Man's gone. Poor Calvin. Poor goddamn Calvin. We're burnin' him in a few hours. At sunset. Should be real pretty. However ... . I don't think you're gonna be able to attend. Ace takes the Bowie Knife and THROWS IT... . IT LANDS stuck in the wooden barn yard floor, four inches from Django's face. Ace Woody slowly rises up from the tiny milking stool, and slowly walks the length of the floor between him and Django, pulls the blade out of the floor, and walks back to his stool, and sits back down. As he does this, he says; ACE WOODY Now I understand you didn't really have nuttin' to do wit it. It's that German sunb**h the trouble maker. You just wanted to git your girl, and hightail your n******g a**es outta here. Now I appreciate that. But grieving folks 'round here need someone to blame. And I guess they figure if you hadn't brought your black a** 'round here in the first place, Boss Man still be alive. And you know what, they got a point. He THROWS the knife again... .this time IT LANDS in the floor two inches from Django's face. He walks the same path from the knife and back to the tiny stool. As he does he says; ACE WOODY Now when it comes to making a n******g regret the error of his ways, believe me when I. tell you, I know every goddamn trick in the book. Now there's a lotta a** busters out there try an' git creative with the way they bust a**. But me... .I always found the best methods are, tried and true. He THROWS the knife again... Django JERKS his head back ... .and the knife LANDS in the floor, right where Django's head was. Ace Woody stands up, walks the floor to the Bowie, yanks it out of the wood., and straightens up, standing right beside the hanging upside down naked black man. Ace talks confidentially to the bound man at his mercy. ACE WOODY You know Blackie, here at Candyland, I had me a real sweet deal. These last eleven years training Calvin's mandingos I made me more money I made my whole goddamn life. And no end in sight, neither. (BEAT) Then you came along. Knocked me right off that perch I was sittin' pretty on. You think Miss Lara gonna be as.interested in mandingos as her brother? Uuummmm...I don't think so. What I think, is you done f**ed up my good thang. So when it comes to you, Django boy, you could say I gotta axe to grind. IJS He grabs a handfull of Django's genitals in his fist. He takes his big Bowie, and places the razor sharp BLADE against Django's nut sack. Django dances at the end of the rope like live bait on a fishing pole. ACE WOODY How's the blade of that Bowie feel against your ball sack, Blackie? A Bowie right off the wet stone. Now that's what I call sharp. Django dances some more ... ACE WOODY Yep n******g, I'm gonna snip them nuts. (BREATH) On the count of three. DJANGO SCREAMS: DJANGO NO!!!! ACE WOODY ONE ... DJANGO NO DON'T DO IT!!!!! ACE WOODY Got to do it, boy. TWO... DJANGO NO!!!! ! Just then Stephen appears in the entrance of the barn/blacksmith facility. He's holding Django's clothes in a bundle under his arm. STEPHEN Cap't, Miss Lara lookin' for you. She wanna talk about the Old Man's funeral. Oh, and she changed her mind 'bout snippin' Django. She gonna give 'em to the LeQuint Dickey people. While still keeping a firm grip on Django's'junk, Ace Woody says; ACE WOODY Well she didn't waste a minute tellin' me. Ace Woody looks down at Django, both men get over the aborted emotion of what almost happened. ACE WOODY (TO DJANGO) How disappointing. 171 ACE WOODY (TO STEPHEN) Where she at? STEPHEN She in the big house. The kitchen. Ace turns to leave, Stephen goes over to a big fiery furnace in the blacksmith barn, and begins poking a LONG POKER which lies buried in the fire. Django's clothes are dumped by the furnace. ACE WOODY You gonna look after our friend? As, he plays with the poker in the fire, he says; STEPHEN Oh yes sirree Bob, you know I am! 01' Snowball and a certain naked a** upside down n******g we both know, gonna have us a big of chat. He removes the big black poker from the furnaces fire, it's RED HOT END GLOWS ORANGE. STEPHEN Snowballs just makin' sure his talking stick is all nice and FROSTY. Ace Woody chuckles to himself as he exits the barn. Just Stephen with a red hot poker, and naked, bound upside down Django, alone. With the red hot poker in his hand Snowball approaches the naked hanging Django. STEPHEN I bet you an' that German thought y'all was on easy street for awhile - didn't ya? Y'all track Hildi to the Old Man. You get the idea to go to Greenville - look up the Ole Man there. (BREATH) That was a good idea. I bet y'all couldn't believe how easy it was. You meet Moguy, he buys your horsesh**. Ya' git your a** invited to Candyland, no fuss no muss. Ya' ride the whole way to the plantation, no one the wiser. Then ya' ride in to Candyland - ride your goddamn horses right up to the motherf**ing Big House. 137 STEPHEN (BEAT) And that's where you met me. And that's when you knew your goose was cooked. He TOUCHES Django's NIPPLE with the ORANGE HOT TIP of the poker. Unlike a lot of movie hero's, Django doesn't take torture silently and stoically. This sh** f**ing hurts, so you best believe he screams his f**ing a** off, and twists in agony when he gets touched by the orange tip of that red hot poker. STEPHEN Now that fancy talkin' white man of yours didn't know what's what. He still thought his a** hadda chance. But like the One-Eyed Charly you are, you always know the end is near 'fore the white folks. With the ORANGE HOT poker, he BURNS OFF Django's other NIPPLE. The smell of burned flesh smokes in the air. Stephen makes a show of breathing it in his nostrils. STEPHEN Damn n******g, you smell good. He walks behind Django with the poker. STEPHEN You know, when you was sittin' on that feather bed in the quest room in the Big House - After you slapped my a** to the floor You were sayin' something 'bout my BARE BLACK a**, and how you were gonna BUST IT. Remember that, Bright Boy? He places the HOT ORANGE END OF THE POKER hard against Django's BARE bu*tocks. Django SCREAMS! Stephen LAUGHS. Stephen walks away and sticks the poker back in the fire. He goes through Django's clothes and pulls out his tan pants. He tosses them on the floor by the hanging man. STEPHEN You leavin', that's what you can take with you. Stephen walks over to the hanging upside down man, and as he talks to him, he begins fondling Django's genitals. I31 STEPHEN Now you were quite the topic of conversation for the last few hours. Seemed like folks never had a bright idea in their life, was comin' up with different ways to k** your ASS. Now most of 'dem ideas involved f**in wit your fun parts. But while that might SEEM like a good idea. Truth is, once ya snip a n******gs nuts, most bleed out. Then I say; "Hells bells, the n******gs we send to LeQuint Dickey, got it worse then that." Then they're, "Let's whip 'em to d**h," "Throw 'em to the mandingos," "Feed 'em to Stonesipher's dogs." And then I say, "What's so special 'bout that? We do that sh** all the time. Hells bells, the n******gs we send to LeQuint Dickey got it worse then that." He stops ma**aging Django's balls. STEPHEN So Miss Lara got the bright idea of givin' your a** to The LeQuint Dickey Mining Company. And as a slave of The LeQuint Dickey Mining Company, hence forth, till the day you die, you will be swinging a sledgehammer, all day, every day, turning big rocks into little rocks. And trust me when I tell you it's gonna be 'bout as much fun as it sounds. We sell 'em the mandingos ain't good for nuttin' no more. Like them three y'all came back with. For them big garboons we get twenty a piece. They last 'bout six months. Skinny n******g like you, I give two or three. Stephen turns to leave. DJANGO Where's Broomhilda? STEPHEN She's all right for now. Miss Lara soft hearted on 'er. She gave her to Billy Crash. He was sweet on 'er. Now Billy Crash might not look or smell too good, but ain't nobody gonna bother her. Stephen limps away. CUT TO 137 EXT - CANDYLAND - AFTERNOON The Caravan coming from The LeQuint Dickey Mining Company comes riding up to the plantation. It comes equipped with one CAGE WAGON (from a prison), ONE white trash PECKAWOOD named FLOYD to drive the wagon, a 2nd white trash PECKAWOOD named ROY to ride lead horse, and a white trash PECKAWOOD named JANO to bring up the rear riding horses a**, plus a pack horse that carries dynamite for the mine. The three peckawoods, who all talk with thick Australian accents, have stopped the caravan and are having a powwow. ROY It's chaos 'round here. Some ba*tard shot the big boss. Let's git the n******gs and git out. The Three mandingos who weren't sold in Greenville, Rodney, Chicken Charly, and Chester are walked to the wagon by overseers Tommy Giles. and Broomhilda's new owner Billy Crash. All three slaves carry the bundles of personal belongings they've had since Greenville. Chester wears a hat, and Chicken Charly has a corncob pipe in his mouth. The wagon driver, Floyd, approaches them. FLOYD You blacks line up. They do. FLOYD What's your names? CHESTER Chester. CHICKEN CHARLY Chicken Charly. RODNEY Rodney. FLOYD I'm.Floyd, this is Roy, and that's Jano. (POINTING AT CHESTER'S BUNDLE) What's that? CHESTER It's my stuff. FLOYD Throw it in the dirt. 1 40 All three throw their only belongings in the dirt. Floyd takes the'hat off of Chester's head and sails it away. As well as ripping the corncob pipe out of Chicken Charly's mouth and tossing it in the dirt. FLOYD (to Chicken Charly) You won't be doin' much smokin' mate. (to all three) You are now the property of The LeQuint Dickey Mining Company. Git in the cage. This is going to be worse then the three even thought. They climb into the cage wagon. Floyd locks it behind them. Roy, the head Aussie, pays Billy Crash for the slaves, when we hear Ace Woody call out; ACE WOODY (OS) Hold on, we got another hammer swinger for ya. Ace Woody comes walking out of the barn with Django, shirtless and barefoot (just like we met him at beginning of the story), wearing his old tan pants, and his wrists bound by a rope. ROY We can't use that skinny ba*tard. ACE WOODY We got an arraignment with Mr.Dickey to take punishment n******gs from time to time. ROY No one tole' me 'bout no arraignment. ACE WOODY Well if Mr.Dickey ain't takin' you into his confidence, I'm sure I don't know why. ROY Look, no one tole' me 'bout - ACE WOODY - No, you look peckawood, this n******g got Boss Candie k**ed. And we want his a** punished. Now I know you need our bucks. So.unless you wanna ride back to the mine, and tell Mr.Dickey how and why you f**ed up our nice little business relationship, take this n******g and hush up about it! ROY Fine, stick 'em in the goddamn cage. "H Django sees the three mandingos in the cage. They see him too. Django stops Ace Woody. DJANGO Whoa whoa whoa, you can't put me in there with them. They'll k** me. What about all that -turning big rocks into little rocks- sh** y'all was. talkin' about? I mean that was the idea ain't it? You put me in there with them big a** garboons they k** me on the way. I mean if that's the idea, that's the idea, but I didn't think that was the idea. Ace knows he's right, so he turns to Roy and Floyd. ACE WOODY He can't go in there with them. FLOYD Why not? ACE WOODY They'll k** him. FLOYD I don't give a damn. ACE WOODY Well we do! He k**ed the f**in Boss Man, we want the mine to grind him to gravel! ROY Jano, you're riclin' horses a**, you take this black and make sure he keeps up. JANO Oh, I'll keep 'em up. Jano takes the rope tired around Django's wrists.and ties the other end around his saddle horn. The LeQuint Dickey Mining Company caravan leaves Candyland. EXT - MISSISSIPPI COUNTRY ROAD - DAY The Caravan makes its way down a dirt road in pretty Chickasaw County. Stoic Roy riding lead horse, Floyd driving the cage wagon, Rodney, Chester, and Chicken Charly bouncing around inside the cage wagon, Jano riding horses a**, and Django being led on foot behind him. J42 DJANGO (TO JANO) Hey boy! Jano ignores him. DJANGO I said, hey white boy! JANO Keep your mouth shut black, you ain't got nothing to say I wanna hear. DJANGO What's he pay you? JANO Who? DJANGO LeQuint Dickey? JANO You gotta few more things to worry about black boy, then what I get paid. DJANGO I ain't worried about it. I'm just curious. I mean, I'm the property of The LeQuint Dickey Mining Company, ain't I? JANO Yeah. DJANGO And you work for The LeQuint Dickey Mining Company, dont'cha? JANO Yeah? DJANGO Well, I know how much I'm gettin' paid, how much you gettin' paid? I mean like for instance, how much you gettin' paid for today? JANO Look black, it don't work like that. Dickey paid for our pa**age from Australia to here. We get a little money to send back home, and pay him back for the boat trip. I" DJANGO How long you been here? JANO 'bout two years. DJANGO And you ain't paid him back yet? JANO (DEFENSIVELY) No, not yet! DJANGO (LAUGHS) You a slave too, peckawood. They just bought your a** for the price of a boat ride. At least they didn't charge us for our boat ride ... . ha ha ha ha... JANO (YELLING) You shut up! Jano's hand grabs his riding crop, and he brings it up to strike Django, when the black man says to him; DJANGO How'd you like to make eleven thousand dollars? JANO What? Django steps closer to him. DJANGO How would you like to make eleven thousand dollars -- eleven thousand five hundred, actually? Roy, in the lead, yells back to Jano; ROY Goddamit Jano, stop f**in with that black, and keep up! DJANGO Keep riding, just ride slower. They move forward, with Django walking beside Jano on his horse. R44 DJANGO Back at that plantation Candyland, there was an eleven thousand five hundred dollar fortune just sittin there, and y'all rode right past it. JANO You be damned, blackie. We're not bandits. DJANGO That's what's nice about this fortune, it's not illegal. You can't steal it, ya gotta earn it. JANO If you got something to say, say it. DJANGO The eleven thousand five hundred dollar fortune waiting for you back at Candyland, is in the form of a wanted dead or alive bounty on Smitty Bacall and the Smitty Bacall Gang. JANO Who the f** is Smitty Bacall? DJANGO Smitty Bacall is the leader of a murdering gang of stagecoach robbers, The Bacall Gang. There's a seven thousand dollar dead or alive bounty on him. And one thousand five hundred dollars for each of his three accomplices, Dandy Michaels, Gerald Nash, and Crazy Craig Koons. And all four of them gentlemen are sittin back there at Candyland...laughin their a** off... cause they just got away with murder. (BEAT) But it don't hafta be that way. You and your mates could get that money. JANO Who pays the money? DJANGO The Court. JANO The Court? DJANGO The Austin Texas Courthouse. Oh, and by the way, the court don't give a damn about how you k** 'em. You can shoot 'em in the back, from up on a hill, in the back of the head, in their sleep - don't matter. (CON'T) DJANGO (CON'T) Court doesn't care how you do it, just as long as you do it. JANO They.pay us to k** 'em? DJANGO No. You k** 'em, and they payyou for the corpse. Get it? JANO I think so... . what did these jokers do again? DJANGO k**ed innocent people in a stagecoach robbery. I've got the handbill in my pocket. Django digs into his tan pants and pulls out the folded up Smitty Bacall handbill that Dr.Schultz told him to hang on to for good luck. He hands it to Jano. JANO What's this? DJANGO I told you, it's the handbill for Smitty Bacall and The Bacall Gang. Jano looks at the handbill. DJANGO Whatsamatter, can't you read? JANO I can read, I just don't have my gla**es. I didn't take 'em with me, because I didn't think I'd be doin much readin' on a n******g run. DJANGO What about that cowboy fella in the lead? JANO Roy? DJANGO Can Roy read? JANO Look, get it straight black, I can f**in read. I just don't got my gla**es. CUT TO 146 EXT -- BEAUTIFUL MISSISSIPPI COUNTRY TABLEAUX at DUSK The LeQuint Dickey Mining Co. Caravan has stopped, and pulled over to the side of the road. IN THE CAGE Rodney, Chicken Charly, and Chester sit in the cage, and watch through the bars this new turn of events without any.clear comprehension of what they're watching. What the three caged men are watching is the three Australian mining company employees and Django, off in the distance (where they can't hear what they're saying), having some sort of a discussion. That includes the still bound by the wrists Django showing the three men a piece of paper. INSERT: SMITTY BACALL'S WANTED DEAD OR ALIVE HANDBILL Roy holds it in his hand as he reads and Django talks. DJANGO I ain't no goddamn slave. Do I sound-like a f**in slave? I'm a bounty hunter. Yesterday as a free man, I rode into Candyland on a horse with my white German partner, Dr.King Schultz. We'd tracked The Bacall Gang from Texas all the way to Chickasaw County. Found them laying low at Candyland. We went in to get 'em, things went sour. My partner was k**ed, and Calvin Candie was shot. Everybody there decided to blame me, so here I am. (TO ROY) You know I'm not on the manifest? All of you know I'm not suppose to be on this trip. But those four men, are still back there. They're still wanted. And that eleven thousand five hundred is still up for grabs. And the last thing they'd expect is y'all rid.in back and gittin it. Django is damn convincing. ROY What's your deal? You tell us who they are and we let ya go? DJANGO I ain't tellin' who they are. But, you give me a pistol, and a horse, and five hundred dollars of that eleven thousand five hundred, and I'll point 'em out to you. He's got these greedy sonsab**hes right on the hook...he just needs one little push. 1Q7 DJANGO Y'all wanna ask somebody if I'm tellin the truth, ask them mandingos. You can't put me in the same cage with them without them k**in me. Why ya think that is? Ask them .am I a Candyland slave, or did I ride in there on a horse, with a white man, yesterday? CUT TO ROY AND FLOYD go to the Cage Wagon to talk with the three mandingos. As they walk, Roy continues to study the handbill. ROY (READING ALOUD) "Wanted, dead or alive. Smitty Bacall and The Bacall Gang. For murder and stagecoach robbery. Seven thousand dollars for Bacall. One thousand five hundred dollars for each of his gang members... ." This is a real handbill. FLOYD Just because the handbill's real doesn't mean that other bunch of malarky.is. ROY Why would a n******g slave have a wanted dead or alive handbill in his pocket? Floyd doesn't have an answer for that one. ROY That black's damn convincing. They get to The Cage O'Men. Roy startles them with a direct question; ROY (pointing, behind him, at Django) That black ride into Candyland yesterday? The Caged Men don't know what they're suppose to say. Roy removes the pistol from his belt, co*ks back the hammer and points the barrel at the cage. ROY I'm gonna ask again, and remember I don't like liars. Is he a Candyland slave, or did he ride in with a white man yesterday? CHESTER Yeah. They walked us from the Greenville Auction and he rode on a horse with a white man. ROY This white man, was the black his slave? RODNEY He weren't no slave. FLOYD You sure about that? RODNEY Damn sure. Roy starts taking the possibility of an eleven thousand dollar windfall seriously. ROY What happened at Candyland? CHICKEN CHARLY Bunch of shootin, master got shot. ROY Who shot 'em? CHICKEN CHARLY The German. ROY And why did he do that? CHICKEN CHARLY The n******g and the German were actin as if they were slavers, but they weren't. ROY What were they? RODNEY Bounty hunters. Floyd is starting to get convinced. FLOYD Goddamn Roy, this could be big. (to the Slaves) Do you know who Smitty Bacall is? !Y, ROY (barking at Floyd) They wouldn't go by their outlaw names you idiot! CUT TO Roy and Floyd walk back to Django and Jano. ROY Okay black, you gotta deal. Jano reacts. DJANGO I got one more condition. ROY What? DJANGO When we get there, when the time comes, you let me help you k** 'em. Roy whips out a big knife, and cuts the rope around Django's wrists. ROY (LAUGHING) You got a deal, black. Django interrupts - DJANGO You gotta deal, mate. Roy really laughs this time. As does Django and the other two Aussies. ROY You're all right for a black fella! THE CAGE Rodney, Chicken Charly, and Chester watch the sight of the white men cutting the ropes that bound the black man's wrists, as well as them all sharing a laugh, with wonderment. "Who is this n******g?" BACK WITH THE LAUGHING QUARTET ROY We'll give you that pack horse. DJANGO What's them saddle bags filled with? FLOYD Dynamite. !so DJANGO I.ain't ridin no horse with no goddamn dynamite on his back! ROY (CHUCKLE CHUCKLE) Yeah, I can see why. Jano take those sticks off that horse, and stick 'em in the n******g cage. Jano does this, lifting two out of four bags filled with dynamite off the pack horse, and walking to the cage wagon, unlocking ' the cage door, and placing the bags inside. The Black Men in the cage don't like this at all. Jano removes the last of the dynamite filled saddle bags from Django's horse, throws them over his shoulders, and begins walking back to The Cage Wagon. Django moves to his new pack horse, and says; DJANGO Where's my pistol? ROY Floyd, you got that rifle on the wagon, give 'em your gun and your belt. Floyd unbuckles his gun belt, gun and all, folds it up, and walks over to Django handing it to him. Django accepts it. About the pistol, Floyd tells Django; FLOYD Now don't drop it now. I just had the sights fixed last month, it's perfect. Django holding the gunbelt in his hand. DJANGO That's good to know. Without taking the pistol out of the gunbelt, DJANGO SHOOTS FLOYD TWICE in the chest... Roy turns around... Django takes the gun out of the holster... . BAM...ROY is HIT in the UPPER BRAIN AREA and falls to the gra** dead. Jano goes for the gun on his hip. Django SHOOTS ONE OF THE SADDLE BAGS over.Jano's shoulder...KAHBOOM!!!!! Jano is BLOWN TO SMITHEREENS... The KAHBOOM knocks Django on his a**... The CAGE WAGON Rodney, Chester, and Chicken Charlie come down from the shock of the blast. The image outside the bars of their cage is of DUST and SMOKE in the air, obscuring all visibility... THEN ... A sudden GUST OF WIND comes and BLOWS all the smoke and dust away, REVEALING in bright color focus... .DJANGO standing among the two dead Aussies, and whatever is left of Jano. He's shoeless and shirtless, but Floyd's pistol and gunbelt sit wrapped around his waist. He locks eyes with the three men in the cage.. He then moves towards the wagon, and unhooks the mine company beast, and climbs aboard him bareback. He leans over and snatches the RIFLE that Floyd kept on the wagon seat next to him. Grabbing a fistful of the horses mane, he digs his heels into the beast's side. The pack animals SPRINGS TO LIFE under the new rider. By now it should be apparent that Django brings the best out of horses, and horses bring the best out of Django. From his high horse Django looks down at The Three Caged Men... .THEN... Using the rifle in a QUICK ONE HANDED MOVE he SHOOTS the lock on the cage door. He looks at the three men, especially Rodney, then says; DJANGO Throw up that dynamite. Rodney grabs a saddle bag full of dynamite and tosses it to Django on his Horse. Django wraps it around the Horse's neck, turns the beast around, and without saying another word, rides back in the direction of Candyland. The Three NOW FREE Mandingos, watch him ride away. "Who was that n******g?" CUT TO l.rz A GORGEOUS BIG SKY SOUTHERN PURPLE AND ORANGE SUNSET WE PAN DOWN from the sky and see in small black silhouette the Funeral Procession of Calvin Candie carrying the Coffin of the former Master up the hill on 'Candyland that leads to the Graveyard. A WHITE PREACHER walks out in front of the Procession. Then comes Calvin Candie's Coffin carried by eight pallbearers, Stephen, Moguy, Bartholomew, Ace Woody, Brown, Cody, and his best mandingos SAMSON and GOLDIE. The first mourner in line is Lara Lee dressed in a fancy black dress, wide brim black hat, black veil, and ever present black Mammy (Cora) crying at her side. CORA The sky's real pretty Miss Lara. Monsieur Candie think it real nice. LARA LEE Ah, bless you sweet innocent Cora. WE CROSS CUT WITH SHOTS of Django RIDING THE HORSE on the way back to Candyland. The bare backed black man riding the horse bareback, holding the RIFLE in one hand, a fistful of the horses mane in the other, hauling a** against a gorgeous SUNSET SKY, looks like an Indian. EXT - TRACKER SHACK/BUNKHOUSE - SUNSET The same GORGEOUS SUNSET SKY over the same sh**ty Tracker shack -Bunkhouse that Mr.Stonesipher and his three obscure companions share. The GERMAN SHEPHERDS (including Marsha) rest in the chicken wire kennel next to the bunkhouse. INT - TRACKER SHACK - SUNSET The FOUR TRACKERS are.missing the funeral, hanging out in the bunkhouse wearing their beards. Mr.Stonesipher, Lex, and Stew are playing a mountain card game which looks like poker, except the way you get rid of your cards is different. Instead of chips they play with, "ni**er EARS" (yes, the ears of slaves). On a second viewing the audience may notice that some of the slaves at Candyland are missing one ear. Jake, the biggest, is off by himself, pounding nails into a small delicate BIRDHOUSE he's making. EXT - WOODS-OUTSIDE THE SHACK - SUNSET INSERT: HORSE HOOFS walking then stopping. Django's bare feet jump on to the ground. IS3 INT - DOG KENNEL - SUNSET The FOUR DOGS lay out... . when, Marsha hears something, and raises her head... SHIRTLESS DJANGO moves quietly through the woods. MARSHA rises to all fours, to listen and smell. out in the darkness, her three PALS continue to lay out. DJANGO BY A TREE he can see the bunkhouse entrance, the LONG HANDLE AXE buried in the chopping block, the kennel, and the one dog looking his way. MARSHA BARK! The Other Three Dogs wake up, and go on alert. Django disappears. INT - TRACKER SHACK - SUNSET They hear the barking inside. Mr.STONESIPHER Jake! Jake building his birdhouse. JAKE Yeah? Mr.STONESIPHER Check on Marsha. Jake, the one not playing the game, puts aside his hammer, and rises to check on them (these guys are very sensitive about their dogs). EXT - TRACKER SHACK As the BARKING gets louder, WE SEE A CLOSE UP of The Axe in the chopping block, and Django's hand REMOVING IT. JAKE opens the bunkhouse door-he sees directly a hundred feet in front of him, Django standing there with the axe. Just as he reacts... DJANGO ... . THROWS THE AXE... JAKE ... . IT HITS HIM IN THE FACE. After letting go of the axe handle, Django RUNS FULL SPEED toward Jake. Before the other three have really registered what's happening, Django has crossed the distance, and is YANKING The Axe out of JAKE'S FACE. And with AXE in hand, Django chases and fights with all three trackers, till after a point where he's CHOPPED DOWN TWO OF THEM, Lex, and Stew, and now there's only Mr.Stonesipher left. But Mr.Stonesipher has managed to draw his gigantic BUCK KNIFE, and is able to fight back against Django. You know Stonesipher's great with a knife, plus his fighting style is like one of his dogs, attack attack attack. Django uses the axe handle in a defensive position. The expert Mountain Boy begins SCORING BLADE CUTS on shirtless Django. The two men fight until they end up losing their weapons. Then it's just a fight of brute strength, and survival. Mr.Stonesipher is physically bigger then Django. But if Django's going to save Broomhilda, not to mention get revenge on all these Candyland motherf**ers, he has to take Stonesipher's a** out. This Black Man who has been under the yoke of white man's domination all his life, and this White Man who feeds black people to dogs, fight each other for their life. Django gets his arm around Stonesipher's neck in a headlock, but the mountain boy is big enough to lift Django. So like a rodeo rider holding onto bull for dear life, Django tightens his lock around his opponents neck. Django gets his hand on the HAMMER Jake was building the birdhouse with, and BRINGS IT CRASHING DOWN ON THE TOP OF STONESIPHER'S HEAD. That weakens Stonesipher. He HITS HIM AGAIN IN THE HEAD. That drops Stonesipher to his knees. He HITS HIM AGAIN WITH THE HAMMER ON THE HEAD. That puts the mountain man down on his back. He HITS HIM ONE MORE TIME WITH THE HAMMER TO keep him down for good. The Trackers are all dead. Only the dogs mad barking remains. EXT - The FUNERAL - NIGHT The Funeral for Calvin Candie is underway. The Preacher reads some words over him. EXT - TRACKER SHACK - NIGHT Django, half naked, splattered with blood from the axe murders, steps out of the shack. He takes a wash basin off the window sill, and walks over to the WATER PUMP. Marsha and her three friends-continue to BARK like mad. He PUMPS a couple of times, and water explodes into the bowl. He begins washing the blood-off'of himself. As he washes, he says outloud; DJANGO What ya doin around here, boy? Timmy steps from his watching place in the bushes. TIMMY I was just walkin' by. DJANGO Wanna help me out? TIMMY Sure. DJANGO My woman, Hildi, is with Billy Crash. You know where his shack is? TIMMY Sure do. DJANGO You show me? TIMMY Will I get in trouble? DJANGO Not by the time I get through k**in' everybody. Timmy has never heard a black man talk like that. He believes him. TIMMY I'll show ya. THEN ... Django turns towards the barking dogs. He turns back to Timmy and asks; DJANGO You know what toadstools look like? 15-C TIMMY Sure do. DJANGO Go pick me a mess of 'em. INSERT: TIMMY picking TOADSTOOLS (POISON MUSHROMS). INSERT: DJANGO stirring a big pot of BEEF STEW with a wooden spoon in the tracker shack. Timmy comes'in carrying a bunch of toadstools inside his shirt. Django takes the toadstools and Mr.Stonesipher's BUCK KNIFE and CHOPS the mushrooms into tiny pieces. He tosses the tiny bits of poisoned shrooms into the beefy sauce, and mixes it up with the spoon. EXT - MARSHA'S KENNEL - NIGHT Django throws the pot of poisoned beef stew over the top of the kennel. It lands on the ground with a PLOP. The Angry Dogs, are nevertheless', still dogs, and greedily scarf up the stew. Django watches them wolf down their ultimate agony with a smile. DJANGO You bit your last n******g, b**h? Bite on that. Django lifts Timmy up on to the bare backed wagon horse. DJANGO First things first, boy. Take me to my horse. EXT - FUNERAL NIGHT The funeral is in full melodramatic bore. TNT - STABLE-BLACKSMITH - NIGHT Timmy brings Django to the stable on the Candyland grounds. Django goes straight up to the stall housing Tony and says hello. Tony's happy to see him. Django feeds him an apple he picked along the way for him. He turns and sees the body of Dr.Schultz lying in a heap. And Schultz's horse Fritz in the stable. DJANGO Saddle up Fritz and Tony. Timmy just stares. DJANGO Now, boy! Timmy hops to work. Django bends down over the body of Dr.Schultz, he takes Broomhilda's bill of sale and freedom papers out of his back pocket. He also searches for and finds Schultz's hidden DERRINGER, he keeps it in a holster around his ankle. As Timmy saddles the horses, he asks; TIMMY Do you feel bad for your friend? Django rises from the body of his friend. DJANGO Yeah, "I do. As Timmy saddles the horses he says; TIMMY I know just how ya feel. I lost a white friend once. He drowned in the lake. Django doesn't correct the difference between Dr.Schultz and a white friend, because there's nothing he could say to Timmy to make him understand. He goes over to his pile of clothes, which still lie next to the furnace. He Puts on his boots. His Green Jacket over his bare chest. And finally his hat. EXT - The FUNERAL - NIGHT The service is over, everybody is hugging each other and holding hands, and beginning to leave. INT - BILLY CRASH'S SHACK - NIGHT Billy Crash is in bed f**ing Broomhilda. She doesn't wail, she doesn't make any whimpering sounds, but her eyes constantly water. As Billy's f**ing her he says; BILLY CRASH It's gonna be real nice 'round here now the 'ol man's gone. (CON'T) 'SR BILLY CRASH (fu*kS) Would you stop your galdarn cryin'! He stops f**ing in frustration BROOMHILDA I can't. BILLY CRASH Now girl, I'm tryin' to be nice. BROOMHILDA I can't help it! I'm really sad! He hops off her and yells at her. BILLY CRASH Well goddamit, you're a n******g! Life is sad for n******gs! Git use to it! (CALMING DOWN) Look you know Me, Hildi. I'm an a** buster from way back. But you know I've always been sweet on you. I don't wanna bust your a**. So don't make me! Now I'm gonna go sh**. You calm down. He exits the shack to go the outhouse, leaving Broomhilda alone. WE MOVE INTO A CLOSE UP OF BROOMHILDA lying on the bed. She cries for Django, she cries for herself... .THEN... She HEARS an IMPACT SOUND, and a MUFFLED "Ooomph" SOUND. And through the spaces in the wooden planks that act as walls in Billy Crash's shack, she sees a figure fall to the ground. Then she sees another figure through the wooden planks move towards the front door. CU BROOMHILDA Her face, stained with tears, watches the door. A soft "Knock Knock" on the door. BROOMHILDA (SOFTLY) Yes? The VOICE on the other side of the door, says; DJANGO'S VOICE (OS) Hey Little Trouble Maker. 157 She hops out of bed, and throws open the door... THERE HE IS, she runs into his arms. EXT - The FUNERAL - NIGHT The TWO OLD SLAVE.GRAVE DIGGERS are throwing the first shovelfuls of dirt on Monsieur Calvin J. Candie's coffin. The participants of this ritual, begin to move away from the grave. The funeral is a private affair, just the Candie Family Unit, some of the overseers, and the slaves. No one from town, except the Preacher. The SLAVE MOURNERS begin. to move towards their living area, all saying goodbye to Miss Lara. Miss Lara makes a big show of saying goodbye to them. A little cognizant of the Candie Family unit begin the walk off the hill back to the big house. EXT - BILLY CRASH'S SHACK - NIGHT Django with Broomhilda. Billy Crash lies dead in the B.G., Stonesipher's Buck Knife buried deep in his chest. He hands Broomhilda her papers. DJANGO Here's your bill of sale, and freedom papers. No matter what happens to me, hold on to these and get out of the south. BROOMHILDA What's gonna happen to you? DJANGO Ain't nuttin' gonna happen to me honey, I'm just sayin'. Now go to the stable, little Timmy's got our horses .saddled. Your horse is named Fritz. He's a damn fine horse. Meet me around the side of the big house. BROOMHILDA But what about you - DJANGO - Don't worry about me. I'll see you, with Timmy and the horses, by the big house. He sends her on her way. Django looks up and sees the silhouettes of the funeral party walking down hill heading back for the big house. (60 EXT - The TRAIL BACK TO The BIG HOUSE - NIGHT The Family unit of The Late Calvin Candie and his sister Lara Lee walk back to The Big House for a drink. This Candie Family Unit consists of: LARA LEE (unarmed) in her black flowing funeral dress. CORA (unarmed) her mammy, walks with Miss Lara, holding her hand. STEPHEN. (unarmed) dressed in his fancy black velvet version of his normal House n******g outfit, walks on the other side of his mistress Miss Lara, holding her other hand. ACE WOODY (armed with a gun belt.around his hip) dressed in his Wyatt Earp like funeral black suit, with the string tie, walks by himself. LEONIDE MOGUY (armed with a gun belt around his hip) walks by himself. BARTHOLOMEW (unarmed) dressed in his tight fitting business suit, with his hat, walks alone. BROWN and JINGLE BELLS CODY (both armed with guns on their hips) both dressed slightly like cowboy peaco*ks, walk together. and finally, SAMSON and GOLDIE (unarmed) Calvin Candie's two prized mandingos, wearing suits they borrowed from Bartholomew.. This CANDIE FAMILY UNIT walk to The Big House for a few post funeral drinks. They enter the lawn in front of The Big House, and head for the front door. Broomhilda on Fritz and Timmy riding on Tony come along the side of the property by some shed. They see The Candie Family Unit, all dressed in their darkest finery, walking towards the front steps of The Big House. The woman and little boy stop. But the group of enemies aren't looking their way. The CANDIE FAMILY UNIT moves closer towards the front of The Big House... WHEN ... The front of The Big House EXPLODES! knocking the.Candie Family Unit flat on their collective a**es. BROOMHILDA and TIMMY can't believe their eyes. I6 I WOOD - STONE - PLASTER - DIRT - DUST - GLASS - SMOKE - GUNPOWDER hang in the air. The CANDIE FAMILY UNIT starts coming to their senses. Nobody was k**ed, or even seriously hurt (unless you count eardrums), just stunned. As their minds try and grasp with what just happened, their eyes look up from the ground, and try and see through the smoke and dust. The'SMOKE and DUST thins a little, and we see inside the smoke the mansion has been obliterated, but The Big House front steps remain. CUE cool MUSIC. STEPHEN sees something in the smoke, squints. ACE WOODY sees something in the smoke, squints. BROWN and CODY see something in the smoke, squint. In the SMOKE and DUST we begin to see a FIGURE, walking towards them. ACE WOODY squints at the FIGURE. MOGUY sees the.FIGURE. CORA attending to Miss Lara sees the FIGURE, then MISS LARA sees it. The FIGURE moves further out of the SMOKE and DUST. ACE WOODY, on the ground, his hand starts to move towards the gun around his waist. Then he sees The FIGURE.is carrying something in his left hand... .it's Floyd's Winchester, he raises it, and points it at Ace. ACE WOODY's hand moves away from his gun. The FIGURE steps out of the SMOKE. It's DJANGO dressed in his DJANGO OUTFIT. STEPHEN, ACE WOODY, MOGUY, LARA LEE, BARTHOLOMEW, CORA, BROWN and JINGLE BELLS CODY, SAMPSON or GOLDIE...Nobody can believe Django's standing there. He stands at the top of the front steps of The Big House, looking down at The Candie Family Unit, all lying on the front lawn, Winchester rifle held casually in his left hand. His right hand held casually by the gun on his hip. The CANDIE FAMILY UNIT all on their a** in the gra**, look up at Django with a mixture of Wonder, Fear, and Hate. ICZ WE MOVE INTO A ROMANTIC CLOSE UP OF BROOMHILDA as she watches this. As DJANGO looks out at the ten stunned enemies spread out on The Big House front lawn,. and as they look back from the gra** at him. The black man in the cool green jacket says; DJANGO I bet I.know what you're thinkin', Ace Woody? You'.re thinkin', why didn't I'cut off that n******gs nuts when .1 had the'chance? Right? ACE WOODY I guess I shoulda'. DJANGO Yes you should of. He points the Winchester at the people spread out on the gra**. DJANGO Everybody stand up! It's now Django who gives the orders. They stand up quickly. Django, with the rifle pointing at them, just looks at The Candie Family Unit. Enjoying their collective hatred. THEN... He tosses the rifle away. Then moves his right hand by his gun belt in his holster, as he takes a SHOWDOWN STANCE. EVERYBODY realizes DJANGO's intentions. Even BROOMHILDA and TIMMY. DJANGO looks down from his position at the top of The Big House steps at the ten people, and says; DJANGO All black folks, take ten steps away from the white folks. DJANGO's eyes go to STEPHEN, who looks back at him. DJANGO Not you Stephen. You're right where you belong. 163 The Black Folks, Cora, Bartholomew, Samson, and Goldie begin taking ten steps away from the White Folks and the gunfight. LARA LEE can't believe Cora's leaving her. CORA is "I'm sorry Miss Lara, but I never did nuttin' to that n******g." DJANGO looks to STEPHEN, and takes Schultz's hidden Derringer out of his pocket. DJANGO (TO STEPHEN) Let's see if you can handle this as well as you can my nuts? He tosses the Ole Man the tiny gun. DJANGO (TO EVERYBODY) Somebody give Miss Lara a gun. BROWN gives LARA LEE one. of his two guns. BROWN (TO DJANGO) Can I at least co*k it for her? DJANGO Yep. BROWN co*ks back the hammer of the peacemaker, and puts it in her hand, and points it towards the ground. BROWN (to Lara Lee) Okay Miss Lara, keep it pointed down till the shootin' starts. Then bring it up as fast as you can. LARA LEE CANDIE-FITZWILLI can't come to grips with what she's.in the middle of, who she's facing, what's in her hand, or what's about to happen. DJANGO (to the six) Make your play hillbillies. The MUSIC SWELLS. 16'F EVERYBODY, except for LARA LEE is READY: DJANGO ACE WOODY STEPHEN MOGUY BROWN CODY LARA LEE The PEOPLE watching on the side: BARTHOLOMEW SAMSON BROOMHILDA CORA GOLDIE TIMMY EVERYONE'S ready, but no one wants to start this party... TILL... ACE WOODY starts to go for the gun in his holster, and STEPHEN starts to raise his Derringer. But it's no contest. As soon as Django saw any movement from the six in front of him, Floyd's Pistol was QUICKSILVER FAST in. his right hand, as his left hand FANNED the Pistols Hammer, SHOOTING INSTANTLY all five White People (and Stephen) standing in front of him. They all fall to gra** in different ways.. It was never any contest, they and WE (the audience) just didn't know HOW GOOD DJANGO was. FLASH ON DJANGO showing off his incredible FAST DRAW and ACCURATE MARKSMANSHIP to Dr.Schultz. Dr.SCHULTZ (SMILING) You know what they're going to call you, my boy? "The fastest gun in the South." BACK TO SHOWDOWN DJANGO stands on the top steps of what's left of'The Big House, looking down at The Candie Family Unit, who all lay dead or dying on the Candyland front lawn. The WITNESSES can't fathom what they'just witnessed. /65 All the CANDIE FAMILY UNIT lies on the gra** SHOT. But some are still alive. We HEAR MOANING coming from LARA LEE, CODY, and MOGUY. DJANGO sees this. The Black Man reaches behind him and comes out with a DYNAMITE STICK. He tosses it on the gra** among the bodies. He takes aim with his pistol; and FIRES. It EXPLODES. Finishing off what was left of the Candie Family Unit, not to mention, blowing the limbs off of many of them. The LAWN is SILENT. DJANGO'S PISTOL goes back in its holster. Django walks down the front steps of The Big House, feeling tremendous satisfaction in the wrath he just wroth on Candie and Co. He removes Dr.Schultz's tiny Derringer from Stephen's dead hand, putting it in his pocket. Then heads over to where Broomhilda and Timmy wait for him with Fritz and Tony. As he,walks up to Broomhilda on Fritz, he says; DJANGO Hey Little Trouble Maker. BROOMHILDA Hey Big Trouble Maker. DJANGO Down, boy. Timmy hops off of Tony. Django climbs aboard Tony. He says to Broomhilda; DJANGO I tole' you ain't nuttin' gonna happen to me. BROOMHILDA Yes you did. DJANGO Girl, you're gonna hafta start trustin' me. BROOMHILDA I'll keep that in mind. Â–º66 Django looks down to Timmy. DJANGO Thanks for the help, boy. He reaches into his saddle bag, and pulls out an apple, and tosses it down to Timmy. DJANGO That's for you. Good luck Tim. (he points to the Northern Sky) The North star, is that one. He looks to Broomhilda on Fritz. DJANGO You gonna hafta keep up, ya know? BROOMHILDA You won't wait for me. DJANGO Better not. BROOMHILDA You won't. DJANGO (SMILING) Better not. BROOMHILDA (SMILING) You won't. They kiss. Then, astride Tony, Django leaves Candyland having rescued his Broomhilda from her Mountain, her Ring of Hellfire, and all her Dragons.