Django Unchained part 5 lyrics

(TO SCHULTZ

AND DJANGO)
This here is my Overseer .Cap't, and
n*gger 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*gger. 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 di*key 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*ggers 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.
j*rking 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*ggers
last night.

'ACE WOODY
How is of Amerigo?

CALVIN CANDIE
His n*gger lost.









99

ACE WOODY

(TO FRED)
Really? You won?

BIG FRED
Yes, sir.

ACE WOODY
Wup'ed his ass?

CALVIN CANDIE
Beat 'em to death.
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 ass
to death.

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*gger.
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*gger girl we were talking about?

CALVIN CANDIE
n*gger 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 butt of his smoke wagon. If they sicked
those dogs on his angel, he's going to just kill all these
motherf*ckers right now.

STEPHEN
Lucky for her they were busy lookin' for
D'Artagnan's ass. 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*gger. 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*gger 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 glass, snotty Stephen
rattles on in the background.

STEPHEN
Feel free to touch anything you want,
cause we burnin' all this sh*t 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*gger, 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*ggers like you my
whole life. Play your dog tricks with your
Massa'. 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*ggas round
here hoppin' and jumpin' to stay on your
good side. Well this time Snowball, you
gonna listen to me. You got anymore sass
you wanna sling my way, before they give
us a mandingo demonstration, I'm gonna
give this whole motherf*ckin plantation
a demonstration, of ME beatin' the BLACK
off your ass. I will make you drop your
drawers, I'll take off my belt, and I will
Wup' your bare ass with it, in front of
every n*gga 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. Sass me
me again n*gger, 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*gger
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 glass 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 glass 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 glass 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 glass 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 ass an' drag you back.
Then we stick your bare ass 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*gger 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 analysis,
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*gger I ever saw. But as
long as you don't put 'em up against those
two., Eskimo Joe will whip any n*ggers ass.

DJANGO
Maybe.
The Domestics FREEZE for a j*rky second when Django says that.









//

F
Dr.SCHULTZ
You must understand, Monsieur Candie, while
admittedly a .neophyte in the n*gger 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*gger.
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*gger." Now I'm not saying
Eskimo Joe is the wrong n*gger - 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*gger 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*gger fight game.

(BEAT)
A n*gger 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.









»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 j*rk.

AND ...
.STEPHEN sees it.
Schultz covers the j*rk 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
embarrassing 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*gger?
/� She spins around.









11 7

BROOMHILDA€¢
Who?

STEPHEN
Don't stall me b*tch, 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*gger, 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*gger. However let me reclarify
how this whole negotiation came about.
It wasn't me who came to you to sell a
n*gger, 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 ass 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*ggers
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*ggers there. And he's a
man of medicine. I'm sure it would
fascinate him, the n*ggers 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*ggers
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*ckers ain't here to buy no
mandingos. They want that girl. -

CALVIN CANDIE
What the hell you talkin' about?

STEPHEN
They playin your ass 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*ggers 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*gger 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*ck about
who that uppity son-of-a--b*tch 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*tches!

(LOUDER)
Sonsab*tches! 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*gger and n*gger lovin'
huckster insinuate themselves at my
dinner table, and play this whole goddamn
plantation for a fool!

STEPHEN
Calm-the-f*ck-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*gger, you
wanna sell a n*gger.The only thing done
changed is the advantage.

(BEAT)
Now we got it. .So let's go back in there
and busts these motherf*cker'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 passel 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*t.

(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*gger, I still wanna
sell one. So, with that in mind, in Greenville,
Dr.Schultz, you yourself said, "For the Right
n*gger 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*gger."
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*gger
is too steep, what I'm gonna desire to do
is, take this hammer and beat her ass to
death 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*gger b*tch, 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 glasses 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*t 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 buttocks, 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 carcass 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 kill 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*tch the trouble maker. You just wanted
to git your girl, and hightail your n*gger
asses 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 ass '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*gger 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 ass busters out
there try an' git creative with the way they
bust ass. But me... .I always found the best
methods are, tried and true.
He THROWS the knife again...
Django j*rkS 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*cked 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*gger, 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
di*key 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 ass
upside down n*gger 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*t. Ya' git your ass 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*cking
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*t f*cking hurts, so you best believe he screams his
f*cking ass 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
ass 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*gger, 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 ass to the floor
You were sayin' something 'bout my BARE BLACK
ass, 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
buttocks.
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 kill your
ASS. Now most of 'dem ideas involved f*ckin
wit your fun parts. But while that might SEEM
like a good idea. Truth is, once ya snip a
n*ggers nuts, most bleed out. Then I say;
"Hells bells, the n*ggers we send to LeQuint
di*key, got it worse then that." Then they're,
"Let's whip 'em to death," "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*t all the time. Hells bells,
the n*ggers we send to LeQuint di*key got it
worse then that."
He stops massaging Django's balls.

STEPHEN
So Miss Lara got the bright idea of givin'
your ass to The LeQuint di*key Mining Company.
And as a slave of The LeQuint di*key 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*gger 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 di*key 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 ass, 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 bast*rd shot
the big boss. Let's git the n*ggers 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
di*key 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 bast*rd.

ACE WOODY
We got an arraignment with Mr.di*key to take
punishment n*ggers from time to time.

ROY
No one tole' me 'bout no arraignment.

ACE WOODY
Well if Mr.di*key 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*gger got Boss
Candie killed. And we want his ass punished.
Now I know you need our bucks. So.unless you
wanna ride back to the mine, and tell Mr.di*key
how and why you f*cked up our nice little
business relationship, take this n*gger 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 kill me. What about all
that -turning big rocks into little rocks-
sh*t y'all was. talkin' about? I mean that was
the idea ain't it? You put me in there with
them big ass garboons they kill 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 kill him.

FLOYD
I don't give a damn.

ACE WOODY
Well we do! He killed the f*ckin Boss Man,
we want the mine to grind him to gravel!

ROY
Jano, you're riclin' horses ass, 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 di*key 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 ass, 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 di*key?

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 di*key
Mining Company, ain't I?

JANO
Yeah.

DJANGO
And you work for The LeQuint di*key 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. di*key
paid for our passage 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 ass 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*ckin 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*ck 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 ass 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 kill '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 kill 'em?

DJANGO
No. You kill 'em, and they payyou for the
corpse. Get it?

JANO
I think so... . what did these jokers do again?

DJANGO
Killed 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 glasses.
I didn't take 'em with me, because I didn't
think I'd be doin much readin' on a n*gger 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*ckin
read. I just don't got my glasses.

CUT TO









146
EXT -- BEAUTIFUL MISSISSIPPI COUNTRY TABLEAUX at DUSK
The LeQuint di*key 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*ckin 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 killed, 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*tches 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
killin 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*gger 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, c*cks 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*gger 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 kill '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*gger?"

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*gger
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 grass
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 ass...
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*gger?"

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 ass against a
gorgeous SUNSET SKY, looks like an Indian.

EXT - TRACKER SHACK/BUNKHOUSE - SUNSET
The same GORGEOUS SUNSET SKY over the same sh*tty 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, "n*ggER 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*ckers, he has
to take Stonesipher's ass 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 killin'
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*gger, b*tch? 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*cking Broomhilda. She doesn't wail, she doesn't
make any whimpering sounds, but her eyes constantly water.
As Billy's f*cking her he says;

BILLY CRASH
It's gonna be real nice 'round here now
the 'ol man's gone.

(CON'T)









'SR

BILLY CRASH

(f*ckS)
Would you stop your galdarn cryin'!
He stops f*cking 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*gger! Life is sad
for n*ggers! Git use to it!

(CALMING DOWN)
Look you know Me, Hildi. I'm an ass buster
from way back. But you know I've always been
sweet on you. I don't wanna bust your ass.
So don't make me! Now I'm gonna go sh*t.
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*gger 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 peac*cks, 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 asses.
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 killed, 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 ass in the grass, 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 grass 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*ggers 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 grass.

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*gger."
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 c*ck it for her?

DJANGO
Yep.
BROWN c*cks 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 grass 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 grass 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 grass 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.









–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.